Annual selected Edition from DETAIL Review of Architecture

ArchitecturalDetails 2003

Details 2003

Edition Detail • Institut für internationaleArchitektur-Dokumentation GmbH & Co. KGMunich

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Annual selected Edition from DETAIL Review of Architecture

Architectural

Editorial office: Christian Schittich (Editor-in-chief),Andrea Wiegelmann (Project manager),Sabine Drey, Andreas Gabriel, Frank Kaltenbach, Steffi Lenzen,Julia Liese, Thomas Madlener, Edith Walter, Meike Weber, Heide WesselyFreelance assistance: Christa Schicker

Translation German/English: Peter Green, Catherine Anderle-NeillDrawings: Kathrin Draeger, Marion Griese, Nicola Kollmann, Emese KöszegieDTP: Peter Gensmantel, Andrea Linke, Cornelia Kohn, Roswitha Siegler

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Editorial

Over the past 43 years, DETAIL has occupied a top positionin international architectural publishing. Available in more than80 different countries, DETAIL is one of the most widely readreviews of architecture in the world and is to be found in most lead-ing professional offices. With its unique concept, it contributes notonly to current debates in the world of construction; it also looksbehind the scenes, citing outstanding international projects asexamples of what is going on in architecture today. In ten issuesa year, the projects are presented with carefully researched infor-mation, newly drawn plans and coloured illustrations.

Details are more than just solutions to technical problems. Theyhave a major influence on the character and appearance of build-ings, and they may also be used as a design tool. It has alwaysbeen one of the central aims of DETAIL to bring out these aspects.

For the first time, this yearbook for 2003 presents a summary ofthe most important articles and buildings from a whole year'spublications in an exclusively English-language edition. The layoutof the book follows that of the journal itself. The building projectscontained in the "documentation" section are flanked by specialistarticles from the "discussion" and "technology" sections. In makingour selection, we have tried to include a representative cross-section of the material covered in the course of the year -representative in terms of building types and functions, materials,forms of construction and geographical locations. As in every issueof the journal, the editorial team seeks to present a sensible andattractive mixture, especially in the choice of buildings.The book contains a stimulating juxtaposition of well-designedeveryday structures - mostly by smaller, less-known offices - andmore spectacular projects by internationally renowned architects.

The yearbook is, therefore, an important reference work, full ofideas and details that will help architects in their everyday planningand practice.

Christian Schitticheditor-in-chief of DETAIL, Review of Architecture

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£32.99/US$44.99, ISBN: 0 7506 0913 3

Intelligent SkinsLooking to the future, Intelligent Skins sets out the principles for the design of the intelligent building envelope.It highlights an exciting new approach to the area, where the fabric of the building responds to externalchanges and internal demands.

The prime objective is to control internal environments through a responsive building fabric rather than byenergy consuming building services systems. The authors examine the potential for integral intelligencewithin the fabric of the building and explore the evolution of information technology and smart materials whichhave allowed a whole new category of design principles to be created.

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£39.99/US$59.95, ISBN: 0 7506 5739 1

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The author uses his experience of living in a solar house to inform the reader of methods and techniques,and to critique the various technologies available for space heating and cooling, domestic hot water, andother functions. Providing evidence of best practice for both designers and architects, this book shows howto satisfy the needs of the solar homeowner.

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Structure & ArchitectureStructure and Architecture explains the basic principles of structure and describes the range of structure typesin current use.

Dealing with structures holistically, relating detailed topics back to the whole structure and building, this bookaims to answer the questions: What are architectural structures? How does one define the difference betweenthe structure of a building and all of the other components and elements of which it consists? What are therequirements of structures? What is involved in their design? An understanding of the concepts involved inanswering these questions and an appreciation of how the structure of a building functions enhances theability of an individual to appreciate its architectural quality.

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5 EditorialChristian Schittich

discussion10 Schools Are a Hobbyhorse of Mine-

an Interview withHerman Hertzberger

12 The Pioneering Age of Concrete Blocks- Frank Lloyd Wright'sTextile-Block HousesEdward R. Ford

16 Concrete- A Yearning for the MonolithicFrank Kaltenbach

18 Between Fashionable Packagingand Responsive Skin:Trends in Modern Facade DesignChristian Schittich

22 Industrial BuildingKlaus-Dieter Weiß

documentation28 Media Library in Venissieux

Dominique Perrault, Paris

32 Museum in KalkrieseAnnette Gigon, Mike Guyer, Zurich

38 Secondary School in ViennaHenke and Schreieck Architects,Vienna

46 Museum of Soviet Special Campin SachsenhausenSchneider + Schumacher, Frankfurt

50 Laboratory Building in UtrechtUN Studio, Amsterdam

54 Primary School in AuBeat Consoni, Rorschach

58 Restaurant in BrightondRRM, London

63 Wine Tavern in FellbachChristine Remensperger, Stuttgart

68 Pedestrian Bridge in BoudryGeninasca Delefortrie SA.Architects FAS SIA, Neuchâtel

70 Hotel in GroningenForeign Office Architects, LondonAlejandro Zaera Polo, Farshid Moussavi

74 House in DortmundArchifactory.de, Bochum

80 Store and Studio in HagiSambuichi Architects, HiroshimaHiroshi Sambuichi

84 Housing Development in DornbirnB&E Baumschlager-Eberle, Lochau

87 University for Applied Designin WiesbadenMahler Günster Fuchs Architects,Stuttgart

92 Laban Centre in LondonHerzog & de Meuron, Basle

98 Weekend House in AustraliaSean Godsell Architects, Melbourne

102 Administration Building in ReutlingenAllmann Sattler Wappner, Munich

106 Production Building for Large-ScalePrinting Technologyin Grosshöfleinquerkraft architects, Vienna

114 Extension of the Albertina in ViennaErich G. Steinmayr & Friedrich H.Mascher, Feldkirch/Vienna

122 Studio Extension in OlotJordi Hidalgo + Daniela Hartmann,Barcelona

126 House in Mont-MalmédyARTAU SCRL, MalmédyNorbert Nelles, Luc Dutilleux

130 Representation of the States ofBrandenburg and Mecklenburg-WestPomerania in BerlinGerkan, Marg und Partner, Hamburg

136 School Building in ZurichPatrick Gmür Architects, Zurich

136 Housing and Commercial Block in ZurichMarcel Meili, Markus Peter Architects,Zurich, with Zeno VogelAstrid Staufer & Thomas HaslerArchitects, Frauenfeld

technology144 High-Performance Concretes

Wolfgang Brameshuber

150 Metal Facade FinishesStefan Schäfer

157 Metal Mesh FacadesStefan Schäfer

160 Stone Surface DressingTheodor Hugues, Ludwig Steiger,Johann Weber

165 From the Molecule to the FinishedBuildingJean-Luc Sandoz, Jan-Erik Schmitt

appendix170 Design and construction teams-

contractors and suppliers

175 Photo credits

176 Edition DETAIL

8

Schools Are a Hobbyhorseof Mine - an Interview withHerman Hertzberger

Detail: You have been building schools in theNetherlands since the 1960s. What educa-tional developments have you seen in that time?Hertzberger: In the field of education, one ofthe main political goals in the Netherlandstoday is to bring the various private andstate schools in line with each other, to unifythe complex educational system and reducethe large number of schools. It's not a badidea, but it doesn't always make sense.Small schools are more comprehensible, forexample, while larger schools can offer morefacilities, such as media libraries.

How do you assess the conditions for schoolconstruction in the Netherlands?

We have witnessed a change since the1990s. In the past, the Ministry of Educationwas the central authority responsible forschools and teaching. Seven or eight yearsago, this responsibility was transferred tolocal authorities. The state now grants onlybasic funding. The rest has to be providedby the municipalities. Unfortunately, veryfew of them are interested in qualitativeschool building. Politically, the situation isproblematic, but schools are a hobbyhorseof mine.

Is the lack of interest in building high-qualityschools a socio-political problem?Yes. We have to invest much more in edu-

cation in the Netherlands. We have to spe-cialize and export knowledge. Schoolsshould not be just a series of classroomsand corridors; they should provide a kindof home base. It's not enough just to learnmathematics and languages. In a multicul-tural society, it is important for children tolearn to live together rather than attackingeach other.

How do you implement your school conceptsarchitecturally?I believe a school should be a kind of polis,a microcosm. In my spatial concepts, there-fore, I am particularly concerned with thezones outside the classrooms. Through

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greater openness spatially, I ensure thatcorridors are not just circulation routes.In the Apollo School in Amsterdam, for ex-ample, just as many activities take placeoutside the classrooms as within them.

Maria Montessori was also concerned withspace in her educational theory. Is your archi-tectural approach related to this in any way?No, not really. But I'm convinced that libertycan exist only within a certain framework.According to Montessori, pupils should beallowed as much latitude as possible withincertain limits. I see my school architecture inthat light: I provide the framework withinwhich the pupils can develop freely.

To what extent does the age of the childrenaffect the architecture?Too much emphasis is placed on that aspectsometimes. People speak of finding the rightscale for children, but they climb stairs justlike adults. I'm not aware that children needsmaller steps. Of course, things like tablesand chairs will be lower for younger children,but other aspects like natural lighting, visuallinks and spaces for withdrawal are more im-portant. In traditional school types, there areusually long corridors which serve solely asaccess routes. From the very outset, wewanted to develop a different type. In the At-las College in Hoorn (2002-04), there will bestudy areas outside the actual classrooms -divided off by folding doors. In the De Eilan-den School in Amsterdam (1996-2002), weused sliding doors for this purpose.

Do you involve teachers and pupils in thedesign process?I always attempt to develop a school designin collaboration with the teachers and pupils.This helps to achieve a stronger sense ofidentity with the school. In the case of theMontessori College Oost in Amsterdam (seepage 9), we sat down with 30 or 40 teachersevery month. But that didn't prove to be veryproductive. For the most part, they fought forthe interests of their own classes. They wereconcerned with having as many socket out-lets as possible, hot water, light and so on.

Do the different nationalities of the pupilsplay a role in your design?No. I am interested in fundamental forms:that's what Structuralism means to me today.I attempt to develop a common spatial pro-gramme for all pupils. There are two mainaspects to this: enclosure or protection, andopenness. In many cultures, space impliessomething enclosed, but to us as a seafaringnation, it can also mean something that ex-tends over the horizon.

Can one trace your personal architecturaldevelopment in your buildings?As a rule, I design from the inside out. Fromthe very beginning, I have provided a verti-cal link in all buildings that are more than twostoreys high. In the Ministry of Social Affairsin The Hague (1979-90), I realized the con-cept of a large central hall, a space that linksall parts of the building: but regrettably, Ididn't take the idea to its logical conclusion.That building marks the end of a certain linein my design development. Since then, therehas been a bolder gesture and a largerurban-planning element in my architecture.

Are there any differences between buildingin Germany and the Netherlands, particularlywith regard to building regulations?I have built schools only in the Netherlands,so I cannot make direct comparisons in thatrespect. German schools, which I admire 5

very much, usually draw on a much biggerbudget. As far as building regulations areconcerned, they are analogous. We arebuilding a large project in Germany at themoment, the Media Park Office Building inCologne. Maybe I shouldn't say this, but Ifind the Dutch are more pernickety andstingier. People are more open in Germany.On the other hand, we don't have the notionthat a building can bestow prestige anddemonstrate power.

What is your favourite school project?The most recent project I have worked onalways means most to me, and that is theDe Eilanden School. It was a difficult project,because the dwellings above the school 6

were not planned by us. Crazy conditions,but one invests a great deal of time in diffi-cult projects and is always delighted at un-expected successes. It's the same as withone's children. DETAIL Konzept 3/2003

Herman Hertzberger was interviewed in Amsterdamby Sabine Drey and Gerard Bergers.

1 Apollo School, Amsterdam, 1980-832 Atlas College, Hoorn, 2002-043 De Eilanden School, Amsterdam, 1996-20024 Ministry of Social Affairs, The Hague, 1979-90:

second floor layout5 Polygoon Primary School, Almere, 1990-926 Primary school and kindergarten,

Amsterdam, 1986

11

The Pioneering Age of ConcreteBlocks - Frank Lloyd Wright'sTextile-Block Houses

Edward R. Ford

"The universe," Ralph Waldo Emersonwrote, "is represented in every one of itsparticles. Everything in nature contains allthe powers of nature. ... Each new formrepeats not only the main character of thetype, but part for part all of the details. ...Each one is an entire emblem of humanlife." This was a key tenet of AmericanTranscendentalism, and it is understanda-ble, therefore, that it should become a keytenet of the work of Frank Lloyd Wright.Throughout his career, Wright applied theconcept of unifying geometric motifs, eachrepresenting both the part and the whole.Wright's motifs were often indifferent toscale and sometimes had the effect of blur-ring rather than articulating the qualities ofmaterials; but this approach to design ex-plains the constructional nature of Wright'sarchitecture to a great extent. With few ex-ceptions, his constructional methodologiesoriginate in ornamental methodologies.Thus, the tree-like patterns of the art-glasswindows of the Prairie houses becamethe tree-like concrete columns of theS. C. Johnson Building. By 1930, Wright'sconcept of plasticity had come to meancontinuity of structure; and the grids of LouisSullivan's ornamentation became the struc-tural grid of Wright's buildings. This line ofdevelopment is particularly evident in thetextile-block system.

In the period from 1914 to 1925, in sharpcontrast to the minimal ornament of thePrairie houses, Wright was working with re-petitive, square, ornamental concrete blocksmade with wood forms. The large frieze ofMidway Gardens (1914) was constructed ofblocks of site-cast concrete. The textile-block-like frieze of the Albert German Ware-house (1915) was actually cast in-situ. Inneither case is the block used in a structur-ally unique way, but these were the originsof the gridded and repetitive ornamentsWright went on to apply to concrete mason-ry. After 1904, he used a grid for all hisbuildings, but the textile-block system wasthe first in which the grid was determined bythe actual components: 16" x 16" x 3 1/2"blocks, forming 16-inch squares on plan 1

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and in elevation and establishing a 4' 0"structural module (three 16" blocks).In the late 1920s, this grid became an ideol-ogy. It is always difficult to separate Wright'soriginal thinking from his subsequent expla-nations, but in 1927 he proclaimed thetextile-block system to be the appropriateresponse to "standardization" - in contrastto the large-module systems of Le Corbusierand Gropius. Wright's system was to becreated by elevating an imprecise vernacu-lar material - concrete blocks - into a mass-produced product of superior strength,standardized in its parts, precise in itsmanufacture and execution, and perfectin its performance - all accomplished with aminimum of skilled on-site labour.The additional strength was provided by agrid of reinforcing bars between the edgesof the blocks, while precision and standard-ization were achieved through the use ofmetal moulds to form blocks 1/8" smallerthan the 16" module. The traditional 3/8"mortar joint was eliminated in favour of asemicircular groove at the edge of eachblock filled with grout to receive the rein-forcement, leaving no visible face joint. Theblocks and the walling were to be complete-ly waterproofed. Wright's one concession toconstructional imprecision was the doublewall with a continuous cavity, which, accord-ing to the architect, had an insulating effect.The two layers were just as important for theaccuracy of the construction, however. Itwould have been difficult to obtain the sameprecision with a single-thickness wall withtwo exposed faces, since the blocks varyslightly in width.

The first textile-block building to be com-pleted was the Storer House (1923). Thiswas followed by the Ennis House and theFreeman House (both 1924). Wright con-sidered the Millard House (1923) to be atextile-block building, but it does not revealthe mature form of this kind of construction,since it lacks the grid of grouted reinforcingbars and uses a traditional 1/2" mortar jointreinforced with expanded metal.Although the textile-block houses have re-ceived greater attention in recent years,

1 John Storer House, Hollywood. 1923-24:street facade

2 John Storer House: detail of wall construction3 Freeman House, Pasadena, 1924:

external light fitting4 Aluminium mould used for casting ornamental

concrete blocks for Freeman House5 Charles Ennis House. Los Angeles, 1923-24:

first-floor loggia; in this house alone, some 24different ornamental details were used.

they have never achieved the popularityof the Prairie or Usonian houses. The in-creased mass and smaller areas of glazingof the early houses resulted in a greatermonumentality and a regional appropriate-ness; but this was at the expense of domes-ticity and a relationship to the exterior. Formany, the textile-block system represents astep backwards in terms of form and space,although this does not apply to the last ofthe series, the Freeman House with itsdramatic glazed corners, which showsWright at his best.

Like many of Wright's innovations, thetextile-block system was not an economicsuccess. The architect's grandson Eric, who 3

has restored several of the houses, believesthat grouting the joints between blocks (asopposed to filling them with mortar) drovethe costs above a competitive level. Stan-dardization proved equally illusory, sincethe actual number of block types requiredin a single building vastly exceeded theconcept of a mass-produced standard unit.The Freeman House, for example, required56 different blocks.

The waterproof wall proved to be even moreproblematic in the course of time. There isconsiderable debate about the causes ofthe leaking, spalling, cracking and generaldeterioration that have occurred in thehouses.Robert Sweeney argues that it is impossible 4

to produce waterproof blocks with the ex-tremely dry mixture that was necessary toform them in the complex metal moulds. By1930, Wright seems to have acknowledgedthis himself.Wright's concept consisted of a wall thatwas waterproofed on its outer face and con-tained an air space for insulation. Modernpractice prefers a cavity wall in which waterpenetrates the outer skin and is then inter-cepted and drained to the exterior again,with additional insulation to meet modernenergy standards. Wright's cavity wall inter-cepts water, but there is no means of drain-ing the moisture to the outside again; andbecause of convection currents in the cavi-ty, it does not provide as much insulation as 5

13

The Pioneering Age of Concrete Blocks - Frank Lloyd Wright's Textile-Block Houses

6 Constructional principles of textile-blocksystem: double-skin concrete blockworkwith an intermediate cavity to providethermal insulation; a grid of horizontaland vertical reinforcement rods betweenthe blocks; minimal mortar joint filling inpreformed grooves

Wright claimed. Even so, this form of con-struction was common practice at the time.Furthermore, American standards of insula-tion were much lower than they are today.In fact, Wright's Usonian wall system of the1930s contains no insulation at all.Another problem is the action of moistureon the reinforcement over the years. Thisis particularly evident in the Ennis House.The cracking and spalling of the concreteblocks is undoubtedly the result of watercoming in contact with the steel and caus-ing it to rust, thereby breaking the bondwith the concrete.

Wright's departure from California did notmean the end of his system. It was used

7 Freeman House, Pasadena, 1924: perforatedblocks filter the ingress of light

8 Charles Ennis House, 1923-24, the largest of thefour textile-block houses in Los Angeles

9 Millard Residence, La Miniatura, Pasadena,1923: garden facade, consisting of partlyperforated concrete blocks

subsequently in countless projects, includ-ing 15 houses and several larger buildings.In the unbuilt San Marcos in the Desertscheme (1929), Wright developed the blockas a form for larger concrete columns andbeams that would have made it an integralpart of the frame.In 1931, Wright's son Lloyd created a varia-tion on the textile-block system in whichthe reinforcing bars are completely encasedin grouting, and the inner face of the exter-nal skin is covered with a waterproof mem-brane. Frank Lloyd Wright adopted aspectsof this system, but he nevertheless regardedthese developments as detrimental compro-mises. The walls of the Arizona Biltmore

Hotel (1928) are waterproofed on theirinside face; and the Lloyd Jones House iswaterproofed on the internal and externalfaces of the outer layer of blocks. TheFlorida Southern College buildings(1939-54) also made extensive use of thetextile-block system, but much of the wallingwas covered with plaster, which is patternedin some areas to imitate the ornament ofthe adjacent blocks.Just as the system seemed to have run itscourse, Wright invested it with new life.Faced with rising carpentry and masonrycosts after the Second World War, he re-vised the system to create the Usonian"Automatic". While its technical details are

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remarkably similar to the old system, itsrationale was quite different - at least on thesurface. The Usonian Automatic was not in-tended as an architectural form of stan-dardization and assembly-line mass pro-duction; it was meant to enable the home-owner to do the work himself, fabricatingand assembling the blocks without theneed for skilled labour or heavy equipment.This was not accomplished by making thesystem any less precise or by eliminatingits technical defects. The block was madelarger (1' x 2'), but the tolerance was re-duced to 1/16". (In comparison, the equiva-lent modern tolerance or allowable devia-tion is 1/8" - twice as great as that allowedby Wright in 1948.) The architect developedthree wall types, two of which were basedon a single-skin block wall. In the first ofthese, the inside face of the blocks waswaterproofed, insulated and lined withplywood. In the second, there is no facingat all. The interior of the Adelman House(1951) is lined entirely with plywood,whereas the walls of the Tonkens House(1954) consist simply of a single thicknessof concrete masonry exposed internallyand externally and with no internal finish-ings. This series of houses was the first thatWright built wholly of concrete masonryunits, including the roof.Standardization again proved to be elusive.In The Natural House, Wright claimed thatnine different block types would suffice, butthe Pappas House required 25, and theTurkel House 37. Most of the houses alsoturned out to be just as expensive, if notmore so, than comparable structures in tim-ber or brick.

Donald Leslie Johnson and Robert Sweeneyhave argued that the textile-block systemmay have been invented by others -Walter Burley Griffin, William Nelson orLloyd Wright. In 1934, the Portland CementAssociation listed 40 similar unit forms ofconcrete masonry construction, includingthe Pancrete and Underdown systems,which bore a resemblance to Wright's solu-tions. None of them are any longer in use.Today, concrete masonry accounts for only 9

about 10 per cent of single-family house-building in the US.If Wright had been content to use the tex-tile blocks as conventional masonry, manyconstruction problems might have beenavoided. The lack of success of this system,however, may have less to do with any in-herent deficiencies than with the resistanceof the American building industry to the useof anything other than the wood platformframe. The disparity between concept andperformance in the textile-block systems issymptomatic of a broader disparity betweenWright's ideas and the conventions of Amer-ican building - not to mention the conven-tions of American society. DETAIL 4/2003

Bibliograhphy.Terry Patterson. Frank Lloyd Wright and the Meaningol Materials, New York. Van Nostrand Reinhold, 1994Bruce Brooks Pfeiffer. Frank Lloyd Wright Monograph,12 vols.. Tokyo: AD.A. EDITA. 1984-1988Robert Sweeney. Wright in Hollywood, Cambridge:MIT. 1994Frank Lloyd Wright. The Natural House, New York.Horizon, 1954Portland Cement Association, Report on Survey ofConcrete House Construction Systems, Chicago,PCA, 1934Bruce B. Pfeiffer. Frank Lloyd Wright. SelectedHouses 8, Tokyo, A.D.A, EDITA. 1991David Gebhard. Romanza, The California Architectureof Frank Lloyd Wright, Chronicle Books, 1988Edward R. Ford, The Details of Modern Architecture,MIT, 1990

Edward R. Ford is a professor at the School ofArchitecture of the University of Virginia.

15

Concrete - a Yearning forthe Monolithic

Frank Kaltenbach

The strength of simplicityMonolithic buildings radiate a sense ofstrength. The pervasiveness of a single ma-terial, in conjunction with only a few re-strained details, creates an agreeable im-pression of archaic simplicity in our modernsociety. Stone huts in the Ticino Alps or ado-be forts on the edge of the Sahara are notsimply shelters; they are also abstract ob-jects, ancient images of civilization in ag-gressive environments. These images stillaffect us today. If one seeks to achieve aunified design for structure, facade, pavingsand other ancillary elements of a building intemperate climatic zones, the versatility ofconcrete makes it the ideal material.

2

Outside solid - inside hollowMany different surface treatments arepossible for the design of facades. In theSwiss embassy in Berlin, Diener and Dienersought to achieve a monolithic effect byavoiding all trace of working joints. Thewalls were concreted in a continuousprocess over a period of 26 hours (seeDetail 6/2001). Sometimes the pattern offormwork ties may be exploited to lendthe surface a certain structure. In theSchöller Bank in Vienna, however,Jabornegg and Pálffy used an elaborateexpanding formwork technique to avoidprecisely this effect. The monolithicoutward appearance of a concrete

building often results in internal complexity,especially in the building physics. An ade-quate solution can normally be achievedonly through the creation of thermally sepa-rated inner and outer skins, in which case,care must be taken to avoid crackingcaused by extremes of temperature. Inthe 16-metre-high exposed concrete fa-cade of the Pinakothek der Moderne inMunich, which was executed without joints,flexible anchors were inserted betweenthe two skins, and the external wall wasprestressed. The slender columns of thebuilding, which appear to have been con-structed in a single pour, are, in fact, pre-fabricated hollow elements.

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1 Housing on Zurichberg, 2000;architects: Gigon/Guyer, Zurich

2 Stone imitation in housing development inFukuoka, Japan, 1997;architects: OMA, Rem Koolhaas, Rotterdam

3 European Southern Observatory (ESO)guest house, Cerro Paranal, Chile, 2001;architects: Auer + Weber, Munich

4 Office building in Unterföhring, Munich, 2003;architects: MVRDV, Rotterdam

5 Single-family house in Fläsch, Switzerland, 2001;architects: Bearth and Deplazes, Chur 3

Yellow pollenMonolithic structures may also be differen-tiated and given an individual characterthrough the use of colour. In the housinggroup on the Zurichberg by Gigon/Guyer(ill. 1), the architects, working in conjunc-tion with artist Adrian Schiess, applied min-eral pigments to the surface of the con-crete to create a matt, "pollen-like" texture.Concrete was also selected for the differentfloor surfaces: in-situ concrete for the livingareas, precast sanded slabs in the ancil-lary spaces and unsanded slabs for theterraces. The principle of individualizingdifferent building elements through colouris very effectively used by Peter Märkli.Although the single-family house in Erlen-bach could hardly be referred to as mono-lithic, the technique of materializing thepink-coloured terrace screens suggestsnew concepts in the realization of mono-lithic forms of in-situ concrete construction.With its red-brown coloration, the guesthouse by Auer and Weber in Chile mergesinto the desert surroundings to become amonolithic relief in the landscape (ill. 3).

Jointing strategiesDifferent surface qualities may also be de-sired internally and externally. Precast con-crete construction has two inherently differ-ent surfaces - the formwork face and theupper, finished face, which can simply beleft as it is or treated as desired. The blackmemorial structure in Sachsenhausen bySchneider + Schumacher (see page 46)seems dematerialized externally by reflec-tions of the surroundings in the long shinywalls. The rays of light entering through theglazed roof strips, however, highlight therough-textured natural grey face of the inter-nal skin, thereby augmenting the massiveeffect of the interior. Another method of cir-cumventing the constraints of joints can beseen in an office building in Munich byMVRDV (ill. 4), where a series of U-shapedprecast concrete elements were offset fromstorey to storey to develop a pattern of pro-jections and recesses, creating the impres-sion of a perforated solid cube. 5

Calculated illusionThe various forms of surface treatmentthat are possible with concrete also allowthe simulation of naturally monolithicmaterials. Rem Koolhaas, for example,used the texture of traditional Japanesefortifications as a kind of collage in hishousing development in Fukuoka (ill. 2).The multi-storey "Schaulager" from Herzogand de Meuron, also plays with illusion -the homogenous clay-like walls creatinga false impression of monolithism.

A new simplicity?With its 50 cm external walls, the housein Fläsch by Bearth and Deplazes (ill. 5)

is truly monolithic. To achieve thenecessary thermal insulation, a specialtype of expanded concrete was developed,foamed to form hollow pores in the materi-al. This allowed not only the additives butalso the concrete itself to act as an insulat-ing material. Steel reinforcement was re-placed with polypropylene fibres. The useof sawn vertical boarded formwork reducedthe incidence of pockets and defects. Theouter surface was treated with a water-repellent coating. The building is certainlyexperimental, but it also marks a step backto the original qualities of simple monolithicforms of construction, which hold a prom-ise for the future. DETAIL 4/2003

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Between Fashionable Packagingand Responsive Skin:Trends in Modern Facade Design

Christian Schittich

Camouflage nets, plastic sheeting, greengrass sprouting out of external walls, plasticbeads sealed in transparent sheets, panels ofstretched metal mesh, self-rusting steel andcolourfully printed glass: leafing through inter-national architectural magazines, one gainsthe impression that no building material,no form of application is too abstruse for fa-cades. Today, buildings and their outer skinsare more varied than ever before, exhibitingan often disparate juxtaposition of forms, ma-terials and colours. Next to simple boxes onefinds bizarre plastic compositions; multi-layered filigree structures alongside deli-berately massive ones; multi-coloration nextto monochrome design. With all this com-

1

plexity and variety, architecture reflectsour pluralist society, our fast-moving, media-dominated age. For the first time, there isno formally recognized style, but simplynumerous parallel - sometimes just trendy -currents and movements.Minimalism, Biomorphism or new sensitivityare name tags describing but a small crosssection of today's spectrum. The vast majorityof building design, of course, lies somewherebetween these extremes; but the absence ofa dominant style with its own theoretical basis(and without social relevance) can quicklylead to arbitrariness or formalism. Manypresent-day architectural stars, indeed, havea formal orientation and have tuned their own

style into something like a trademark. In thisrespect, the facade, more than any other con-structional element, often acts as the creden-tials of a building and its designer, conveyinga certain image and serving as a vehicle forself-portrayal. This is the outcome of a devel-opment in which a central dictum of the Mod-ern Movement has lost its validity: namely,that the external skin should express the inter-nal life of a building; that form and function,interior and exterior should be in harmonywith each other. On the one hand, the func-tions of buildings are less and less specific;on the other hand, the separation of the build-ing skin from the structure has allowed theouter enclosure to become an independentcurtain-like element - a real skin, in fact.Not surprisingly, therefore, attention has in-creasingly been focused on the surface, andone expression of this can be found in a newdelight in ornamentation and decoration.

The desire for ornament and colourThe increased obsession with surfaces, to-gether with technological innovation and thedesire for ever new fashions, leads to a previ-ously unattainable exploitation of ornamentand decor. In an age when the senses arepermanently bombarded with stimuli, archi-tects are constantly constrained to createsomething new and spectacular in order toattract attention. Like nothing before it, thecomputer is changing not only the scope fordesign, but also our aesthetic sensibility andreceptiveness. Colourful images can be sentaround the world in seconds, infinitely copiedand manipulated. This has inevitably had aninfluence on architecture. In addition, there isa host of new manufacturing processes andfinishing techniques, especially in the produc-tion of glass and plastics, where new scopefor coating and coloration exists. Colour nowplays a more essential role. It is no longerused merely to accent forms, as in a solidcoloured wall, for example. Today, it is likelyto be implemented for its own intrinsic deco-rative value - to produce patterns.Colour is one of the central stylistic featuresof the work of the architects Matthias Sauer-bruch and Louisa Hutton in Berlin. In their

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newly completed research building for theBoehringer Ingelheim concern in Biberach,Swabia (ills. 1,2), they use glass printed invarious forms to create a somewhat confus-ing pattern: an abstract, extremely magnifieddepiction of a molecular structure from thelaboratory of this biochemistry company.The image covers the entire, evenly griddedexternal skin, resulting in a loss of all tectonicpoints of reference.Apart from the decorative elements of thefacade, the external panels of the doublelayered skin also provide protection againstglare and solar gains. When lighting and in-solation conditions permit, bands of verticallypivoting louvres can be opened to allow

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3

direct views out of the building. From theinside, seen against the light, the glass,although 70 per cent solid printed, is remark-ably transparent. The surroundings are seenas if through an artificial, pastel-coloured veil.Viewed from the outside, however, the dis-concerting pattern seems obtrusive.The laboratory building in Biberach is a primeexample of a box with more or less randomdecoration. Intentionally or not, it may also beseen as representative of our modern mediaworld; for, in an opened position and in theappropriate light, the coloured glass louvresare remarkably photogenic. Whether or notthe sensuous quality suggested by publishedphotos can be experienced in reality is diffi-

cult to determine, as the building is locatedon an inaccessible, high-security companysite. Will Alsop's equally colourful Colorium(ill. 3), prominently situated among an array ofworks by big international architectural officesin the new media harbour development inDüsseldorf, also cries out for attention. Alsop,too, covers his facades with a large-scale col-oured pattern. Here, however, the individualpanes of glass are not homogeneously coat-ed as in the example by Sauerbruch andHutton; they are printed with graphic imagesvaguely reminiscent of works by Mondrian.Seventeen different motifs are combined invarious ways to create a pattern that is dis-tinct from the structural order. In other words,the pattern is pure decoration, rather likefashionable wallpaper. Unfortunately the ex-pensive glass panes cannot be changed aseasily as wallpaper when fashions or trendschange.

Layered construction - playing withtransparencyA more subtle form of decoration is used bythe Austrian architects Lichtblau and Wagnerin their parish centre in Podersdorf on Neu-siedler See (ill. 7). A glass wall with a spatiallydefining and integrating function is set in frontof the group of buildings. It is printed withtexts written by the children of the parish andwith quotations from the Bible. In this way, thearchitects not only achieve interesting lightingeffects on the buildings; they have also crea-ted a kind of media facade that conveys amessage. Printing glass with words or pic-tures - with what are, in the first instance, aes-thetic effects - remains the most commonform of creating a media facade. Active build-ing skins with moving images and changingmessages are still restricted to advertisingscreens in big city centres.Where the printed glass wall by Lichtblau andWagner stands in front of other buildings, itforms part of a multilayered construction, re-sulting in various degrees of transparencyand a fascinating interplay of light and shade.Playing with transparency is a major aspect ofglass facades. By printing, etching or coatingthe surface, and by overlaying it with louvres,

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Between Fashionable Packaging and Responsive Skin: Trends in Modern Facade Design

5

perforated sheet metal or metal mesh, abroad range of effects can be achievedbetween transparency and translucence.Despite the many fine examples that exist,such as Toyo Ito's Mediatheque in Sensai,Peter Zumthor's Bregenz Art Museum andRafael Moneo's Assembly Room in SanSebastian, one is ultimately forced to con-clude that the usual impression communica-ted by glass facades is one of sterility. Pos-sibly the coldness of translucent glazed fa-cades will one day be seen as representa-tive of our times, just as washed-concretefacades are typical of the 1960s. Althoughin everyday use, glass facades present arather drab picture, there are exampleswhere completely smooth glazed skins,reduced to a formal minimum, possess greataesthetic quality. Like many minimalist struc-tures, they not only provide a response tothe overstimulation of the senses. They arealso a token of progress in glass technology;for today, most major functions of thefacade, including solar screening, can beperformed by the glazing itself.

The display of materialsFacade materials are no longer chosen sim-ply for their appropriateness to a particularform of construction. In many cases, the ma-terial is the message, one might say. Today,ever greater importance is attached to theappearance of a particular material, its vis-ual, substantial qualities, its colour effectsand texture. The character of traditional ma-terials such as stone, brick and clay is beingrediscovered and put on show. Untreatedtimber that weathers to a grey colour -formerly confined to rural buildings - is nowbeing used in the facades of prestigiousinner-city developments. Exposed concretesurfaces no longer have to be as smooth aspossible, in accordance with the standardset by Tadao Ando. Through the use of sawnformwork or subsequent fluting or bush-hammering, they can be lent a rough yetstriking charm. The sculptural properties ofthe material are being accentuated again.Other effects can be achieved through theuse of colour pigments and minerals. The 7

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clay-like outer walls of the "Schaulager", anexhibition and storage structure in Basle byHerzog and de Meuron (ill. 5), can also beplaced in this category.In addition to traditional materials with theirsensuous qualities, industrial products likeplywood and fibre-cement sheeting, plasticsand metals are finding widespread use in thefacades of buildings, often presented in themanner of a set piece. The many innovationsthat can be observed are an expression ofa strong urge to experiment. Every technicalnovelty is eagerly adopted and applied inbuilding. Stainless-steel mesh is a primeexample of this. As an industrial materialfor making sieves and filters, it was longneglected in the field of construction -until Dominique Perrault used it in the mid-1990s in the French National Library in Parisand for the velodrome in Berlin. Since then,it has enjoyed great popularity and can befound in the facades of many different typesof building.

One could also see the Laban Centre byHerzog and de Meuron (ill. 8) as a successfulstaging of materials. In many of their earlierworks, the Basle architects showed a pro-found understanding of the nature of artificialmaterials. Although adhering to this tradition,their new project occupies a special place intheir oeuvre. Herzog and de Meuron are pio-neers in the field of surface decoration andornamentation. Viewed from the outside, how-ever, what is striking about the Laban Centreis the use of materials in a pure form withoutfurther embellishment. Simple sheets of plas-tic are so ingeniously presented that the out-come is a noble, shimmering object. It adoptsthe volumetric forms and the scale of the sur-roundings, yet its outlines merge with the sky,resulting in an almost unrealistic, intangibleappearance. The use of colour is particularlysubtle, only the rear faces of individual triple-layer cellular slabs are colour coated, whichaccentuates the shimmering, pastel-likeeffect, evoking a range of subtle, iridescent

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colour moods. The interaction with thesecond facade layer, consisting of translu-cent glass, produces an agreeable, airyatmosphere that is ideally suited to the needsof dance and the training spaces. In thisrespect, the Laban Centre differs from theabove-mentioned Colorium in Düsseldorf,where the interior lighting suffers from thefashionable facade decoration.

Changeable facadesChangeable facades are nothing new. Tradi-tional window shutters fall into this categoryas do modern fabric sunblinds. Elements ofthis kind not only have a functional purpose;they have always formed part of the visualdesign as well. Today, great importance is at-tached to the aesthetic effect of facades thatare capable of change. Never before has thecontrast between facades in an opened andclosed state - achieved with folding, pivotingor sliding elements - played such a dramaticrole in design. In this respect, one might citethe student hostel in Coimbra, Portugal, byManuel and Francisco Rocha de AiresMateus (see Detail 7/03), where a completelysmooth, homogeneous wood-panelled sur-face can be transformed into an exciting,animated external wall simply by openingvarious elements. The same could be said ofthe bare, cubic metal box by Foreign OfficeArchitects in Groningen (ill. 10), which canbe turned into an articulated steel-and-glassstructure - all the more striking when seen inconjunction with the minimalist architecture.In their housing development in Dornbirn(ill. 9), Baumschlager and Eberle also playwith the visual changeability of the facade.Here, it is in the form of large obscured-glasselements that provide visual and solarscreening for the dwellings within.In terms of their appearance, the facadesdescribed here cover a broad spectrum, andthe constant changes to which they are sub-ject reflect the living patterns of the occu-pants. Other architects design entire sectionsof the facade as openable elements that canbe swung upwards or aside. Examples ofthis can be found in Sean Godsell's weekendhouse in Australia (p. 98) and Shigeru Ban's 8

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paper museum (ill. 6) with their upwardpivoting, storey-height facade elements.One might see this as an extreme form ofthe large-scale horizontal louvres that areso popular at present and that not only pro-vide sunshading, but, in a horizontal position,ensure a state of transparency and ideal,unobstructed lines of vision.

Whether plastic, glass or wood, whetherchangeable or minimal, brightly coloured ormonochrome, the facade has acquired aversatility and potential that it scarcely pos-sessed before. One observes a tremendouseagerness to experiment, to extend theboundaries of what is possible. Conventionalvisual habits are being questioned. New ma-terials and concepts are being tried. Some-times, however, there is a narrow dividingline between sensible innovation and a banalstriving for effect. Furthermore, with increas-ing concentration on the surface, there is adanger of superficiality. When building skins

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are conceived for their own sakes, basicarchitectural qualities are lost. Architectsmust take care that they do not surrendereven more of the influence they have onthe construction process; for there comesthe point where they will be reduced tomere packaging artists. DETAIL 7/8 2003

1,2 Pharmaceutical Research Centre in Biberacharchitects: Sauerbruch Hutton

3 Colorium in Düsseldorfarchitects: Alsop Architects

4 Innsbruck City Hall: sunshading elementsarchitects: Dominique Perrault, Paris in collabora-tion with Reichert. Pranschke, Maluche Architects

5 "Schaulager" in Baslearchitects: Herzog & de Meuron

6 Paper Museum in Shizuokaarchitects: Shigeru Ban Architects

7 Parish Centre in Podersdorfarchitects: Lichtblau Wagner

8 Laban Centre in Deptfordarchitects: Herzog & de Meuron

9 Housing Development in Dornbirnarchitects: B&E Baumschlager-Eberle

10 Hotel in Groningenarchitects: Foreign Office Architects

Industrial Building

Klaus-Dieter Weiß

1

In the 19th century, the image of industrialbuilding was dominated by huge factorystructures in which the process of massproduction was combined with a concen-tration of mechanical power. Today, oureconomic system is changing dramatically,with many of the actual production pro-cesses now taking place in Asia. Innova-tive concerns expect architects to provideholistic strategies rather than design details,and organizational structures based oncommunication and cultural needs ratherthan constructional refinements. More andmore virtual concerns like Nike are dis-pensing with the actual production processto concentrate on product planning and

marketing. The classical unity of timeand place in which industrial activitieswerecarried out in the past, and the kind of con-struction in which form reflected functionare disappearing; but the transition tostructures dominated by communicationsand intelligence is not reflected in the arch-itecture. Quite the opposite, in fact, waspreviously seen in the East German "goldrush" and now in the economic opening ofthe developing industrial giant China to theWest - where German architectural effortsare disturbing, rather than a recognitionprocess being apparent. Where in theShanghai office of Albert Speer, the "only

German urban planner and architectsuccessfully building in the entire world"(Frankfurter Allgemeine Zeitung), decisionsare made by the most efficient rather thenthe most thoughtful architects as to thefate of an internationally sized industrialcity of gabled cottages.Where a central railway station of the21st century is modelled after anancient Chinese palace. One may ask -shouldn't the architectural contributionof the nation where the modern movementhas its roots, and industrial building a fineheritage, be more thoughtfully and intelli-gently considered, and more responsiblyimplemented?

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The working cityWhen the German Architecture Museumin Frankfurt produced an exhibition of 20thcentury architecture with reference to theGerman Architectural Review, the sectionentitled "Industrial Building" was more harm-lessly renamed "increased productivity", thearchitects represented, being Peter Beh-rens, Hugo Häring, Fritz Schupp and MartinKremmer, Rudolf Lodders, Egon Eiermann,James Stirling and Thomas Herzog - withonly a sub-note on Walter Gropius and AdolfMeyer, Philipp Jacob Manz, Peter C. vonSeidlein and the architects of the VitraWorks in Weil - gained their credentialsthrough the historical and also through thearchitectural chronology of events.It is not easy to formulate a precise andacceptable definition of industrial building.One set of guidelines for industrial con-struction lists "buildings or parts of build-ings that serve the production, processingor storage of products and goods".Under the same heading, the Brockhausencyclopedia (1989) includes buildingsfor industrial production and research,together with ancillary administration andsocial structures, with the Fiat Works inTurin (ill. 6) and Stirling's Olivetti TrainingCentre in Haslemere serving as illustra-tions. By this definition even Tadao Ando'sConference Pavillion in the Vitra plantconforms to the idea of an industrial build-ing, as a place of productive energy andinnovation.

DetypologizingFor a long time, one of the most question-able goals of planning has been to detypo-logize industrial building by neutralizing thelayout and thus the form of structures. Inthe long term this implies the eliminationof the historical dimension of architecture,the loss of future building monuments andthe dissolution of the close links that existbetween building types and the urban fab-ric. Even the distinctions between industry,commerce and handwork trades blend.The Brockhaus definition of industry in-cludes assembly and repair work. The Bu-

reau of Statistics in Germany, however,uses the term "productive commerce"rather than industry, thereby including pro-ductive trades. The final point of assistancefrom the Bureau of Statistics is the size ofthe company - the minimum number ofemployees being twenty - creating a sepa-ration between industry and commercebased purely on size. In his "History ofBuilding Types", Nikolaus Pevsner confineshis treatment of industrial structures largelyto factories of a certain size in which pro-ducts are manufactured in great numbers,as well as to warehouses, market halls andexhibition structures. Applying this simpledefinition, one could include Rischart'sBakery in Munich (1982) by Uwe Kiessler -at the time, a much admired example of anindustrial building in an inner-city location(ill. 4). For Gunter Henn, the architect of theglazed manufacturing works in Dresden(ill. 2), design potential lies not only in thesolution, but in the brief. By making the flowof communications legible (netgraphing)as well as the goals and concepts (pro-gramming), the design work is translatedto a meta-plane of great complexity.

Complex aestheticPevsner soon stretches his own definition,however, to include the steam-turbinehouse erected for the fountains of Sans-souci. Built in 1842 by Ludwig Persius, a 5

pupil of Schinkel, the building is in the formof a mosque in Moorish style. Erich Men-delsohn's Einstein Tower is a similar case.Adolf Behne cited this structure in his anal-ysis of the Modern Movement, in "Der mod-erne Zweckbau", which appeared in 1926,as a workshop structure with the qualitiesof a historical monument. It is really nothingmore than an expressionistic or "neo-technical" (Paul Virilio) tower telescope withunderground laboratories. The representa-tional image of atomic physics reducedto merely an industrial building? Is it evenpractical to use titles to define and des-cribe industrial buildings when industry it-self is changing to such a degree? Is it nottoo shallow to consider industrial buildings 6

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1 Hat factory, Luckenwaldearchitect; Erich Mendelsohn, 1922

2 Glazed factory, Dresdenarchitect: Gunter Henn, 2000-2002

3 Zollverein Colliery, Essenarchitect: Fritz Schupp, 1928

4 Rischart's Bakery, Municharchitects: Kiessler + Partner, 1983

5 A. Borsig locomotive assembly hall, Berlin Tegelarchitect: C. Metzmacher, 1841

6 Fiat factory, Turinarchitect: Giacomo Matté-Trucco, 1915-21

from purely aesthetic points of view? Inthe catalogue to the exhibition "The UsefulArts" staged in Berlin in 1981, RolandGunter argued that "architecture and artstudies have to learn to understand theprocesses of this world in all their complex-ity instead of reducing them to a string ofbeads"; i.e. the presentation of facades likea sequence of pictures. This would allowfactory architecture to reflect economic his-tory instead of being classified accordingto stylistic expressions that are devoid ofcontent. This philosophy has not yet suc-ceeded, otherwise our conceptual defini-tions would have developed further. Itappears as if the architect is totally over-

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Industrial Building

7 Schlumberger research building, Cambridge,architects: Michael Hopkins and Partners, 1984

8 Renault works, Swindon.architects: Foster Associates, 1983

9 Inmos microprocessor factory. Newport,South Wales,architects: Richard Rogers Partnership, 1982 7

whelmed by this challenge. Architecture,a profession that seemed predestined toparticipate in the design of future develop-ments, leaves roughly 40 per cent of allbuilt areas to trend researchers, brand de-signers and other self-appointed "experts".Among the few exceptions to this inGermany are the Cologne architectsGatermann + Schossig, who are knownfor their long-term planning strategies withan urban orientation (e.g. the Micropoliscommercial park in Dresden, 1999 -ills. 11, 12); and the Hamburg architectCarsten Roth. Through a subtle processof complementing and extrapolatingexisting structures, Roth has helped tointroduce the element of architecturaland urban spatial complexity that islacking in most industrial and commercialdevelopments. An example of this is hisSynopharm Laboratory in Barsbüttel,Hamburg (1998).

With an eye on the profitsThe problems outlined here are com-pounded by a paucity of more scholarlyliterature on the subject of industrial build-ing. The "Industriebau" catalogue edited byKurt Ackermann for an exhibition in 1984(republished in a fourth edition in 1994) isstill an indispensable standard work today,although its perspective inevitably lies quitea long way in the past. With all due respectto the standpoint adopted in this work, itdocuments the stagnation of a profession"whose social and ecological responsibilityseems out of all proportion to the ignoranceit reveals in the face of social and ecologi-cal challenges", as the "Frankfurter Rund-schau" wrote on the 100th anniversary ofthe founding of the professional institutionfor architects. The scientific analysis ofcomplex planning work that ChristopherAlexander presented 40 years ago with thetitle "Notes on the Synthesis of Form" isnow in its 17th edition, but it does not seemto have had much effect on industrial build-ing in practice. Uli Zech, who was head ofthe civic planning department of Munich,once heroically urged that building permis- 8

24

sion should be denied to investors whosubmitted schemes that were as "ugly assin". His call, supported as early as thirtyyears ago by Rolf Keller in "Agglomera-tions- und Wegwerflandschaften". has beenlargely ignored, however, by industry. Onthe contrary, by pandering to commercialinterests with an eye to trade-tax revenue,local authorities have completely degradedlarge areas of our cities, as Meinhard vonGerkan remarked in 1995. "Sometimes,one has the impression that we live in apurely residential, not a working, society,"Kurt Ackermann wrote, arguing that thefactory is also part of the habitable en-vironment - and not just in the form of

abandoned structures that can be con-verted into youth centres and homes forthe arts, or requisitioned for residentialcommunities. Public attention should alsobe called to the location of the workplacerather than continually only to its form. Wasit inappropriate, then, for the Federation ofGerman Architects (BDA) to mark its 100thanniversary with a display of historicalprojects, beginning with the AEG TurbineHall and ending with the almost 100-year-old grain store in Wurzburg, which thearchitects Bruckner & Bruckner had sensi-tively converted into an aesthetically pleas-ing museum? In 1996, Helmut C. Schulitzwarned that architects were enamoured of

discussion

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form and were neglecting the technical as-pects of building, especially new conceptsrelated to content and space. As a result,architects were losing ground in the racewith industry, which was demoting them tothe role of packaging decorators. Even inthe automobile industry, where one expectsinnovation and exploration, high quality andtechnically exciting designs are indeed tobe found, but without formal relevance - insharp contrast to Gunter Henn's, unfortu-nately shelved, Auto-Uni Wolfsburg. AsKenneth Frampton once said, architectureis neither technology nor art.

Architecture without an audienceMost industrial building takes place withoutany relation to the surrounding city andthe population at large. A factory can bemore than just a provider of workplacesfor production, though. It can also make acontribution to the cityscape and the urbanimage. It can help to create urban spaces.It can reduce the noise from a trafficartery far more effectively than acousticscreening walls. With the proper layoutand landscaping, it can have a positiveeffect on urban climate. Solar energy canbe generated and stored on its large roofareas, or additional parking spaces canbe made available at weekends for leisureactivities, Sensitive industrial building of-fers, in fact, a last chance for the repairand further development of the city fabric.The present "grey zones" of handymancentres, enormous car yards and giantfurniture showrooms, together with storagefacilities and light industrial plants, demon-strate the failure of our built environmentto integrate wholly into homogenous builtcities as demanded in the past by Alexan-der Mitscherlich, Christopher Alexander9,Frederic Vestner10 and Walter Henn11."For generations, in the face of urban con-centration, environmental damage, trafficchaos and mass consumption, a solutionwas seen in the separation of functions,"the Berlin Senate noted in a presentationfor the International Building Exhibition in1978. As a result, the concepts of connec-

tivity and plurality have been lost, eventhough they offer the chance of mutualenrichment between habitation and work-place. In 1965, Alexander Mitscherlichwas the first to speak out against thisideology, which was proclaimed in theCharter of Athens in 1943. "When produc-tion, administration, leisure and dwellingrealms are strictly separated, what holdsurban life together?" he asked. Partialneeds may be satisfied, but at the expenseof the whole.

Logic of chaosBy linking industrial buildings with otherareas of urban life, more problems couldbe solved than would be caused by mutualdisturbance. With the development ofcleaner, more compact technology, indus-try has created the conditions in which arethinking process is necessary. Evencities with a great architectural awareness,like Hamburg, have an antiquated ap-proach in this respect, as is shown by therecently extended building of the lampdesigner Tobias Grau (ill. 10). In spite ofefforts by the company over many yearsto secure a city location, the architectsBothe Richter Teherani were finally obligedto conceal their spectacularly frugalspacecraft-like design for the works - theoperation of which causes no environmen-tal disturbance - behind an embankmentin a commercial zone in Rellingen. Thepublicity this building has managed to at-tract has, in fact, been entirely due to self-advertising and the electronic medium ofthe Internet - a solution of necessity, theinterpretation of which negates the veryessence of a city. Such acts of exclusionchallenge the city as a collective phenome-non in which human history is reflected.Gunter Henn's glazed factory in Dresdenset the standard in this regard.

The city of knowledgeThe more short term and "unimportant"products really are to our lives, the more ef-fort the manufacturers expend on their pub-licity and the seduction of clientele. Com-

panies like Volkswagen and Siemens availthemselves of urban metaphors to keep theloyalty of their clientele or as a referencepoint for innovative processes (e.g. "the re-vitalization of the polis"). In this way, urbanqualities are exploited to create a syntheticsurface that rouses emotions and sparksinnovation. Helmut Volkmann's miniaturized"city of the future" - Xenia, made by Sie-mens - is a "studio for innovators" (in realitynothing more than an open plan office) setin Neuperlach, a suburb of Munich, but itwould have been better located in real ur-ban surroundings. Rather like the PalaisRoyale in Paris 200 years ago, the Xeniaproject was conceived as a means of ex-ploring the pressing problems of our agethrough an exchange between technologyand the arts, between the working city andthe city as a place of human intelligence.The regeneration of the civilian communityoffers the best prerequisites; the argumentof the Siemens management in Munich hada chance of success. "Nothing is more ef-fective than human interaction, the visitorand user receives information he wasn'toriginally searching for, but will have usefor anyway." 14

It's not so very surprising that Siemens pre-fers to advertise itself using the Berliner Bo-gen from BRT than its own Xenia product.

Modern industrial cultureA century ago, the composer Maurice Ravelmarvelled at the ironworks in Duisburg,speaking of palaces of flowing metal, glow-ing cathedrals, a wonderful symphony ofwhistles and terrible hammer-blows. Aglimpse behind the scenes of our modernepoch-making "cathedrals of labour" and"corporate identity" is less satisfying thanenthusing over the highlights of buildinghistory. Nevertheless, it is strange that theterm "industrial culture" is used mainly in ahistorical context, rather than the largelyunrecognized term "industrial archeology",and not to describe the future potential ofmodern architecture; the history of techno-logy, the social history of labour, the archi-tectural history of factories and collieries,

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Industrial Building

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together with the historical development ofindustrial zones and towns. The main sitesof industrial tourism are memories of thepast, to be found in the new "industrial mu-seums" and in the conservation of impor-tant industrial buildings from the "good olddays". For example, the former textile pro-ducing town of Lowell, Massachusetts, witha population of 70,000, has been designa-ted a national park.

Ghost townsThe German equivalent of this would be theUNESCO World Heritage Sites where theindustrial culture of the Saarland and theRuhr area can be seen. Our passion for thepast and our pessimistic view of civilizationis unbroken. If one is to believe the advo-cates who reject all things modern and em-brace the reconstruction, replication and"retro-aesthetic" of past eras, then Schinkelis the most important German architect ofthe 19th century, and the rebuilt BerlinerBauakademie the most architecturally influ-ential building of its time. Together with theZollverein Colliery in Essen (ill. 3), repre-senting the 20th century, we are expectedto believe 200 years of industrial architec-ture to be satisfactorily covered. Admit-tedly, in contrast to Switzerland, the preser-vation of historical monuments in Germanyis not equated with an absolute ban on fur-ther development. But does the immense

12

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11

volume of disused industrial fabric in urbansituations (the listed Siemens works in Ber-lin alone covers an area of 500,000 sq.m)genuinely serve as a catalyst for a new un-derstanding of a working city? A water-works with its romantic background may betransformed into a parliamentary assembly,a transformer station into a design muse-um, a car factory with a test track on theroof may be converted into an art gallery,trade fair centre:, hotel, university and shop-ping palace; but no company aware of itscorporate identity is willing to attire itself insecond-hand clothing. "History is more orless bunk. It's tradition. We don't want tradi-tion," the car manufacturer Henry Ford saidin 1916; built an entire city based on theautomobile in the Soviet Union and createda sense of freedom not felt since the Frenchrevolution. With his modern concepts offinancing, advertising, repair and friendlyservice, Ford was far ahead of his time,and he demonstrated this architecturally,too - with the aid of his company architect,Albert Kahn (1869-1942). A similar devel-opmental leap would be conceivable formodern industry if it were to abandon itsstrongholds and integrate itself in a dyna-mic European city environment stripped ofretrospective tendencies and open to ex-periment. "More quality of life through therevitalization of the polis," as Siemens says.And the architects? DETAIL 9/2003

Klaus-Dieter Weiß is an author and critic whoworks with international publishers and architecturaljournals. His numerous publications on industrialbuilding are an important focus of his work.www.klausdieterweiss.de

10 Tobias Grau building, Rellingen,architects: Bothe Richter Teherani. 2001

11 Commercial park, Dresden,architects: Gatermann + Schossig, 1999Floorplan showing functionsa Leasable office spaceb Leasable production space

12 Commercial park, Dresden,architects: Gatermann + Schossig. 1999

References:[1 ] Rornana Schneider, Winfried Nerdinger,

Wilfried Wang (ed.): Architektur im20. Jahrhundert. Deutschland,Munich/London/New York, 2000

[2] Nikolaus Pevsner: Funktion und Form. Die Ge-schichte der Bauwerke des Westens (1976),Hamburg 1998, p. 273

[3] Roland Günter: Fabnk-Architektur, in:Tilmann Buddensieg, Henning Rogge (ed.):Die Nützhchen Künste. Berlin, 1981, p. 175

[4] Klaus-Dieter WeiB (ed.): Gatermann + Schossig.Bauten fur Industrie und Technik (architypus 1),Braunschweig/Wiesbaden, 1996

[5] Frankfurter Rundschau 20.06.03, p. 10[6] Rolf Keller: Bauen als Umweltzerstorung (1973),

Zurich, 1977[7] Kurt Ackermann: Industriebau, Stuttgart, 1984,

p. 41[8] Helmut C. Schulitz: Die unvollendete Moderne,

in: Schulitz + Partner Bauten und Projekte,Berlin, 1996, p. 21

[9] Christopher Alexander: Notes on the Synthesisof Form, Cambridge, USA, 1964, cf.:A City is not a Tree (1965)/Eine Stadt ist keinBaum, Bauen + Wohnen, 7/1967

[10] Frederic Vester: Ballungsgebiete in der Krise(1976), Munich, 1983

[11] Walter Henn: Optischer Umweltschutz - Ver-pflichtung des Architekten. db deutsche bau-zeitung, 4/1979

[12] Alexander Mitscherlich: Die Unwirtlichkeitunserer Stadte (1965), Frankfurt, 1970, p. 116

[13] Klaus-Dieter Weiß: Industrie, Architektur undStadt. Plädoyer für eine stadtbezogene Indus-triearchitektur, in: architypus 1, note 4

[14] Helmut Volkmann: Wandel der Innovations-kultur mit der »Stadt des Wissens als Stätteder Begegnung«, Henn Akademie, 1/1998,p. 60/61 (cf. Gabler-Magazin No. 3/1995,p. 25-29)

[15] Susanne Hauser: Ephemeres und Monumenta-les. Versuch über Materialität und Architekturim 20. Jahrhundert, in: Wolkenkuckucksheim,September 2001

[16] cf. Friedrich Achleitner: Dieses Haus stammt ausdem 8. Jahrhundert, erbaut 1898, in:Konrad Paul Liessmann (ed.): Die Furie des Ver-schwindens, Vienna, 2000

Media Library in Vénissieux

Dominique Perrault, Paris

Situated on the southern outskirts of Lyons,Vénissieux is one of the suburbs of the citythat was subject to social unrest in the 1990s.The present media library, erected oppositethe 1970s' town hall, was conceived as anew centre with an integrative function forthe local population and visitors from neigh-bouring communities. The various sectionsof the library are laid out at ground level overa roughly 3,200 m2 area. Resembling a largemarket hall, the space is divided into differentthematic zones solely by furnishings, book-shelves, and wood and glass partitions. Theadministration, stores and special spaces arehoused in a three-storey tract above the east-west circulation strip. The load-bearing struc-

ture of this large hall consists of a simplesteel space frame with a ribbed sheet-metalroof. The roof is supported by 16 exposedconcrete shear walls, which are integratedinto the overall layout. Extending round thebuilding between the inner functional areaand the facade is a three-metre-wide periph-eral circulation space that affords access tothe various departments from all sides, thereby obviating the need for additional routesthat would disrupt the internal activities.The facade forms one of the special attrac-tions of the design. By day, the building hasthe appearance of a completely opaque,gleaming aluminium box externally, whilefrom the inside - depending on one's

position - there is an almost clear view out.At night, when the media library is illuminatedinternally, the effect is reversed. This playof light was made possible by a double skinof glazing, with perforated, horizontal,U-shaped aluminium sheeting elements in-serted in the intermediate space to providesunshading and visual screening. As a resultof the perforations (35 per cent of the area),the sheeting is permeable to light. Slightlyangled and offset in depth, the elements es-tablish a mystical interplay with the transpar-ent facade. The intermediate space betweenthe layers of glazing also allows the circu-lation of air and thus serves the air condition-ing of the hall. DETAIL 1/2 2003

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Site planscale 1:5000SectionGround floor planscale 1:500

1 Entrance2 Entrance hall3 Adult library and reading room4 Children's library5 Auditorium

documentation

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Media Library in Vénissieux

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documentation

Vertical sectionHorizontal section at cornerscale 1:5

1 0.75 mm galvanizedsheet-steel covering

2 90/5 mm steelconnecting plate

3 100/50/3 mm steel RHS4 steel

100 mm deep5 11 mm lam. safety glass

6 8 mm toughened glass7 perforated, castellated

sheet aluminium8 50/50 mm alum. SHS rail

with Ø 8 mm locking bolt9 115/50 mm aluminium

RHS post10 metal grating

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-section

Museum in Kalkriese

Annette Gigon, Mike Guyer, Zurich

In 1987, a British amateur archaeologist foundevidence that helped to locate the scene ofthe legendary Battle of the Teutoburg Forest,which was fought over an area of nearly30 km2. Here in AD 9, Hermann (Arminius),the leader of the Cherusci, inflicted a crushingdefeat on the Roman legions of Publius Quin-citilius Varus. Although no remains of build-ings were found, numerous objects and a re-vetment were excavated. An exhibition park,with three pavilions and a museum structure,has now been created on the site. The routetaken by the Romans along the revetment ismarked by large iron plates, while the windingpaths of the Germans through the forest areindicated by small pieces of wood. The line of

the former German revetment is articulatedwith iron stakes. Only a small section of theterrain at a lower level has been recon-structed. The area is retained by sheet-steelpiling that forms a striking enclosure. Thethree small pavilions, in contrast, leavemore to the imagination of visitors and weredesigned to heighten the sense of perception.Together with the designers Ruedi Baur andLars MüIIer, the architects conceived thepavilions on a thematic basis related tovision, hearing and questioning. The pavilionfor questioning forms a bridge to the present,with slits on one side that afford a view of thebattlefield, while on the other side, video filmsprovide information on modern warfare. Rising

above everything is an almost 40-metre-highmuseum tower that commands a view overthe entire battlefield. At its base, the tower isintersected by a flat cubic structure contain-ing the exhibition spaces. The pavilionsand the museum are clad in sheet steel. Allthe new elements, therefore, form a homo-geneous whole. Steel is, indeed, the dominantmaterial of the scheme, used not only forthe exposed skeleton-frame structure of thetower, but for the wall and soffit claddingand the stakes, ground plates and pilingthat form the field markings. Externally, thesheeting has a rough rusted texture. Internal-ly, the wall and ceiling panels have a finer,non-rusted finish. DETAIL 1/2 2003

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documentation

Site planscale 1:5000Sections • Floor plansscale 1:750

Levels 2-6 Level 1 Level 0 Level -1

1 Visitors' centre2 Museum3 Pavilions4 Route of Romans5 Earth revetment

6 Paths of Germans7 Reconstruction

of historic site8 Lecture room9 Store

10 Entrance area11 Shop12 Cloakroom13 Lobby14 Exhibition area

15 Teaching space16 Ancillary space17 Void18 Platform19 Terrace

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Museum in Kalkriese

Horizontal sectionVertical sectionscale 1:20

1 15 mm oxidized-steel facadesheets 3100/5900 mm with blastedsurface, chamfered horizontaledges and 20 mm joints100 mm mineral-fibre thermalinsulationvapour-retarding layer175 mm precast aeratedconcrete unit3 mm steel sheets 120/400 mm,hot rolled or pickled, withtransparent varnish finish,4 mm joints and 100 mm rear cavity

2 15 mm toughened glass in steelframe: 90/60/8 mm angles and90/5 mm flats

3 double glazing: 10 mm lam. safetyglass (2x 5 mm) + 8 mm float glass65 mm steel frame, welded tofoam-filled sheet-steel extensionframe

4 steel5 steel

double coated at works, within-situ finishing coat

6 6 mm oxidized-steel sheet3100/1500 mm with blasted surfacelaid to falls on 40/40 mm steelanglesthree-layer bituminous sealwith root-proof layer165 mm (av.) foamed-glassinsulation220 mm precast aeratedconcrete unit30 mm fibreboard insulation2 mm perforated sheet-steelpanels 1200/600 mm

7 perforated sheet-metal ventilationoutlet

8 steel9 3 mm stainless-steel sheets

1200/600 mm with 3 mm adhesive-fixed protective matting33 mm lightweight concretebearing slab40 mm concrete topping200 mm precast aeratedconcrete unit120 mm mineral-fibre insulation

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-beam 300 mm deep-beam 160 mm deep,

-beam 300 mm deep

documentation

35

Museum in Kalkriese

1 10 mm sheet-steel roof elementdouble-coated at works,with in-situ finishing coat

2 steel3 15 mm oxidized-steel facade sheeting,

with blasted surface4 horizontal fixings:

6 steel angles per sheet5 vertical fixings with set bolts: 2x per sheet6 10 mm sheet-steel landing element double-

coated at works, with in-situ finishing coat;quartz sand non-slip coating in areasfor foot traffic; surface coating in samecolour as load-bearing structure

7 100/100/12 mm steel angle raising piecesto landing

8 Ø 37 mm tubular steel handrai9 10 mm sheet-steel stairs with welded strings and

ribs, quartz-sand non-slip coating; surface coatingin same colour as load-bearing structure

Staircase tower: levels 3-6Vertical sections • Horizontal sectionscale 1:100Vertical sections • Horizontal sectionscale 1:20

36

-beam 300 mm deep

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documentation

Secondary School in Vienna

Henke and Schreieck Architects, Vienna

The school building is situated in suburbansurroundings on the outskirts of Vienna andintroduces a new urban dimension to thesmall-scale structure of the area. The com-plex comprises a series of single- and two-storey tracts laid out around a large court-yard. Here, the atrium type assumes a spe-cial form. Large areas of glazing lend thebuilding a quality of transparency on allsides. Approaching the school from the roadto the north, one is confronted by a single-storey structure raised on slender steelcolumns. Access to the slightly elevatedcourtyard is via a gently rising flight of stepsflanked by a low concrete wall and a rampthat divide off the teachers' entrance.Within the courtyard, the various tracts havedifferent facades. On the two long faces,there are wood-strip canopies cantileveredout at different heights. The southern end ofthe atrium is marked by a thin, dematerial-ized glass skin, behind which is the assem-bly hall. The view extends through this entirespace to the sunken sports hall beyond.One scarcely notices that the western tractof the building contains three storeys. Here,the ground level has been lowered externallyto allow the special classrooms on the lowerfloor to receive natural lighting. The variousgroups of rooms are clearly articulated in thelayout, with classrooms set out on the north,east and west faces. The wide corridors,which afford views to the courtyard, can alsobe used as recreational spaces. The onlycentral corridor in the raised tract receivesdaylight from above. At the southern end,there is a glazed library with access to aroof terrace over the sports hall. The manystaircases linking the different levels of theschool provide alternative routes through thebuilding. The lightweight partitions along thecorridors are separated from the soffits byclerestory strips. In the well-lighted rooms,the various materials enter into an engagingdialogue. For the most part, they are usedin a carefully worked natural state. Over themain staircase in the assembly hall is a largeroof light with sunshading fins, the form ofwhich is continued by the wood strips of thecanopy roof. DETAIL Konzept 3/2003

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documentation

Floor plans • Sections scale 1:1250

1 Classroom2 Terrace3 Teachers' room4 Administration5 Multi-purpose space6 Caretaker's flat7 Computer room8 Recreation area9 Music room

10 Forecourt11 Playground12 Assembly hall13 Garage14 Sports hall15 Special teaching spaces

39

Secondary School in Vienna

Construction planningDrawing by hand still plays a central role inthe work of Henke and Schreieck. Withoutcomputers, the office would not be at a lossfor a means of expression. As part of theconstruction planning for the secondaryschool in Heustadelgasse, Vienna, drawingswere prepared to a scale of 1:100, usingCAD, but the details - to scales of 1:20, 1:10and 1:5 - were drawn by hand in pencil.At the beginning of the construction plan-ning stage, the main points to be detailedwere precisely drawn in pencil and sub-mitted for approval to the planning team,which consisted of architects, structuralengineers and specialists for mechanicalservices and building physics. Isometricpencil drawings were made to clarify abut-ments and junctions; and spatial situationswere investigated in part by means of hand-drawn studies, including perspectives.Important points were investigated by de-veloping alternatives. For example, in de-termining the sunshading system for thefacade, the architects explored solutionsusing external blinds, as well as printedpanes of glass that could be raised andlowered by means of chains within the framesections. A mock-up facade was built, andthe client expressed approval of the pro-posed solution. Unfortunately, although thespecified thickness of the glass was ade-quate technically, the bending deflectionexceeded the limits allowed by buildingregulations. Since thicker glass would havebeen considerably heavier and more ex-pensive, the architects finally opted for adesign solution with external blinds.Office supervision of the school buildingwas the responsibility of a project architectand an assistant architect. Henke andSchreieck themselves, however, continuedto develop and articulate the project withtheir own drawings, and the two partnerswere involved in the scheme at all times.Certain architectural services, such asthe preparation of bills of quantities andother tender documents, are farmed out,so that the office is not encumbered withextraneous work.

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documentation

41

Secondary School in Vienna

Sectional details scale 1:20

1 50 mm layer of gravelfilter matrigid-foam thermal insulationelastomer-bitumen roof sealing layers450-330 mm reinforced concrete roof slab32 mm mineral-wool insulation18 mm perforated veneered compositewood sheeting

2 double curtain track3 low-E glazing (U = 1.1 W/m2K)4 double glazing, colour printed

90 mm sheet-metal panel with thermal insulation25 mm mineral-wool insulation

5 Ø 300 mm reinforced concrete column6 18 mm Vittorio verde serpentine paving7 20/160 mm laminated larch beam8 3 mm sheet-aluminium covering9 200 mm reinforced concrete wall

80 mm rigid-foam core insulation200 mm reinforced concrete wall

42

documentation

43

Secondary School in Vienna

44

Section scale 1:20

1 250/120 mm aluminium channel section2 3 mm sheet-aluminium covering3 three-layer perspex domed roof light4 aluminium post-and-rail facade system with

double glazing (U = 1.1 W/m2K)5 20 mm parquet flooring

55 mm screed on separating layer30 mm impact-sound insulation45 mm cement-bonded fillingcomposite floor construction:100 mm reinforced concrete slab onsteel120 mm thermal insulationaluminium channel sections16 mm fibre-cement sheeting with facing layer

6 150 mm plasterboard stud partition7 pupils' lockers: 18 mm laminated board with

powder-coated sheet-steel facing8 600/300/100 mm solid steel element9 milled solid steel cone (> 50 kN/cm2)

10 Ø 220 mm solid steel cylindrical strut11 150 mm raised concrete slabs12 solid steel foot on plinth foundation

-beams 200 mm deep

Structural planning conceptIt is important for us as structural engineersto be drawn into the planning process asearly as possible. Projects that proceedfrom a competition, as was the case in thepresent development, can often be imple-mented in a more purposeful manner, sincea number of alternative solutions will alreadyhave been investigated. The architecturaldesign sets the parameters for the load-bearing structure. The structural planning,in turn, stimulates new design ideas. In thisway, an interactive process between the ar-chitect and the structural engineer is set inmotion. A minimalized structure, with care-fully designed details that take account ofmanufacturing and assembly constraints,will considerably enhance the cost efficien-cy of the construction.In the case of a school, which has clearfunctional needs, the structure is likely to

The authors:Manfred Gmeiner, Dipl.-lng., born in 1957Martin Haferl. Dipl.-lng., born in 1963In 1989, they founded a joint engineering office forstructural planning and building physics in Vienna

be subordinated to spatial aspects. In thepresent project, a slender skeleton-frameconstruction was required with a minimumnumber of solid walls in order to facilitate aflexible layout.The "floating" cross-wall structure over theentrance is raised on pairs of V-shapedcolumns and cantileved out on both sides.Differential forces resulting from asymmetri-cal loading are transmitted to the adjoiningbuilding structure via the floors.Composite steel slabs 10 cm thick wereused to minimize the dead load. At 3 kN/m2,this form of construction achieves a 60 percent reduction in weight compared withcomparable reinforced concrete slabs(7.5 kN/m2). This, of course, has a majoreffect on the design of the columns. Theyconsist of Ø 220 mm steel cylinders withmilled conical ends in special high-strengthsteel that taper in diameter to 80 mm.

documentation

Calculating the dimensions of such elementsrequires a much greater amount of workthan providing proof of the load-bearingcapacity of standard columns. Despite thecomplex demands of the structure, espe-cially in respect of the combination of steeland reinforced concrete elements, it waspossible to avoid virtually any cracking inthe concrete.The classroom tracts are mainly in rein-forced concrete construction with point-supported flat-plate floors and only a fewreinforced concrete cross-walls to providehorizontal stiffening. The high quality speci-fied for the exposed concrete surfacesrequired precise planning of the workingjoints, formwork, abutments, openings, etc.A visually satisfying and economic solutionwas achieved by using a hybrid form ofshuttering, consisting of a steel frameworkand large-area panels.

45

Museum of Soviet Special Camp inSachsenhausen

Schneider + Schumacher, Frankfurt

Between 1945 and 1950, 60,000 people wereinterned in the Soviet Special Camp 7/1,which stood on the site of the former Sach-senhausen concentration camp near Berlin.Roughly 12,000 of those detained there bythe Soviets died of hunger or disease. Thevictims are now commemorated in a muse-um erected on the site at the end of 2001.Located between the former camp huts andthe external cemetery, the single-storey mu-seum was sunk into the ground in order notto overtop the existing low-height buildings.Outwardly restrained in form, the cubic struc-ture has smooth, shiny-coated concrete wallsexternally that mirror the dismal surroundings.The recessed entrance was created by foldingback the outer wall on the diagonal at onecorner; and there are glass slits at two of theother corners. Otherwise, the outer walls arecompletely closed. From a recessed lobby,visitors descend via a ramp or steps to thecolumn-free exhibition space sunk one metrebelow ground level and divided from the sem-inar and information areas by glass walls.The 660 m2 interior is dominated by the ef-fect of the closely spaced steel beams over-head. The 15 cm slits between the beamsare closed with strips of cold-tensionedglass, through which daylight enters, creat-ing an oppressive spatial effect, as if onewere looking up to the sky through the barsof a prison. The impression of confinementwithin a solid structure is heightened by thefinishes to the precast concrete load-bearingdouble-skin walls. In contrast to the shiny,seemingly immaterial outer face, the innerskin is left in a rough, irregular state.To obtain this texture, the formwork wascoated with a contact-retarding agent, andthe cement surface was washed out beforeit had finally set. The joints between theelements are clearly visible internally andreflect the grid of beams. Larger elements(6.64 x 2.75 m) were used externally to re-duce the number of joints. These are visuallyminimized by silicone strips, thus furtheraccentuating the monolithic nature of thebuilding. The two-layer construction alsofacilitated a precise, sharp-edged executionof the external skin. DETAIL 4/2003

46

Site planscale 1:7500

Section • Floor plarscale 1:400

1 Museum2 Cemetery of Soviet

special camp3 Detention camp huts4 Watchtower

5 Wall aroundformer concentrationcamp

6 Monument7 Exhibition space

8 Media room9 Staff room

10 Services11 Entrance12 Lecture room

documentation

47

Museum of Soviet Special Camp in Sachsenhausen

48

Vertical and horizontal sectionsscale 1:20

1 140 mm precast concrete facadeelement 6.64/2.75 m with water-repellent finish150 mm polystyrene rigid-foaminsulationpolythene sheet sealing layer250 mm precast concrete wallelement 3.60/3.48 m with acid-treated surface

2 low-E double glazing: 10 mmtoughened glass + 12 mm cavity+ 2x 20 mm lam. safety glass

3 120/80/8 mm steel angle4 plastic sealing layer

60 mm mineral-wool insulation8 mm sheet-steel gutter section

5 200/310/8 mm steel T-section6 fabric sunblind, cable operated7 140/75/8 mm steel angle8 180/220/20 mm steel T-section9 steel

10 8 mm toughened glass, blackscreen printed

11 8 mm sheet-steel surround12 8 mm toughened glass + fire-

resistant glazing in steel frame13 2 mm sheet steel, painted black14 33 mm concrete slabs on

adjustable raising pieces200 mm reinforced concretepolythene sealing layer100 mm polystyrene rigid-foam

-beam 320 mm deep

documentation

49

Laboratory Building in Utrecht

UN Studio, Amsterdam

The university campus is situated on theoutskirts of Utrecht and was first developedin the 1960s. A new master plan drawn up in1986 by Rem Koolhaas formed the basis fora number of further buildings, including the"Minnaertgebouw" by Neutelings and Riedijk;a university for economics and managementby Mecanoo; dining halls by OMA: and a li-brary by Wiel Arets.A new structure has now been added to thiscomplex: the Nuclear Magnetic ResonanceResearch Centre by the Ben van Berkeloffice in Amsterdam, In this building, themolecular structures of DNA will be investi-gated with the aid of electromagnets. It ishoped that the outcome of this research canbe used, among other things, in the fightagainst the HIV virus.The form of the building and the materialsused are directly based on the experimentalprocesses that take place there. The trialsare centred about eight electromagnets witha field strength of up to 500,000 times thatof the earth's gravitational force. Any outsideinfluences that might affect this magneticfield are screened off by the reinforced con-crete casing, which is in the form of a clearlylegible strip wrapped round the two central,windowless laboratories. With a series offurther convolutions, the exposed concreteenclosure also accommodates the variousancillary spaces required in the develop-ment. This wrap-around structure continuesfrom floor to wall, from wall to roof, from roofto facade and back again. The ramp drawnround the building is similar in nature andforms a spatially defining link between thedifferent levels. There is no lift in the build-ing, since this would have interfered withthe sensitive magnetic fields of the centre'strial facilities.

Wherever possible, areas of glazing - cov-ered with a screening grid of dots - wereinstalled between the concrete elements.The end faces of the concrete strip revealthe constant thickness of the material andmake its special features legible. One of themost striking aspects is the high degree ofplasticity evoked by the petrified curvatureof the structure. DETAIL 4/2003

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Site planscale 1:10,000Sections • Floor plansscale 1:500

1 NMR Research Centreby UN Studios

2 Dining halls by OMA3 "Minnaertgebouw" by

Neutelings Riedijk4 University for Economics and

Management by Mecanoo5 Library (under construction) by

Wiel Arets6 Laboratory with electromagnets

documentation

7 Ramp8 Outdoor area9 Office

10 Operations room/Laboratory

11 Staff room12 Void13 Link to existing building

51

Laboratory Building in Utrecht

Sectionsscale 1:50

1 200/600 mm precast concreteedge strip

2 rendering50 mm thermal insulation80 mm thermal insulation150 mm sandlime brickwork

3 point-fixed lam. safety glass withscreen printing as solar fitter

4 glass fin supporting construction,screw fixed with aluminium angles

5 lam. safety glass fixedventilating louvre

6 aluminium grating over perforations inconcrete slab for natural ventilation

7 12 mm fibre-reinforced cement-bonded slab90 mm thermal insulation150 mm sandlime brickwork

8 aluminium claddingventilated cavity80 mm thermal insulation300 mm reinforced concrete wall

9 services space behind aluminiumconstruction

10 linoleum500 mm reinforced concrete floorslab bedded on insulators to avoidvibration

11 louvred sunblind12 drainage channel to falls13 sheet aiuminium cladding14 precast concrete element15 suspension for walkway with

turnbuckle, adjustable internally16 80/80 mm aluminium angle

52

documentation

53

Primary School in Au

Beat Consoni, Rorschach

After deciding to extend the existing schoolin Au, the primary school board commis-sioned ten architectural practices to preparestudies. Beat Consoni won the competitionwith a proposal to demolish the existingbuilding and to replace it with a striking newstructure in exposed concrete. The develop-ment responds sensitively to the surround-ing topography. The unadorned, minimalist,cubic form follows the contours of the slop-ing site and is linked to a series of outdoorspaces. Varying in design according to theiraspect, the facades accentuate the contrastbetween the open view over the Rhine Valleyto the south and that to the steep slope onthe northern side. A covered forecourt wascreated by cantilevering the two upperstoreys out over the entrance. An undividedwindow strip in the south facade extendsover nearly the entire length of the building.The ground floor corridor to the rear pro-vides access to the teachers' rooms, WCsand a multi-purpose space with a stage.This space can be opened over its full widthto the corridor. Single-flight staircases at theend of the access route lead down to thebasement - containing a workroom and an-cillary spaces - and up to the classrooms onthe first and second storeys. On these twofloors, which have an identical layout, thecirculation route runs along the north side,while the classrooms are oriented to thesouth through continuous window strips.The access corridors along the north facereceive daylight through narrow clerestoryglazing and through a number of windowslits near the work tables integrated into thecloakroom cupboard units. At the end of thebuilding, the classrooms are turned to facewest, with strip windows over the entirewidth of the narrow facade. The structureconsists of in-situ concrete cross-walls andprestressed concrete floors. The double-skinexternal walls, with an intermediate layer ofinsulation, were cast without joints and haveno metal coverings, which serves to height-en the monolithic appearance of the school.The noble expression of this restrainedbuilding reflects the high quality of the work-manship that went into it. DETAIL 4/2003

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First floor plan

Ground floor plan

Basement plan

documentation

Site plan scale 1:1500Sections • Floor plans scale 1:500

1 Classroom2 Group room3 Multi-purpose space4 Teachers' room5 Teachers' study6 Cleaners' room7 Handicrafts8 Bicycles

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Primary School in Au

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documentation

Sectional detailsSection through roof lightSections through stairs scale 1:20

1 220 mm reinforced concrete wall140 mm polystyrene rigid-foam200 mm reinforced concrete wall20 mm plasterboard

2 steel window frame paintedwith wet look

3 liquid-plastic seal4 50 mm layer of gravel

separating mattwo-layer bituminousmembrane140 mm polyurethane foamvapour barrier: bituminous sealinglayer laid in hot bitumen320 mm reinforced concrete roofperforated plasterboard

5 3 mm linoleum

105 mm anhydrite screedpolythene sheeting30 mm mineral-fibre impact-sound insulation

6 stepped double glazing: 10 mmtoughened glass + 15 mm cavity+ 18 mm lam. safety glass

7 2 mm stainless-steel sheeting8 330/110 mm prec. cone, tread9 60/60/8 mm stainless-steel angle

10 impact-sound insulation11 opening grouted with mortar12 20 mm stone paving

90 mm anhydrite screedpolythene sheetingimpact-sound insulation30 mm mineral-fibre insulation

57

Restaurant in Brighton

dRRM, London

In creating this sushi bar for a London res-taurant chain, a new 14 x 14 x 3.5 m box-like enclosure was superimposed over anexisting single-storey, octagonal, domedpavilion dating from the 1980s. The fact thatthe building now bears a certain resem-blance to an oriental lantern is attributableto the choice of materials and the quality oftransparency that was achieved. The pre-fabricated, lightweight facade constructionconsists of translucent fibreglass elementsreminiscent of Japanese paper screens.Standing on a raised deck, it seems to floatabove a transparent, glazed plinth zone.The building is crowned by a strip of green-patinated copper panels. This facade con-struction encloses the restaurant on nearlyall sides. On the east face, it is divided intothree segments, which can be pushed asideinto a steel frame next to the entrance,allowing the internal space to be openedover its full width and the wood flooring toextend out to an external terrace. In thisway, a transition is created between indoorsand outdoors. Internally, the finely dimen-sioned, hand-made seating, which flowsaround a series of fixed benches, appearsto be folded from a single sheet and almostto float above the wood flooring. Overhead,the soffit is painted in a luminous-red tone,which radiates out at night through a cruci-form central roof light, bathing the spacearound the restaurant in a reddish glow.

DETAIL 5/2003

Site planscale 1:750

Floor planSection • East elevationscale 1:200

1 Terrace2 Sushi preparation3 Sushi bar4 Sushi conveyor

strip5 Sitting area6 Kitchen7 Store8 WC

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9 Parking frame forsliding facade

10 Former octagonalpavilion dating fromthe 1980s

11 Administration buildingand hotel complexdating from the 1980s

12 Neoclassical civic hall

documentation

59

Restaurant in Brighton

Sections scale 1:20

1 3.2/31.7 mm aluminium flat2 28 mm redwood boarding with inlaid

rubber strips3 70 mm prefabricated fibreglass

facade panel4 12 mm toughened glass, point-fixed

to 70/12 mm angle frame, consistingof steel flats

5 Ø 114 mm tubular steel columnreplacing previous structure

6 existing reinforced concrete stripfoundations

7 28 mm redwood strip flooring,black-stained

8 50/50 mm battens/underfloorheating system18 mm impregnated plywood50/225 mm existing timber joists

9 15 mm plasterboard, paintedfluorescent red

10 89/178 mm existing peripheral steelchannel

11 50/125 mm existing timber rafters12 0.7 mm prepatinated copper fascia

element with 18 mm plywood backing13 plastic roof sealing layer adhesive fixed

to thermal insulation on12 mm plywood63/150 mm timber rafters

14 12 mm composite wood board,painted fluorescent red

15 6 mm glass mirror adhesive fixed tocomposite wood board, with aluminiumangle to lower edge

16 fluorescent tube17 12 mm toughened glass raised roof light18 bamboo matting on

18 mm combustion-modified plasticsponge foam2x 4 mm flexible bent MDFsupporting structure

19 18 mm plywood20 24 mm black-coated solid-core laminate

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documentation

61

Restaurant in Brighton

62

Wine Tavern in Fellbach

Christine Remensperger, Stuttgart

Prior to its conversion, this timber-framedhouse dating from 1805 was used for wine-making, and the vaulted cellar was thescene of many wine festivals. On the groundfloor, which has a room height of only 2.05 min part, a sales area has been created with aspace for tasting the small but select rangeof self-produced wines. The building wasgutted, and the sales spaces were laid outaround a central timber structure. Internally,the walls are lined with panelling, shelvingand cupboard units, which serve to evenout irregularities in the surface. The principalmaterial used for the furnishings and fittingsis oiled oak - a reference to the old winecasks made of the same wood. The floor isuniformly finished with a polished screed,which accentuates the flowing, harmoniousnature of the sequence of spaces - from thetall shop in the entrance area, up a broadflight of steps over the cellar vaulting to thelower-height tavern. Thanks to the puristquality of the design, the wine bottles remainthe focus of attention. DETAIL 5/2003

Site planscale 1:1000Ground floor planCross-sectionscale 1:200

1 Entrance2 Shop

3 Movable counter4 Wine racks5 Fitted cupboard6 Kitchen7 Wine-tasting8 WCs9 Stairs to vaulted

cellar

documentation

63

Wine Tavern in Fellbach

Vertical sectionscale 1:20

1 25 mm mineral plaster500-700 mm existing brick/sandstone external wall

2 top-hung casement withdouble glazing

3 40/700 mm oak window surroundoiled with hard wax

4 sales counter:25 mm oak-veneered MDF oiledwith hard wax

5 drawers:25 mm oak-veneered MDF

6 flush flap:25 mm oak-veneeredMDF with stainless-steelironmongery

7 60 mm (av.) polished screed withcoloured pigments andØ 8-12 mm pebblespolythene sheetingheat-conducting metal sheetingunderfloor heating35 mm polystyrene sheeting80 mm thermal insulation50-200 mm lean-mix screed

8 180/270 mm step:50 mm polished screed withcoloured pigmentationreinforced concretesupporting structure onvaulted stone arch

9 25 mm oak-veneered MDFadhesive fixed to concreteplinth

10 wine racks:25 mm oak-veneered MDFoiled with hard wax,with glued joints and con-cealed mechanical fixings

11 labelling system:20/5 mm anthracite MDF flushstrips; prices chalked on

12 6 mm oak-veneered MDFvertical divisionslet into grooves

13 50/50 mm wood batten14 2x 12.5 mm plasterboard on

wood bearers betweentimber soffit beams120 mm mineral-wool insulation

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documentation

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Section/Elevation of wine rackscale 1:50

Wine Tavern in Fellbach

The benches fixed to the external wall areveneered with oiled oak - an allusion to the formerwine casks in the same wood.

Horizontal section • Vertical sectionscale 1:20

The fitted cupboards conceal steelserted in place of internal walls, while the integratedshowcases allow the display of bottles of fine wine.

Horizontal section • Vertical sectionscale 1:20

1 40/50 mm woodbatten

2 seat back: 25 mmoak-veneered com-posite wood boardoiled with hard wax

3 30/30 mm steelchannel support,screw fixed

4 seat: 40 mm oak-veneered compositewood board

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-members in-

documentation

5 composite woodboard fascia strip,glued to seat

6 30 mm doubleglazing in 35/35 mmaluminium channel-

section frame,plastered in

7 25-50 mm mineralplaster

8 240 mm existingbrick wall

9 steel140 mm deepas bearing forverticalsupports120 mm deep

10 25 mm oak-veneered MDFflap/lining oiledwith hard wax

11 40 mm anthracite-coloured MDF

pull-out shelf withrear lighting

12 concealedfluorescent lightingin recess

13 25 mm oak-

veneered MDFback of showcase

14 matt-coatedMDF flap to hatchwith aluminizedsurface

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Section/Elevation ofwall cupboardscale 1:50

-beam

-section

Pedestrian Bridge in Boudry

Geninasca Delefortrie SA,Architects FAS SIA, Neuchâtel

Spanning the River Areuse in Switzerland,the bridge leads from a steeply rising bankon one side to a large open space on theother. The different situations at the twoends are reflected in the cross-sectionaldimensions of the structure, which increasealong its length - a gesture that is accen-tuated by the sinuous curve of the bridgeon plan. The dynamic formal language andthe simple means of construction reveal aconfident yet respectful approach tothe surroundings. Proceeding along thebridge, one experiences a play of lightthrough the open wood bars and the steelsections of the enclosing structure. Thespatial impression is never constricting.

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One has a sensation of wandering beneatha shady avenue of trees. In spite of the sim-ple details and the use of only a few materi-als, the bridge has a relatively complexstructure. It is in the form of a box girder thattransmits bending and torsion loads to thestrip foundations at the ends. The structureconsists of 12 steel frames, the walls, roofand base of which all form part of the load-bearing system. The individual steel framesare connected internally by diagonal com-pression and tension members that arescarcely visible from the outside and thatheighten the impression of a filigree form ofconstruction. In view of the difficult accessto the site, three prefabricated elements

were delivered by helicopter, provisionallyheld in position and secured, and thenwelded together. After two days, the bridgewas self-supporting. Finally, the horizontalwood strips were fixed to the steel struc-ture. They serve as an additional means ofreinforcement. DETAIL 6/2003

1 150/27 mm fir planks2 200/100/10 mm steel RHS3 Ø 60.3/14.2 mm steel tube4 Ø 25 mm steel diagonal bracing rod5 120/80/10 mm steel RHS6 100/65/7 mm steel angle7 100 mm bed of gravel8 1 mm separating mat9 150/100/10 mm steel RHS

10 1 mm perforated ribbed metal sheeting59 mm deep

documentation

View from abovescale 1:250

Vertical sectionsHorizontal sectionscale 1:20

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Hotel in Groningen

Foreign Office Architects, LondonAlejandro Zaera Polo, Farshid Moussavi

In 2001, an architectural event with the title"Blue Moon" was held in the Dutch town ofGroningen under the direction of Toyo Ito.The programme included the erection of anumber of temporary structures in variouslocations, as well as the creation of perma-nent buildings like the Aparthotel, whichstands in a little square in a district noted forits small docks, warehouses and guesthouses. In a closed state, the hotel resem-bles a plain storage structure. In use, how-ever, as the various shutters and doors areopened, the facade is transformed in ap-pearance. The outer skin also undergoes achange at night. The finely perforated corru-gated metal sheeting that seems opaque byday shimmers when the lights are turned oninside, revealing something of the life withinthe building. The erection of a hotel with acafe and bar has created a new social ven-ue in the district and achieved a successfulrevitalization of the square. From the roofterrace, hotel guests enjoy a view over theold town centre around them. DETAIL 6/2003

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Site planscale 1:2000SectionFloor plansscale 1:200

1 Café2 Access to apartments3 Guest apartment4 Bathroom5 Roof terrace6 Services space

documentation

71

Hotel in Groningen

Horizontal section • Vertical sectionscale 1:10

1 wall construction:aluminium-zinc corrugated sheeting160/40 mm30/20 mm steel RHS supporting structure90 mm thermal insulation150 mm sandlime brickwork

2 140/50 mm aluminium post3 aluminium casement with double glazing:

8 + 8 mm laminated safety glass4 30/30/3 mm steel T-section5 65/30 mm steel angle6 70/50 mm steel RHS7 perforated aluminium-zinc corrugated

sheeting 160/40 mm

8 60/60/3 mm steel T-section9 50/50 mm steel SHS

10 roof construction:30 mm concrete paving slabsbituminous sealing layer60 mm thermal insulationvapour barrier200 mm reinforced concrete roof slab

11 steel bracket for fixing hinge12 30/50 mm steel RHS safety rail13 25 mm composite wood board14 15 mm thermal insulation15 18 mm reconstructed stone paving16 precast concrete plinth

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documentation

73

House in Dortmund

Archifactory.de, Bochum

SectionsFloor plansscale 1:250

1 Garage2 Living area3 Kitchen4 Void over living

area5 Living area/

Study6 Bedroom7 Roof terrace

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Situated in a suburban street in Dortmund,this house stands in stark contrast to theneighbouring developments. Its shimmeringsilver-grey larch cladding forms a homo-geneous skin in which large glazed open-ings are set flush with the facade. The larchboards are cut to mitre at the corners, sothat nowhere is their thickness evident. As aresult, the house has a monolithic appear-ance; and there are no projecting canopies,eaves or gutters to diminish this effect. Thepresent scheme comprises an extension ofthe existing building on the site. The mainaccess to the house is located directly nextto the garage. From the entrance, the eye isdrawn upwards, via a flight of stairs, to the

open living area on the level above. Thisdouble-height room conveys a feeling ofspaciousness, and the split-level layoutevokes a sense of flowing transitions. An ex-ternal flight of concrete steps connects themain living space with the garden. In con-trast to the sense of openness created bythe large areas of glazing in the facade, theroof terrace is screened from prying eyes bystorey-height wood enclosing walls. As wellas ensuring the requisite degree of privacy,they create an introverted outdoor space.If desired, the rooftop facade can be openedby means of two doors that allow a view outto the surroundings, but that, in a closed po-sition, are scarcely visible. DETAIL 6/2003

documentation

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House in Dortmund

76

documentation

Horizontal sectionVertical sectionscale 1:10

1 22/214 mm sawn larch boardingwith 6 mm open joints50/30 mm battenventilated cavity300 mm aerated concrete wall15 mm white gypsum plaster

2 22/214 mm sawn larch boarding50/30 mm battenventilated cavitymoisture-diffusing waterproofmembrane60 mm mineral-fibre thermalinsulation between50/60 mm batten240 mm reinforced concrete wall15 mm white gypsum plaster

3 aluminium post-and-railconstruction

4 aluminium cover strip with visiblescrew fixings

5 door: aluminium frame withdouble glazing

6 double glazing: 4 mm toughenedglass + 16 mm cavity + 4 mmfloat glass

7 two-layer bituminous sealingmembrane140-200 mm thermal insulationfinished to falls with surfacecoatingwelded bituminous sheetvapour barrierbitumen undercoat200 mm reinforced concretefiligree beam floor15 mm white gypsum plaster

8 0.8 mm sheet titanium-zinccovering, bent to shape

9 140/150 mm timber plate,splay cut

10 140/200 mm timber plate11 22/214 mm sawn

larch boarding50/30 mm batten30 mm ventilated cavitymoisture-diffusing waterproofmembrane60 mm thermal insulationconcrete lintel

12 10 mm shiny anthraciteterrazzo45 mm cement-and-sandscreedpolythene separating layer35 mm impact-sound insulation200 mm reinforced concretefiligree beam floor15 mm white gypsum plaster

13 windproof layer14 2 mm sheet stainless steel15 neoprene sealing strip16 10 mm shiny anthracite

terrazzo65 mm screed aroundunderfloor heating25 mm rigid-foam thermalinsulation20 mm polystyrene thermalinsulation200 mm reinforced concretefiligree beam floor

17 exposed concrete stairs

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House in Dortmund

Vertical sectionsthrough roof terraceHorizontal section through flapscale 1:10

1 door to roof terrace: aluminiumframe with double glazing

2 aluminium fascia on30/30/3 mm galvanized steelRHS frame with20 mm rigid-foam insulationwindproof layer

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3 22/214 mm sawn larchboarding50/80 mm wood bearerswood firnngstwo-layer bituminous sealingmembrane140-200 mm thermalinsulation finished to falls,with surface coatingbituminous vapourbarrierbitumen undercoat

200 mm reinforced concretefiligree-beam floor15 mm white gypsum plaster

4 22/234 mm sawn larchboarding with 6 mm openjoints50/30 mm wood battens140/140 and 200/140 mmtimber framing50/30 mm wood battens22/234 mm sawn larchboarding with 6 mm open joints

documentation

5 larch cover strip6 opening flap: steel RHS frame,

mitre cut and welded, covered onboth faces with larch boarding

7 Ø 30 mm tubular galvanized steelsafety rail

8 140/140/8 mm steel plate withsteel sleeve welded on

9 Ø 8 mm galvanized steel rodwelded to steel frame

10 Ø 8 mm steel rod for fixing open-ing flap at 90º angle

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Store and Studio in Hagi

Sambuichi Architects, HiroshimaHiroshi Sambuichi

Each of the storage spaces in this ware-house, which belongs to a well-known Japa-nese ceramics firm, is related to a stage inthe production process. There are spacesfor raw materials, semi-finished productsand fired wares, as well as a studio for paint-ing and glazing. The positive/negative prin-ciple underlying the forming of ceramics isalso reflected in the construction of the con-crete elements. Central aspects of the de-sign are the relationship between formworkand poured concrete, and the idea of re-using the shuttering as a construction mate-rial. The dimensions of the concrete sur-faces were, therefore, carefully coordinatedwith those of openings and other elements

of the building. Standardized boarded form-work to the walls, for example, was subse-quently used to make floor-height shutters towindows and doors. The internal formworkwas recycled to create lightweight partitionsor inbuilt fittings, and the shuttering to thesoffit on the upper storey was reused as thefloor finish. The surfaces of these two quitedifferent materials - concrete and wood -resemble each other, with the grain of thewood recurring in the faces of the concretewalls. In the course of time, there is also agreater correspondence in the coloration:externally, the initially fresh, light brown ofthe untreated wood weathers to a naturalgrey close to that of the concrete.

DETAIL 6/2003

Site planscale 1:2000

80

Floor plansscale 1:250

1 Semi-finishedproducts

2 Raw materials

3 Studio area4 Finished products5 Fired wares

documentation

81

Store and Studio in Hagi

Section scale 1:20

1 6 mm sheet stainless-steelcovering

2 roof construction:extensive planting50 mm topsoil2 mm bituminous sealing layer30 mm thermal insulation250 mm reinforced concreteroof slab

3 formwork wall panels reused aspivoting shutters:12 mm cedar boarding50/30 mm wood bearers12 mm cedar boarding

4 sliding door:stainless-steel frame with 8 mmlaminated safety glass

5 floor construction:12 mm cedar boardsoffit formwork; reused asflooring50/30 mm wood bearerssole plate:105/45 mm and100/40 mm wood scantlings250 mm reinforced concretefloor slab

6 100 mm precast concretepaving slab

7 gravel bed8 floor construction:

350 mm reinforcedconcrete slab50 mm cement-and-sandscreed40 mm thermal insulation150 mm bed of gravelpolythene sheeting

9 concealed stainless-steel hinge

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documentation

83

Site planscale 1:2500

Floor plans • Sectionsscale 1:500

1 Loggia2 Kitchen3 Bedroom4 Living room5 Roof terrace

Housing Development in Dornbirn

B&E Baumschlager-Eberle, Lochau

This new housing development is located onthe densely populated outskirts of Dornbirnin Austria. It stands out from the traditionalpitched-roof building fabric by virtue of itsunusual volumetric form and facade design.Two tracts, one three storeys high, the othertwo storeys high, are offset to each other ina way that helps to integrate the structureinto the small-scale surrounding develop-ments and to define new external spaces.To ensure a maximum exploitation of thesite, the dwelling block was erected as closeto the neighbouring house as possible.Access to the basement garage is, in fact,beneath the existing building. The architectsresponded to the dense local settlement

pattern not only in the form of this develop-ment, but in the facade design.Containing nine dwellings, the complexresembles a white glazed cube in which thesurroundings are reflected. In this way, aseries of visual links and new spatial relation-ships were established. The white glazedfacade is articulated horizontally by blackguide tracks. Set out in three planes, thesliding glazing elements lend the smoothsurface a subtle sense of depth and variedreflecting qualities. Concealed behind theouter layers of glazing is a timber stud con-struction lined with laminated boarding.The surroundings are reflected in the glassskin in different ways: as clearly defined im-

84

ages in the rectangular windows, which areset in the wall behind the outer layer; or fil-tered and diffused in the white surface glaz-ing. The appearance of the facade also var-ies according to weather conditions and thetime of day. Residents can regulate to whatdegree they wish to communicate with thesurrounding environment. The screen-printedfacade elements shield not only the interior,but also the loggias, from the prying eyes ofneighbours. At the same time, they do notimpede views out of the building. When twopanes of glass are slid in front of each other,however, the view out is obscured. This vari-ability is an essential feature of the uniformfacade system. DETAIL 7/8 2003

documentation

85

Housing Development in Dornbirn

Sectional detailsscale 1:20

1 6 mm toughenedglass in triple slidingtrack; single-colourscreen printed withØ 1 mm dots

2 timber-stud wall:5 mm synthetic-resin-bonded lami-nated wood boardmoisture-diffusingwindproot layer12 mm oriented-strand board

120 mm thermalinsulation lined withbuilding paperbetween 120/60 mmtimber studs

3 internal timber-studdry lining: 60 mmthermal insulation

polythene sheetvapour barrierbetween 2x 12.5 mmplasterboard

4 powder-coatedaluminium section

5 130/90 mm steelangle

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University for Applied Designin Wiesbaden

Mahler Günster Fuchs Architects, Stuttgart

SectionsFloor plansscale 1:750

1 Study hall2 Lecture hall3 Teaching space

4 Void5 Workshop6 Administration7 Store8 Services9 Laboratory

10 Photo/TV studio

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documentation

The new university for applied design inWiesbaden is well integrated in the neigh-bouring faculty developments. A grove ofoak trees on the site of a former film produc-tion company is reflected in the glazed fa-cades of the new structure, which respondsto the trees in other ways as well. To protecttheir roots, for example, the basement ex-tends under only half the building area; andthe surrounding ground is not sealed off.Similarly, account is taken of the existingenvironment in the choice of materials andthe form of the slenderly dimensioned, trans-parent wood-and-glass facades.Constructionally, the long faces of the build-ing are contrasted with the end faces. Thelong north and south facades, set in frontof load-bearing composite columns, consistof 40-centimetre-deep posts and rails withdouble glazing fixed on the outside. The sys-tem not only forms a kind of structural shelv-ing where various objects can be placed orexhibited; on the south face, it also servesto shade the building, in conjunction withthe trees. Room-height flaps facilitate thecross-ventilation of the structure. A specialfeature of the end faces is the intermediatespace between the layers of glazing. Atthe suggestion of the architects, a finelydimensioned grid of Malaysian meranti wasinserted in the cavity to filter incoming light,while still allowing a view out to the magnif-icent oak trees. DETAIL 7/8 2003

University for Applied Design in Wiesbaden

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Vertical sectionHorizontal sectionscale 1:10

1 40/250 mm Douglas fir tascia2 50 mm broken glass topping

two-layer bituminous sealingmembrane33 mm laminated timber sheetingventilated cavity and150 mm thermal insulation between100/200-320 mm softwood joiststo falls30 mm three-ply laminated sheeting

3 20 mm three-ply laminated sheeting4 8 mm sheet-aluminium covering on

moisture-diffusing sealing layer5 150/70/6 mm steel fixing bracket6 100/420 mm laminated Douglas

fir beam7 160/420 mm laminated Douglas

fir beam8 double glazing:

2x 8 mm toughened glass withdark-red meranti grille in18 mm cavity (11/11 mm horizontal

bars with 9 mm spacings;10/10 mm vertical bars with500-600 mm spacings)

9 60/160 mm laminated Douglasfir beams withØ 24 mm aluminium connectors;fixed with dowels

10 5 mm linoleum55 mm screed20 mm impact-sound insulation70 mm insulation slab320 mm reinforced concretefloor slab

11 240/8 mm aluminium plate12 45/35/4 mm aluminium angle13 25 mm parquet

50 mm screed20 mm impact-sound insulation50 mm thermal insulation5 mm bituminous sealing layer

14 62/30 mm Douglas fir fixing striptreated with resin oil

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documentation

University for Applied Design in Wiesbaden

Vertical sectionscale 1:10

1 50 mm broken glass toppingtwo-layer bituminous sealingmembrane33 mm laminated timbersheetingventilated cavity and150 mm thermal insulationbetween100/200-320 mm softwoodjoists to falls30 mm three-ply laminatedsheeting100/420 mm laminatedDouglas fir beams

2 160/150 mm softwood plate3 8 mm sheet-aluminium

covering onmoisture-diffusing sealinglayer

4 440/50 mm laminatedDouglas fir rail

5 380/70/6 mm steel fixingbracket

6 160/420 mm laminatedDouglas fir beam

7 Ø 194/10 mm tubular steelcolumn filled with concrete

8 double glazing:2x 6 mm toughened glass+ 16 mm cavity

9 380/40 mm laminatedDouglas fir rail treatedwith resin oil

10 70/8 mm aluminium flat11 40/150 mm three-ply Douglas

fir fascia strip12 45/35/4 mm aluminium angle13 top-hung glazed flap:

95/95 mm Oregon pine frametreated with resin oil

14 2 mm aluminium sheeting50/34 mm battenssealing membrane16 mm three-ply laminatedsheeting

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documentation

91

Laban Centre in London

Herzog & de Meuron, Basle

92

documentation

Site planscale 1:10,000

Floor plans • Sectionsscale 1:1000

1 Entrance2 Foyer3 Cafe4 Therapy5 Office6 Staff room7 Studio8 Theatre9 Light well

10 Workshop11 Lecture hall12 Library13 Bar14 Teachers' room15 Studio theatre

The Laban Centre is one of the largest insti-tutions for modern dance in Europe. Namedafter Rudolf Laban, the famous choreogra-pher and pioneer of dance, it is situatedamong warehouses and workshops on atributary of the Thames in Deptford, south-east London. The large volume of the build-ing is well integrated into its surroundings,although the somewhat unreal, floating quali-ty lent by the shimmering facades distin-guishes the centre from the neighbouringdevelopments. The structure is enclosed ina double-skin facade with a 60 cm ventilatedcavity between the two layers. The outerskin, which provides thermal insulation andacts as a visual screen, consists of polycar-bonate sheeting - either transparent or indifferent colour tones. The coloured coatingwas applied to the rear face of the innerlayer, lending this skin a pastel-like, three-dimensional effect. The inner skin consistslargely of translucent double glazing.Movement and communication, two centralaspects of the dance centre, are alsothemes of the architecture. The concave,curved entrance facade seems to embracethe external space in a sweeping gesture.Internally, too, the building suggests a stateof movement. Ramps and circulation routeslead through the complex layout of roomsand broaden into open spaces. Light wellsallow daylight to penetrate into the deepvolume of the building and establish visuallinks through the centre. The transparent andtranslucent walls have more of an articulat-ing than a separating function. Within thisopen "cityscape", the colours form a visualaid to orientation. Walls and inbuilt fittings inthe corridors are coloured bright turquoise,green and magenta. In contrast, the dancestudios have a more restrained design.Here, panes of obscured glass filter the in-coming light. A single room-height windowin each studio space allows a view out tothe surroundings. The double-skin facadecreates a subtle reciprocity between insideand outside: the colours of the facadepanels shimmer internally, while externally,one sees the shadowy forms of the dancersin the evening. DETAIL 7/8 2003

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Laban Centre in London

1 plastic roof sealing layer50 mm polyurethane thermalinsulation

2 anodized aluminium ventilationlouvres

3 2 mm anodized alum, sheeting4 triple-layer transparent

polycarbonate hollow cellularslabs (40/500 mm) withcoextruded coloured rear face

5 55/80 mm anodizedaluminium frame for 4

6 50/50/4 mm aluminium SHSanti-suction anchor

7 60/60/4 mm steel angle8 100 mm rock-wool thermal

insulation, grey coated9 80/80/4 mm galvanized

steel SHS rail10 80/80/4 mm galvanized

steel SHS post11 50/120 mm aluminium

RHS post12 50/60 mm aluminium RHS rail

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13 double glazing:10 mm toughened glass +16 mm cavity + lam. safetyglass (2x 6 mm) withmatt film

14 Ø 60 mm aluminium clampingplate

15 40 mm galvanized steel grating16 100 mm insulated

aluminium panel17 2 mm perforated aluminium

sheeting

18 fabric wall lining19 20 mm plywood20 50 mm sound insulation21 studio floor construction:

5 mm vinyl flooring2x 9 mm plywood sheeting20 mm elastic bearers77 mm screed aroundunderfloor heatingseparating layer40 mm impact-soundinsulation

22 library floor construction:10 mm carpeting18 mm plywood sheeting

23 office floor construction:10 mm carpeting85 mm cement-and-sandscreedseparating layer25 mm polystyrene insulationsealing layer

24 50/165 mm aluminium RHS25 rainwater channel

documentation

With the aid of aluminium framing, it was possibleto set the outer face of the double glazing to thewindows flush with the surface of the polycarbonatesheets, which are coloured on the rear face. In con-lunction with the inner skin of translucent insulatingglazing, a two-layer ventilated facade was created.

The courtyards, or light wells, with conventionaldouble-glazed, post-and-rail facades, allow daylightto penetrate to the interior of the building.

Horizontal sections • Vertical sectionsSouth facadeCourtyard facadescale 1:20

95

Laban Centre in London

Horizontal sectionsscale 1:5

1 double glazing: 10 mm toughenedglass + 16 cavity + lam. safetyglass (2x 6 mm) with matt film

2 Ø 60 mm aluminium clamping plate3 50/120 mm aluminium RHS post4 80/80/5 mm galvanized steel SHS5 40 mm galvanized steel grating6 Ø 6 mm steel cable7 50/50/4 mm aluminium SHS

anti-suction anchor8 80/80/5 mm galvanized steel SHS

post9 5 mm transparent perspex sheet,

bent to shape and adhesivefixed to 10

10 3 mm transparent perspex sheet,bent to shape

11 triple-layer transparentpolycarbonate hollow cellular slabs(40/500 mm) with coextrudedcoloured rear face

12 80/40/7 mm steel T-section13 5 mm sheet steel14 2 mm anodized aluminium sheeting15 aluminium section reinforced with

2x 23/172 mm steel sections16 double glazing: 10 mm toughened

glass + 16 mm cavity + lam.safety glass (2x 6 mm) adhesivefixed with silicone

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documentation

97

Weekend House in Australia

Sean Godsell Architects, Melbourne

Situated in the midst of natural surroundings,this weekend house stands on a hillside siteon the south coast of Australia. At firstglance, the structure has the appearanceof a simple box with a homogeneous wood-strip facade. Only on closer investigationdoes it reveal its complexity. Set within thetimber skin is a steel-and-glass volume. Onthe north and east faces, the space betweenthe core structure and the outer enclosure isused as a covered veranda. Here, the housecan be opened by sliding aside glass doorsand pivoting up large areas of the wood skininto a horizontal position.The spatial programme is as simple as thegeometry of the building, with the living room,the bedroom and the library forming the mainspaces. The two-storey living room is com-pletely glazed on its north side and is thusopen to the sunshine over its full height. Thelower part of this face can be raised in an up-and-over movement like a garage gate. Thebedroom is a closed cube suspended overthe living room, thus echoing the idea of aspace within a space. Hard native jarrahwas used for the outer wood strips, whichare of very slender cross-section, so that theenclosing skin appears virtually transparentfrom a certain angle. At the same time, itserves to filter the incoming light; and withthe changing position of the sun, interestinglighting effects are created both internallyand externally. DETAIL 7/8 2003

Sections • Floor plansscale 1:250

1 Carport2 Courtyard3 Entrance4 Bathroom5 Bedroom

6 Library7 Kitchen8 Living room9 Veranda

10 Terrace

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documentation

99

Weekend House in Australia

Horozontal sectionVertical sectionscale 1:20

1 35/10 mm sawn jarrah strips2 30/30 mm galvanized steel SHS3 10 mm toughened glass4 100/150 mm preoxidized steel RHS5 8 mm laminated safety glass6 bedroom wall construction:

10 mm plasterboard70 mm glass-wool thermal insulation between90/45 mm timber studding10 mm plasterboard

7 steel8 floor construction:

70/19 mm ash boarding, adhesive fixed100 mm reinforced concrete floor slabbed of gravel

9 terrace construction:70/19 mm pine boarding on bearers80 mm reinforced concrete slabbed of gravel

10 wall construction:1.2 mm preoxidized steel sheeting25/40 mm battens190 mm concrete hollow block walling(390/190/90 mm)25/40 mm battens1.2 mm preoxidized steel sheeting

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-beam 300 mm deep

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Administration Buildingin Reutlingen

Allmann Sattler Wappner, Munich

The administrative headquarters of an em-ployers' federation for metalworking trades inGermany comprises three distinct volumes.With their characteristic double-pitchedroofs, similar eaves heights, facade widthsand depths, they are typologically well inte-grated into the existing small-town environ-ment. The unusual design of the buildingskin strikes a different note, however. Drawnover the facades and roof is a homogene-ous, seamless layer of bead-blasted steelsheeting. The tactile and visual qualities ofthe resulting surfaces seem unfamiliar: thematerial adopts the colours of the sky andthe surroundings, reflecting them and lend-ing the outer skin an intangible depth. Even

Site planscale 1:2000Sections • Floor plansscale 1:750

1 Canteen2 Entrance hall3 Store

4 Basement garageramp

5 Continuous floralpattern over 3,164stainless-steelsheets

6 Office7 Discussion space

the individual volumes are difficult to appre-hend, since nowhere is there an indication ofthe material thickness - not at the corners,the eaves or verges, nor around the windowopenings. The casements, without visibleframes, are set back slightly in a secondplane behind the metal facade and areshaded by centrally controlled perforatedelements. In a closed position, the windowsseem to fit flush with the facade. They areopened by sliding the two halves upwardsand downwards behind the outer metal skin.Even the linings to the entrance doors areintegrated into the facade pattern of theplinth zone so as to be scarcely noticeableoutside opening hours.

The striking three-metre-high plinth storey isclad with square steel sheets in which large-scale leaf motifs have been cut. The sheetsalso extend as pavings across the openspaces around and between the three build-ings. As a result, the ground seems to foldupwards at the foot of the blocks, determin-ing their position on the site like metalsleeves. Behind the perforations in thesheeting, the glazed ground floor facadesand the interiors of the buildings are vaguelyperceptible. Green vegetation sproutsthrough the areas cut out of the plates on theground. Where access is provided to theoutdoor realm, the openings are closed offwith concrete. DETAIL 7/8 2003

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documentation

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Administration Building in Reutlingen

Horizontal and verticalsectionsscale 1:20

1 4 mm stainless-steel sheeting2 supporting structure:

100/60/5 mm and 60/40/3 mmaluminium RHSssheet polythene roof sealinglayer25 mm composite wood board80 mm mineral-fibre thermalinsulationsteelwith thermal insulationvapour-retarding layer12.5 mm plasterboard onbattens

3 ventilation strip with birdscreen

4 rainwater gutter / expansionjoint

5 steel6 blind with light-deflecting

louvres behind perforatedfacade elements

7 4 mm sheet stainless-steelvertically sliding sunscreenelements behind steel facade;square perforations accordingto daylight needs

8 electric motor9 guide track and cogs running

in track for vertically slidingsunscreen elements

10 low-E glazing in aluminiumframe

11 safety barrier:Ø 6 mm stainless-steeltensioned cable

12 250/250 mm reinforcedconcrete composite column

13 80 mm insulated aluminiumpanel

14 expansion joint: one per wallsurface

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-beams 200 mm deep

-beam 360 mm deep

documentation

1 4 mm bead-blasted stainless-steel sheets1,500 mm wide with laser-cut vertical abutments,bolted to supporting structure in compressionjoints; milled to mitre at eaves and verge;with one large thermal-expansion joint perwall surface

2 Ø 6 mm threaded bolt 14 mm longwelded to 1

3 40/60/3 mm steel RHS4 5 mm steel plate5 60/90/6 mm steel angle for hanging facade

sheeting on 66 Ø 14 mm threaded bolt7 100/100 mm steel angle8 730/730/5 mm sheet stainless steel blasted

with special-grade corundum; with laser-cutornamentation

9 60/60 mm steel SHS with 40/5 mm steel flatinsert for fixing ornamental sheets

10 facade bracing / abutment piece forlightweight partition

Details of sheet abutment scale 1:5Sections through plinth storey scale 1:20

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Production Building forLarge-Scale Printing Technologyin Grosshöflein

querkraft architects, Vienna

SectionFloor plansscale 1:750

1 Parkingarea

2 Store3 Printing

shop

4 Manufac-turing area

5 Car hire6 Entrance7 Reception

8 Staffoffices

9 Manage-ment

10 Staff room

How does a company that prints large-scalebanners for cultural events and advertisingpurposes present itself to the world? For itsnew works building in Austria, the Trevisionconcern deliberately chose a location nextto an autobahn. Coming from the direction ofVienna at night, one sees the 300 m2 rear-litimage of a mountain panorama projected onto a translucent screen, while the rear face ofthe building bears the 60-metre-long slogan"Unoverlookable" printed on a net coveringthat can be illuminated from above.Completed in June 2002, the structure wasconceived outwardly as an illuminable box.In view of the bold appearance thus created,a further company logo was regarded as un-

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necessary. At the instigation of the client, theoperation of the lighting effects was to formpart of an international art project organizedby the Museum in Progress in Vienna. Themotifs are designed by modern artists andare changed every year.Just as important as the external appear-ance, of course, was an optimum functioningof the production process, with short routesand scope for flexibility and future change.Access to the office area is via a concretestaircase element of sculptural appearance,while the flow of materials on the groundfloor follows a circular route.Since the high-frequency welding processcan result in surge voltage that might affect

the sensitive printing machines, it was neces-sary to separate the two areas functionally andacoustically without marring the sense ofspaciousness. This was achieved by drawinga scarcely perceptible transparent plastic sheetacross the width of the hall. The easternmostbay of the building is divided off by a metalpanel wall and forms a discrete unit that canbe leased out separately. The open layout al-lows the available space to be adapted to thechanging needs of the concern. The buildingstill stands alone on an open site. When furtherstructures are erected in the future, restrictingthe view out from the interior, the screen-like,filtering effect of the net facade will reveal itstrue significance. DETAIL Konzept 9/2003

documentation

The Client's ViewMy concept for the new works building wasclear from the start. It was to have a strikingappearance that would distinguish it fromthe usual corrugated-metal box form; andemployees working in the production hallwere to enjoy the same status as those in theoffices. I visited several established archi-tects with an initial sketch, but the conceptsthey presented were so conventional that wedecided to invite a number of younger archi-tects to submit proposals. The querkraft of-fice surprised us at first with the many ques-tions it asked relating to the functions andneeds of the concern, which in turn stimu-lated a lively discussion among the staff. At

a certain point, it became clear that querkraftwas not going to design a run-of-the-millbuilding. We therefore clarified certain is-sues with the local authority and with neigh-bours long before actually submitting thescheme for approval. This greatly eased lat-er negotiations and the process of gainingbuilding permission. Once the basic designdecisions had been made, we gave the ar-chitects a free hand in the detailing, withoutlosing sight of cost parameters, of course.The mechanical services were minimizedfor economical reasons. Suction apparatuswas installed directly next to the printingmachines to remove vapours. Ventilation iseffected via windows and roof lights in the

hall and via flaps over the office doors. Noheat-load calculation was made, and the in-terior heats up more than expected on warmafternoons. To overcome this, we shall installadditional small, decentralized appliances inthe facade. The relatively small radiatiors, onthe other hand, have proved to be whollyadequate. The outcome has fully confirmedour expectations. Not only has productivityincreased; the building has evidently madequite a mark publicly, judging by the client'sprize it was awarded in 2002 and the numer-ous requests we receive to view it.

Heinz Wikturna, the author, is senior head of theTrevision company.

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Production Building for Large-Scale Printing Technology in Grosshöflein

The Search for an EfficientPerformance ProfileAt our first meeting with the client, he pre-sented us with a layout sketch for a newworks building. It comprised a head struc-ture for the administration and an adjoiningproduction hall. Although we had no previousexperience of industrial construction, ouridentification with the project soon earned usthe client's trust. As the name Trevision im-plies, there is a dominant visual aspect tothe products made at the works. The sightlines within the hall and to the outside worldwere, therefore, of central importance (ill. 1).By accommodating all departments beneatha single roof, we also resolved any contra-diction that may have existed between thegoal of achieving social equality among thevarious sections of the staff, and the creationof a separate head structure for the adminis-tration. The height of the hall was fixed atseven metres. This is higher than necessaryfor present production purposes, but it facili-tates future growth and extensions and in-creases the value of the building by provid-ing scope for other uses. The basic outlineand layout of the building and the accommo-dation of the working processes in the archi-tectural form were resolved in close collabo-ration with the client (ill. 2).The preliminary design foresaw a 7-metreconstruction grid with a vertical poster areain front of every structural axis, creating arapidly changing, staccato-like sequenceof images for vehicles passing on the auto-bahn. To the rear of this, a planted strip with-in the hall was to filter the view to the road(ill. 2a). Access was to be via one of the endfaces. The concept underwent various stagesof development. The axial grid dimensionwas increased to 8 m for the submission inAugust 2001 (ill. 2c), and the changes thatfollowed were so drastic that, after comple-tion of the work, it was necessary to redrawthe scheme entirely in order to obtain finalplanning approval. During the bills of quanti-ties phase, we abandoned the idea of anadditive tubular access route and accommo-dated the circulation behind a net screen inthe main section of the building (ill. 2d). 2

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1

Changes to the grid dimensions were stillbeing made during the negotiation of con-tracts, since different manufacturers workedwith systems of different unit sizes. A griddimension of 6.20 m was finally determined.One way of ensuring efficiency in the cross-sectional form is to accommodate a numberof functions in each part of the building. Thiscan save space and money by eliminatingthe need for additional structures.The cantilevered element over the deliveriesarea provides protection against the weath-er, accentuates the entrance situation andcreates a covered recreational area for thestaff. It is also a means of sunshading theglazed office facade, and it supports the

nets that act as a visual screen. Last, but notleast, it forms an effective piece of corporatedesign. An internal counterpart to the meshis the walkway between the administrationtract and the production hall. Fixed on theunderside of this strip, are cable runs. Themain functions of the walkway, though, areto provide a short route between the officesand the hall areas, and to allow the effectsof the large printed objects to be judgedfrom a greater distance.

1 View from the director's office to the vehicleapproach zone and into the hall

2 Optimization of the cross-section

The authors are Jakob Dunkl, Gerd Erhartt,Peter Sapp and Michael Zinner, querkraft architects.

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Production Building for Large-Scale Printing Technology in Grosshöflein

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documentation

Sectional detailsscale 1:20

1 120 mm aluminium verticalfacade panel 1.10/7.73 m

2 vertically adjustable fixing3 steel

400 mm deep;thermal separationin facade plane

4 Ø 88.9 mm steelcompression tube

5 Ø 114.3 mm tubular steelhinged column

6 carpeting600/600/35 mm servicesdeck on raising pieces160 mm void200 mm reinforcedconcrete floor

7 reinforced concretedownstand beam 500 mmdeep

8 150 mm reinforcedconcrete floated slab

9 fire alarm10 Ø 50 mm rainwater pipe;

vacuum system11 steel

deep, cut in half12 facade floodlight13 10 mm toughened glass14 steel

deep15 PVC tensioned net.

anthracite on inner face;printed with textexternally

16 Ø 100 mm finned heatingpipe

17 aluminium tensioning frame

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-beam

-beam 300 mm

-column 340 mm

Production Building for Large-Scale Printing Technology in Grosshöflein

Transparency and Cost Management- the FacadesThe printed translucent screen facing theautobahn is indirectly lighted by halogenlamps shining on a white reflecting layer onthe wall of the hall. To avoid causing glare fordrivers, the maximum illuminance is 100 lux.In order to create the requisite visual linksand a sense of open space, the glazing hadto be as transparent as possible.The division between the offices and the hallis in toughened glass as a safety measurefor the walkway on the hall side. Jointed withsilicone, however, the glazing is scarcely per-ceptible. The printed net to the south facadefilters the view out to the landscape in a soft-focus manner. Only when seen from anoblique angle is the net visible (ill. p. 110).A reinforced concrete structure was specifiedto provide an economical form of fire resist-ance (1 1/2 hours). The load-bearing columnsare visible only through the upper clerestorywindow strips. By setting the column axes at6.20-metre centres, the structural strength ofthe ribbed metal sheeting was exploited tothe full, thereby avoiding the need for sec-ondary beams. Other savings included theomission of additional metal angles andbracing tubes in fixing the windows. For theclosed facade areas, we also specified thecheapest metal panels on the market. Thecost limits were, in fact, so tight that we hadto use standard coloured panels instead ofthe pure white ones originally proposed. Thenumber and size of the domed roof lightswere also reduced to save costs. Even cheapbuilding materials, however, can be used inan architecturally satisfying way, with minormodifications sometimes leading to quite in-dividual solutions. The omission of the coverstrips, for example, and the special treatmentof the sheet abutments and corner detailshelped to create a building skin of distinctivecharacter. Additional costs were incurred forthe hall flooring, where it was necessary tolay PVC instead of leaving the concrete witha smooth finish as originally planned.

Erwin Sattler, a freelance assistant with querkraftarchitects, was the project architect for theTrevision scheme.

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Sectional detailsscale 1:20

1 stretched screen printedon outer face

2 aluminium tensioningframe

3 halogen floodlight4 white reflecting film

100 mm thermal insulationpolythene sheetingribbed metal sheeting153 mm deep

5 plastic sealing layer18 mm chipboard onsteel sections to falls0.7 mm ribbed metalsheeting (150/280 mm)

6 plastic sealing layer100-200 mm thermalinsulationribbed metal sheeting

7 Ø 88.9 mm steelcompression tube

8 steeldeep trussed onunderside

9 steeldeep

10 bracket for later additionof catwalk

11 cable duct12 Ø 100mm finned

heating pipe13 4 mm PVC flooring

150 mm reinforcedconcrete floatedslab on recycledconcrete hardcore

-beam 400 mm

-column 300 mm

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113

Extension of the Albertinain Vienna

Erich G. Steinmayr & Friedrich H. Mascher,Feldkirch / Vienna

The ensemble of buildings known as theAlbertina, an urban palace dating from the18th century, houses one of the largest collec-tions of graphic art in the world. Over the pastten years, the complex has been extendedand has undergone a comprehensive restora-tion. A new exhibition hall, a store and an ad-joining study building with workshops and alibrary have been inserted in the listed ensem-ble between the Burggarten and the Hofburgin a form that is scarcely visible from the out-side. The elevated position of the Albertina onthe city bastions was exploited to accommo-date the large new volume. By sinking the ex-tension structures four storeys into the ground,it was possible to leave the historical silhou-

ette of the complex unchanged. The formerfortifications in front of the Albertina were re-moved, and in their place an undergroundexhibition hall and store were built. The studybuilding opens on to a newly excavated inter-nal courtyard. The courtyard facade - the onlyvisible face of the new structure - differs oneach of its three storeys in accordance withthe internal uses. The face of the in-housestudy hall at courtyard level comprises room-height transparent panes of glass. On thefloor above, fixed sunshading elements infront of the set-back line of the glazing preventdirect insolation of the restoration workshops.The top floor, containing the study hall for ex-ternal visitors, receives additional light via roof

lanterns, which alternate with aluminiumlouvres to create a clearly articulated roofarea. The study building is divided in themiddle by a three-metre-wide glass-coveredlight well that extends over the four storeys ofthis tract and allows daylight to penetrate tothe library at the lowest level. Adjoining thestudy building is the store with an automatical-ly operated high-bay system. The third newelement, the exhibition hall, is directly linkedwith the Albertina Palace by escalators. Theselead to the Albertina Court, a glass-coveredcentral space that serves as a circulation areabetween the main entrance, the historicalrooms, the exhibition hall and the café andmuseum shop. DETAIL 10/2003

Layout at entrance level

to study hall20 Restoration

workshops21 Study hall22 Library

16 High-bay store17 Store for large-

scale works18 Exhibition hall19 Access for visitors

13 Entrance toAlbertina

14 Film museum15 Study hall for

visitors

9 Escalators to newexhibition hall

10 Albertina courtyard11 Café12 Museum shop

5 Study building6 Light well in study

building7 Bastions8 Existing exhibition hall

Layout plans • Sectionscale 1:1250

1 Burggarten2 Pedestrian ramp3 Courtyard4 Water pool

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documentation

First basement level

Second basement level

Third basement level

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Extension of the Albertina in Vienna

Section throughcourtyard facadescale 1:20

1 3 mm black-anodized aluminium sheeting2 120 mm insulated aluminium panel3 double glazing: 6 mm toughened glass + 8 mm

cavity + 6 mm toughened glass with enamelledinner face100 mm thermal insulation2 mm aluminium sheeting

4 low-E glazing (U = 1.1 W/m2K): 6 mm toughenedflint glass + 24 mm cavity with sunblind + 6 mmtoughened flint glass

5 60/150 mm natural-anodized aluminium RHSpost-and-rail structure; 60/15 mm black-anodizedaluminium cover strips

6 3 mm natural-anodized aluminium fascia toair-conditioning plant

7 25 mm natural-anodized aluminium cellularsunshading with black-anodized aluminiumanti-reflection sheeting on side exposed to sun

8 30 mm natural-anodized aluminium sunshadegrating

9 slide-down, push-out aluminium casement:6 mm low-E laminated flint glass with blackenamel edge + 16 mm cavity + 6 mm laminatedflint glass adhesive fixed

10 3 mm natural-anodized sheet-aluminiumlight deflector

11 3 mm natural-anodized sheet-aluminiumlight-deflector fin with integrated lighting

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documentation

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Extension of the Albertina in Vienna

Vertical sectionsthrough roof lanternand light-well facadesscale 1:20

1 350/25 mm grey-coated aluminium cellularsunshading louvres

2 120 mm black-anodized insulated aluminium panel3 120/120/5 mm steel SHS lantern structure4 2x 15 mm gypsum sheeting (1 1/2 hr. fire resistance)5 3 mm natural-anodized sheet aluminium

1 mm anti-drumming mat24 mm PVC rigid-foam insulationplastic sealing layer; 30 mm three-ply lam. sheeting40/40/4 mm steel SHS bearers

6 0.8 mm stainless-steel gutter with heating7 3 mm natural-anodized sheet-alum, light deflector8 350/650 mm reinforced concrete beam9 double glazing: 10 mm toughened flint glass +

12 mm cavity + lam. safety glass (2x 8 mm)10 glass fin bearer: 3x 10 mm toughened glass in

60/50/4 mm aluminium channel11 Danube limestone coping, bush-hammered12 60/110 mm aluminium post-and-rail construction

(1/2 hr. fire resistance)13 fire-resisting double glazing (1/2 hr.):

6 mm toughened flint glass + 15 mm fire-resistinggel + 6 mm toughened flint glass

14 fire-resisting double glazing (1/2 hr resistance) tobalustrade and edge of floor: 6 mm toughened flintglass + 15 mm fire-resisting gel + lam. safety glass(2x 6 mm) with 2x matt-white films

15 glass floor: 3-layer lam. safety glass (36 mm) withmatt-white films: upper layer with non-slip surface60/120/5 mm steel RHS supporting structurefire-resisting glazing to underside (1/2 hr.):6 mm toughened flint glass +15 mm fire-resisting gel+ lam. safety glass (2x 6 mm) with matt-white film

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documentation

119

Extension of the Albertina in Vienna

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documentation

Horizontal and vertical sectionsthrough draught-excluding lobbyscale 1:20

1 glass door in black-burnished stainless-steel frame:double glazing: 8 mm lam. safety glass +16 mm cavity + 6 mm toughened glassØ 30 mm black-burnished stainless-steel tubulardoor pull

2 70/70/4 mm steel SHS3 30 mm travertine cladding 900/300 mm

polythene sealing layer90 mm rock-wool insulation30 mm Rosso Lepanto marble cladding2,600/900 mm

4 fixed double glazing: 8 mm lam. safety glass +16 mm cavity + 6 mm toughened glass

5 30 mm travertine lining6 light-diffusing soffit:

lam. safety glass (2x 3 m) with satin finish7 2,000/200 mm stainless-steel ventilation grating8 16 mm mesh dirt trap

20 mm stone paving57 mm reinforced mortar bed10 mm bituminous sealing layer50 mm polystyrene rigid-foam thermal insulation180 mm reinforced concrete floor slab

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Studio Extension in Olot

Jordi Hidalgo + Daniela Hartmann,Barcelona

The scheme involved the refurbishment of asmall rear courtyard in the old town centre ofOlot in north-eastern Catalonia, Spain. Overthe years, the 6 x 5 m area had becomecluttered with various structures that had tobe removed before the extension could beinserted. The measures comprised the con-struction of a flat glass roof over an existinggym to provide natural lighting, and the erec-tion of a studio and sauna on top. In addition,a small private patio was to be createdbetween the existing living quarters and theextension. The greatest problem was that thework had to be executed within a period oftwo months, and it was not possible to use acrane. The load-bearing structure and theroof over the extension were constructed first.The courtyard was provisionally covered andthe roof light installed over the gym. Only thenwas it possible to begin removing the old ac-cretions hand in hand with the erection of thenew elements. The contrast between thepuristic, glazed studio and the neighbouringbuildings could hardly be greater. Never-theless, the extension, with its smooth glasssurfaces and simple metal roof, is well inte-grated into the surroundings. DETAIL 10/2003

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Site planscale 1:2000SectionsFloor plansGround floorLower ground floorscale 1:250

1 Existingbuilding

2 Patio3 Roof light4 Washroom5 Sauna6 Studio

documentation

DiagramsA Initial stateB Development process

during constructionC Finished state

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Studio Extension in Olot

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documentation

Vertical sectionsHorizontal sectionscale 1:10

1 0.6 mm corrugated galvanizedsteel sheeting80 mm thermal insulationvapour barrier; 2 mm sheet steelsteel

2 40/40/1.5 mm steel SHS3 hollow section:

20 mm steel plates4 2x 20/10/2 mm steel RHSs5 19 mm medium-density

fibreboard50/50/2 mm steel SHSs and

80/50/2 mm steel RHSs with2 mm sheet steel

6 19 mm MDF on vapour barrier40 mm insulation between battensexisting wall

7 19 mm chipboard50 mm thermal insulation between50/50/2 mm steel SHSs2 mm sheet steel, paintedsteel

8 40/20/1 mm steel RHS9 lam. safety glass (2x 6 mm)

10 lam. safety glass (3x6 mm) with25/25 mm steel T-sections onsteel

11 2 mm sheet steel bent to shape12 layer of gravel; geotextile layer

40 mm insulationEPDM sealing layerscreed finished to falls(max. 50 mm)concrete composite floor slab withsteel

13 40/40 mm steel channel section

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-beams 80 mm deep

-beams 120 mm deep

-sections 140 mm deep

-beams 220 mm deep

House in Mont-Malmédy

ARTAU SCRL, MalmédyNorbert Nelles, Luc Dutilleux

Situated on the outskirts of a village neara nature reserve in the Ardennes, Belgium,this house was built as a second home for afamily of six. It stands opposite an old farm-house and was designed to look like oneof the outbuildings. By using simple formsand a minimum of materials, however, thenarrow, elongated structure has its ownbold and quite distinctive character.The random rubble outer skin consists oflocally quarried reddish schistose sand-stone. Various other features add to the

sense of rhythm and the lively appearanceof the building envelope. These include thewall in the same stone extending from oneof the narrow ends of the house; the small,deeply recessed windows; the untreatedconcrete surfaces around the sliding coppergate; and the steeply pitched copper-covered roof. In time, the copper and thesandstone will gradually colour the concrete.With its through-driveway and garden wall,the building reflects many elements of thelocal rural style. These are arranged to form

a sheltered courtyard flanked on the oppo-site side by a small outhouse. In contrast,the extensive glazing in the double-heightliving-dining area opens the interior to theextensive grounds. The other rooms aregrouped on two levels around this centralspace. The fluid transitions to the more pri-vate parts of the house are achieved withoutdoors: the various realms are separated bypartitions and by flights of stairs, which alsoextend the floor finish from the living area tothe upper storey. Further zoning is achieved

126

documentation

through the size and depth of the windowopenings: the more private the space, thesmaller and deeper they are. In this way,an exciting contrast is established betweenthe rough-textured exterior of the house andthe smooth, white interior, which radiates asense of security. DETAIL 11/2003

Site planscale 1:1000Section •Floor plansscale 1:250

1 Old farmhouse2 New house3 Store4 Bathroom/WC5 Living room/

Kitchen6 Master bedroom7 Bedroom8 Void9 Gallery/Lounge

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House in Mont-Malmédy

Section scale 1:250Vertical sectionsscale 1:20

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documentation

1 sheet-copper roofing with welted seamsroof sealing layerbattens and counter-battens120 mm thermal insulation between70/150 mm rafters at 400 mm centres12.5 mm plasterboard

2 260 mm sandstone rubble walling25 mm ventilated cavity75 mm thermal insulation140 mm blockwork15 mm plaster

3 wall tie4 rubble stone lintel5 reinforced concrete linte6 double glazing in cedar frame7 20 mm untreated fir boarding on pugging

120 mm hollow clay blocks50 mm rock-wool thermal insulation

20 mm wood soffit boarding8 steel9 2x 12.5 mm plasterboard

30 mm polyurethane thermal insulationseparating layer

10 untreated exposed concrete surface11 sliding gate:

copper sheeting18 mm boarding40 mm supporting structure withrock-wool thermal insulation18 mm boarding

12 50/50 mm steel channel section weldedto Ø 219.1/7.1 mm tubular steel beam

13 untreated fir cladding on supportingstructure

14 40 mm foamed-glass thermal insulationon bed of mortar

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-beam 160 mm deep

Representation of the States ofBrandenburg and Mecklenburg-West Pomerania in Berlin

Gerkan, Marg und Partner, Hamburg

After the fall of the Berlin Wall, plans weremade to put the area formerly known as the"Ministerial Gardens" north of Leipziger Platzto a new use in keeping with its political tra-dition. After the war, this heavily bombed sitelay on the border between East and WestBerlin. It was cleared in 1961 and redevel-oped on the eastern side in the 1980s withblocks of housing in concrete panel con-struction. In 1993, new planning proposalswere drawn up for the area: the representa-tions of all 16 German Lander were to beaccommodated in 12 separate structureson the southern part of the site.Some of the states subsequently took upresidence in older buildings in Friedrich-

stadt, but new structures were erected forthe other missions. The building for thestates of Brandenburg and Mecklenburg-West Pomerania was laid out in the form oftwo offset L-shaped tracts linked by a com-mon central hall with a glass roof. On thewest side, a lower volume containing aspace for meetings and lectures extends outinto the garden. Open terraced areas punc-tuated by stakes tor climbing plants mediatebetween the gardens and the building. Theground floor discussion spaces at the twoends are glazed over their full height and ap-pear almost to have been carved out of thesolid structure. The various functions of thecomplex are clearly articulated from storey

to storey, with the offices of the two statemissions housed above ground floor level.This clear layout allows good public accessin spite of security requirements. The tworestaurants on the lower ground floor can bereached from the hall and from the gardens.The facades of the two main tracts are cladin natural-cleft slate slabs arranged in a strictpattern, with the wood casement elementsforming a lively contrast. The position of themarine-plywood panels varies according tothe function to the rear. The horizontal linesof the parapet wall to the roof and the bandsof stone over the edges of the floor slabs areset off against the vertical articulation of theconcrete hall structure. DETAIL 11/2003

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documentation

Sections • Floor plansscale 1:750BasementGround floorFirst floor

1 Basement garage2 Restaurant3 Kitchen4 Services5 Changing room6 Store7 Discussion space

8 Foyer9 Hall

10 Caretaker11 Offices

of State ofBrandenburg

12 Offices of State

of Mecklenburg-West Pomerania

13 Records office14 Executive offices15 Departmental

offices16 Administration

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Representation of the States of Brandenburg and Mecklenburg-West Pomerania in Berlin

Vertical sectionscale 1:20Sectional detailsscale 1:5

1 0.8 mm titanium-zinc sheetcovering

2 40 mm natural-cleft slate slabs40 mm ventilated cavity120 mm rigid-foam thermalinsulation300 mm reinforced concreteparapet wall

3 40 mm concrete paving slabson bed of stone chippings

4 meranti window element withlow-E glazing: 2x 6 mm floatglass + 16 mm cavity

5 40 mm natural-cleftslate slabs withelastically sealed joints andstainless-steel anchors90 mm ventilated cavity120 mm mineral-wool insulation

6 burglar-resistant doubleglazing:12 + 30 mm laminated safetyglass + 16 mm cavity

7 60/8 mm stainless-steel fixingstrip with stainless-steel screws

8 2 mm sheet aluminium fascia9 120/57/8 mm galvanized

steel angle, welded in placeafter adjustment

10 recessed soffit fixing withanthracite coating

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Representation of the States of Brandenburg and Mecklenburg-West Pomerania in Berlin

134

Isometric of slate cladding (not to scale)Vertical and horizontal sections through facadescale 1:10

1 40 mm natural-cleft slate slabsadhesive fixed at mitred arris

2 106/95 mm meranti strip3 curtain strip4 meranti lifting-sliding window

with low-E glazing:2x 6 mm float glass + 16 mm cavity

5 10 mm laminated safety glass barrier6 160/30-40 mm meranti sill, splay cut7 170/30-40 mm slate window sill,

splay cut8 38 mm veneered composite wood

board

9 shelf recess10 12 mm marine plywood

panel, with ventilatedcavity to rear

11 external wall construction:40 mm natural-cleft slate slabs90 mm ventilated cavity120 mm mineral-wool insulation200 mm reinforced concrete wall74 mm bearers12.5 mm plasterboard

12 stainless-steel angle withanchor supports

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School Building in Zurich

Patrick Gmür Architects, Zurich

Increasing numbers of schoolchildren andthe need to integrate new, team-orientededucational concepts into existing structureshave forced the city of Zurich to enlarge thecapacity of its schools. The Scherr schoolcomplex, situated on the Zürichberg, con-sisted of a central building dating from 1865and two later sports halls erected in 1916and 1973. With a compact extension in areaand height at one corner of the 70s' gym,additional classrooms and common roomshave been created that double the teachingspace of the original school building. Thedense spatial layout of the new volume, intowhich the existing structure has been care-fully integrated, has resulted in a reordering

and improvement of the urban situation. Withits restrained appearance, supported by thefacade design, the building now forms acounterpoint to the listed Oberstrass churchnearby, without impinging upon it in any way.Internally, the spatial organization is basedon urban models. The heart of the complexis no longer the playground, but a new cen-tral space, conceived as a kind of forum.The stairs and corridors laid out about thisspace are in the nature of indoor streets thatwiden to forecourts in front of the class-rooms. In this city within a city, the boundarybetween public and private space is indi-cated by lighting and coloration. The calmdesign of the classrooms in white and grey

is contrasted with the bold pink, orange, yel-low and blue of the corridors and stairs. Thecoloration, which reaches its climax in thecentral hall, lends the building a specialidentity. The architects and the artist soughtto invent a pictorial world for children basedon a unity of architecture and colour. Toattain the expressive force of a picture, thecolour space was built up - as in a painting- in layers that reveal not only the materialquality of the concrete and the irregularitiesof the shuttering, but the brushwork as well.The concrete itself was not homogeneouslycoloured. Traditional acrylic-based Lascauxmaterials were applied on a white ground toachieve an intense coloration and great

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radiance. The tonal quality thus attainedis accentuated by the incidence of daylight,which enters, sometimes indirectly, via thenumerous roof lights in the hall, accentuatingand changing the effects of the coloursand the character of the space. The com-pact external form of the building is thuscontrasted with the richness of the interior,which is generated by the interplay ofspace, colour and light. DETAIL 12/2003

Site plan scale 1:1500Section • Floor planscale 1:750

1 Gymnasium (1916)2 Gymnasium/School

(1973/2003)

3 School building(1865)

4 Oberstrass church5 Existing gymnasium6 Hall7 Classroom8 Group room

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Housing and Commercial Blockin Zurich

Marcel Meili, Markus PeterArchitects, Zurich, with Zeno VogelAstrid Staufer & Thomas HaslerArchitects, Frauenfeld

This centrally located building combineshigh-quality urban dwellings with culturalamenities. Set above a cafe and two cine-mas are 14 spacious flats. The renderedfacades are in the same style as those ofthe neighbouring buildings, but they arecontrasted in colour and have a multilayeredsurface. The rich yellow or red outer coatof rendering was applied over a compositesystem of thermal insulation and brushed indifferent directions from bay to bay to createa varied surface texture. Finally, a unifyinggrey glazing coat was applied that tonesdown the intensity of the colours. The boldyellow of the window frames and revealsforms a striking contrast with the facade.The dwelling layouts seek to recreate thespatial sequences of rooms found in grandbuildings of the past, while the lofts aredesigned in an open style. Situated on thestreet face are the large living rooms; thesmaller working spaces and bedrooms areon the courtyard side. The kitchens andbathrooms reveal a new interpretation: here,the cooking areas and bathtubs are locatedin internal recesses. DETAIL 12/2003

1 Living room2 Study/Bedroom3 Roof terrace4 Café/Lounge5 Box office6 Void over foyer7 Cinema

Site planscale 1:3000Floor plansscale 1:500

Third floor Roof storey

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Ground floor First and second floors

documentation

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Housing and Commercial Block in Zurich

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Sectionsscale 1:500

Horizontal sectionVertical sectionscale 1:20

1 80/80 mm steel column2 safety barrier: stainless steel mesh3 sliding door with softwood frame and

double glazing: 2x 6 mm toughenedglass + 16 mm cavity (U = 1.0 W/m2K)

4 5 mm rendering:grey silicone-resin glaze coat appliedwith rollerfinishing coat of plastic-modified mineralplaster (1.5 mm grain), coloured red andyellow in alternate bays: horizontally andvertically brushedglass-fibre mesh fabric reinforcementin mortar

5 180 mm polystyrene rigid-foamthermal insulation

6 180 mm reinforced concrete wall7 fabric roller sunblind8 fluorescent tube9 6 mm white-opal perspex on

60/30/50/2 mm natural-anodizedaluminium angle

10 30 mm three-ply laminated sheeting:solid African mahogany strips, oiled

11 120 mm steel channel section12 expanded-steel mesh radiator cover,

painted13 upstand fitting:

20 mm MDF sheeting, painted14 inverted roof construction:

40 mm pigmented concrete pavingslabs 700/500 mm50 mm bed of stone chippings (3-6 mm)moisture-diffusing plastic separatinglayer120 mm extruded polystyrene rigid-foamthermal insulationtwo-layer bituminous sealing membrane430-400 mm reinforced concrete slabto falls10 mm gypsum plaster, painted white

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Housing and Commercial Block in Zurich

Sections through courtyard facadescale 1:20

1 inverted roof construction:40 mm pigmented concrete pavingslabs 700/500 mm50 mm bed of stone chippings (3-6 mm)moisture-diffusing plastic separatinglayer180 mm extruded polystyrene rigid-foamthermal insulationtwo-layer bituminous sealing membrane430-400 mm reinforced concrete slabto falls10 mm gypsum plaster, painted white

2 stainless-steel sheeting3 sandwich slab: polystyrene rigid-foam

slab between 20 mm composite woodboards

4 20 mm composite wood board5 fixed double glazing in softwood frame:

2x 6 mm toughened glass +16 mm cavity (U = 1.0 W/m2K)

6 220/25 mm softwood sill painted yellow7 foamed-glass insulation splayed on top8 door with double glazing in softwood

frame: 2x 6 mm toughened glass +16 mm cavity (U = 1.0 W/m2K)

9 floor construction:3 mm poured coloured polyurethanefinish80 mm screed20 mm impact-sound insulation20 mm polystyrene rigid-foamthermal insulation400 mm reinforced concrete floor slab

10 40/8 mm galvanized steel flat handrail11 15/15 mm galvanized steel balusters12 balcony slab:

45-25 mm granolithic paving to falls180 mm reinforced concrete

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High-Performance Concretes

Wolfgang Brameshuber

1

Improved performanceConcrete technology has undergone a con-stant process of development over the past50 years. Today, it provides engineers andarchitects with a broad range of possibilitiesin terms of both structural and formal design.In office construction, for example, high-strength concrete offers scope for savingspace by reducing the dimensions of theload-bearing structure and thereby increas-ing the rentable floor area. This type of con-crete also allows the construction of buildingelements that have a great resistance toweathering, that are durable and that, in cer-tain circumstances, can protect the environ-ment against harmful liquids. Today, newtypes of concrete are available that mark aconsiderable advance on normal concrete interms of their strength and ductile behaviour.It has been possible, for example, to in-crease the compressive strength by a factorof 10. In addition to purely technological de-velopments, there has also been a great in-crease in the use of cementitious elements incomposite forms of construction. Of specialinterest in this respect is the creation of fibre-reinforced and textile-reinforced concrete.Fibre-reinforcement, for example, hashelped to improve the ductile properties ofconcrete. Indeed, in certain situations, suchas load-bearing walls in housing construc-tion, fibres can replace conventional steelrod reinforcement. Glass-fibre-reinforced

1 Slender members of a bridge in reactive-powderconcrete, Quebec, Canada [1]

2 Potential reductions through the use of high-performance concretes (strength grades C35/45and C70/85, in accordance with German standards)

3 Seonyu footbridge, Seoul: ultra-high-strength, self-compacting, prestressed concrete with steel fibrereinforcement; heat treatment of formwork;VSL-INTRAFOR Group, Subingen, Switzerland

4 Section through footbridge, scale 1:70; the super-structure is only 30 mm thick

5 Optimization of wall thicknesses in an office build-ing, using high-strength concrete (shaded black)

concrete is mostly used for slender con-structional elements, e.g. roof coverings,shell structures, facade slabs and sunshad-ing fins.Textile-reinforced concrete is a logical devel-opment of glass-fibre-reinforced concrete,since it allows the direction of the load-bearing reinforcement to be controlled, incontrast to the random arrangement of rein-forcing fibres. With textile-reinforced con-crete it is possible to create extremely thinand lightweight elements, which have agreat potential in architectural design. Thedevelopment of self-compacting concretemarks a quantum leap in processing tech-niques. The properties of this type of con-crete afford virtually unlimited scope for de-sign in terms of unit geometry and surfacetreatment.

CostsThe materials used in high-performanceconcrete usually mean that it is considerablymore expensive than normal concrete. De-pending on the application, an increase inthe cost of the initial constituents rangingfrom 50 to as much as 200 per cent or moremay be expected. These figures are relatedto a cubic metre of concrete, however, sothat the additional costs may be offset in partby reductions in the cross-sectional dimen-sions of elements and the resulting increasein rentable space. Furthermore, additional

sealing measures may become superfluouswith dense types of concrete; and in thecase of self-compacting concrete, there willbe savings in the amount of processing andsubsequent treatment and in remedial work,such as making good small defects. A cal-culation of the additional costs and savingsshould be made in each individual case.Only with a sustainable approach can anobjective analysis of the ultimate costs canbe obtained.

High-strength concreteHigh-strength concrete has a long traditionboth at home and overseas. With extremelylow water/cement ratios (below 0.4) andwith the addition of pozzolana, highly reac-tive additives such as powdered silica ormetakaolin, a compressive strength of upto 150 N/mm2 can be achieved in practice(compared with a strength of 20-50 N/mm2

for standard concrete). The potential reduc-tion in the cross-section of a memberthrough the use of high-strength concreteinstead of standard concrete is shown dia-grammatically in ill. 2. Assuming the sameamount of reinforcement and the use ofC70/85 concrete, the cross-section could bereduced by 30 per cent. In many situations,a reduction in the amount of reinforcementmay be required instead, in order to facilitatethe execution of the work (ill. 2). In mostcases, however, a solution will be sought

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between these two extremes. A situation inwhich high-strength concrete can be usedin optimum form is shown in ill. 5, where thedesign study for an office building with amushroom-shaped form is shown. Only byusing this type of concrete was it possible tokeep the thickness of the walls on the lowerfloors within reasonable limits. With concreteof standard strength, a wall thickness ofabout 2 m with a very large amount of rein-forcement would have been necessary.It was possible to reduce the thickness toroughly 1.40 m and to use only a moderateamount of reinforcement. Nevertheless, forwalls of this thickness, it is necessary to re-duce the cement content to well below nor-mal levels and to add pulverized fuel ash(PFA) to the mix. Preliminary trials allowedthe appropriate combination of cement andPFA to be determined in order to avoid dele-terious cracking through the discharge of theheat of hydration. In Germany, solutions ofthis kind require a special certification fromthe relevant state planning authorities. Evenwith the use of an optimum concrete mix,however, newly constructed concrete ele-ments still need appropriate subsequentcuring to prevent heat escaping too quickly.In view of the very low water/cement ratioand the use of pozzolanic additives, high-strength concrete is not only strong, butalso dense. Both properties can be exploitedin areas like bridge-building, where highly

durable concrete is required to ensure longlife as well as slender cross-sectional dimen-sions. Increasingly slender superstructurescontinue to enhance the impressions ofbridges.Where harmful liquids are used in buildingssuch as clinics, hospitals or chemical labora-tories, additional measures will be necessaryto protect the ground and groundwater fromcontamination. Dense concrete mixes haveproved particularly suitable in such cases.The advantages of high-density concreteslabs include their greatly reduced permea-bility in comparison with standard concrete,and their higher tensile strength. In slabs ofsmaller area (up to a maximum dimension of15m), their greater strength means that theyare not subject to cracking. Cracks in con-struction elements are especially critical inbuildings where water-polluting organic li-quids are used. With the use of high-densityconcrete, it is often possible to do without anadditional protective coating. As far as per-formance of cementitious building materialsis concerned, new developments have takenplace in recent years that will considerablyextend the use of concrete in this area. Thisapplies in particular to high-strength con-cretes with compressive strengths of upto 800 N/mm2 (in comparison with standardapplications of about 300 N/mm2).Considerable reductions in the cross-sections of reinforced and prestressed

concrete members can be achieved withthis type of concrete. Slender elementsalso mean a lower overall weight, as wellas a more sustainable form of constructionthrough the conservation of resources.New methods of construction are alsoemerging through the use of so-called"reactive-powder concrete", as can beseen in the bridge constructed by Bouygesin Quebec, Canada, in 1997 (ill.1). In themeantime, this technology has been appliedto other structures, such as the footbridgein Seoul, South Korea (ills. 3, 4).

Fibre- and textile-reinforced concreteFibre-reinforced concrete is a relatively long-established composite material. The fibresused may be of plastic, glass or steel.

Plastic fibresPlastic fibres (ill. 6) are mostly used toreduce cracking as a result of early shrink-age in concrete, but they also serve to in-crease fire resistance; for example, in high-strength concrete. Polypropylene fibres,which are most commonly used for this pur-pose, vaporize at high temperatures; al-though the precise mechanism involved hasnot been finally established, an increase inthe available pore space for the release ofthe steam developing at higher temperaturesmay be responsible for the improved fire re-sistance of the concrete building elements.

3 4 5

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Glass fibresGlass fibres are used to reduce cracking insetting concrete, but they also have a struc-tural function in smaller building elements(ill. 7). In addition, they provide an alternativeto asbestos, which was widely used as ameans of reinforcing cement-bondedelements in the past. In view of its ductileproperties, its high strength and durability,glass-fibre concrete has a wide range of ap-plications, including semi-finished productsand other elements.

Steel fibresThe use of steel-fibre-reinforced concrete isalso possible in the field of engineering (ill. 8);for example, in precast reinforced concretefloor elements or for load-bearing wallswithout additional steel reinforcement. It isalso used in industrial floor finishes or forsecuring excavations in tunnel construction.Steel-fibre-reinforced concrete has veryspecific functions due to its flexibility of formand stability.Like steel rod reinforcement, steel fibreshave a structural relevance. In terms of arch-itectural design, however, their use posescertain problems, since any fibres that lie onor near the surface of the concrete of exter-nal building elements will be subject to cor-rosion when exposed to moisture and oxy-gen. In terms of the load-bearing capacityand durability of the concrete, this is not a

problem, but the brown discoloration of thesurface to which corrosion gives rise is nor-mally unacceptable aesthetically. Even ininternal building elements this form of un-sightly corrosion may occur when the con-struction phases were very extended, allow-ing moisture to come in contact with theinteriors.

Textile-reinforced concreteTextile-reinforced concrete is a logical devel-opment of fibre-reinforced concrete. Textile-like structures allow the alignment of theload-bearing reinforcement to be controlledand facilitate an economical exploitation ofthe material. In conventional reinforced con-crete construction, the concrete has the ad-ditional function of protecting the reinforce-ment against corrosion. The use of engineer-ing textiles made of glass or carbon meansthat the concrete cover can be reduced,thereby allowing the construction of thin-walled, three-dimensionally shaped ele-ments.

The use of textile-reinforced concrete is con-ceivable in many areas, even for complexload-bearing shell structures. Used in pre-cast elements as a kind of "integrated form-work" in combination with in-situ concrete,it offers a number of advantages. As perma-nent formwork, it does not have to be re-moved from the building component; theconcrete surface requires no subsequent

treatment; and the load-bearing capacity ofthe "formwork" can be included in calcula-tions for the overall strength of the element.Last, but not least, it serves to increase thefire resistance of structural members. III. 11shows a formwork element developed in thepast few years, constructed in such a waythat it functions as a continuous beam.Through a careful selection and combinationof the desired textile and concrete properties(in this case, fine-grain concrete with coarseaggregate of very small maximum size),the load-bearing capacity and deformationbehaviour of textile-reinforced concrete canbe precisely controlled. III. 13 shows theoutcome of uniaxial tension tests carried outwith various types of textile-reinforced con-crete. The choice of the appropriate kind ofconcrete resulted in an increase in the load-bearing capacity in normal use (and in theresidual load-bearing capacity at the pointof failure) by a factor of 2.The versatility of textile-reinforced concreteis yet to be realised. Various applications arepossible today, including the construction offacade panels with simple geometric forms,and the creation of formwork components in-tegrated in to compound wall and floor sys-tems. An example of these innovative pro-cesses can be seen in ill. 9, where a newtype of yarn (friction-spun hybrid yarn) isshown. In iII. 10, one can see a section of thethree-dimensional textile itself. The friction-

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6 Plastic fibres (polypropylene)7 Glass fibres8 Steel fibres9 Friction-spun hybrid yarn (under electron

microscope)10 "Pile" spacing fabric11 Textile-reinforced concrete formwork element

integrated into compound building component12 Diagram showing noise levels at vibration tables

in a precast concrete works13 Stress-strain diagram of textile-reinforced

concrete; upper curve = reactive-powderconcrete (MW RPB-2E-3ARG); lower curve =fine-grained concrete(reference mix MW PZ-0899-01) 11

spun hybrid yarn consists of a number ofglass threads that can be fusion-coated indi-vidually and in their entirety. The relation bet-ween the core material (usually glass fibres)and the coating (e.g. polypropylene) canbe precisely determined and varied at will,allowing careful control of the properties ofthe yarn.The knitted fabric consists of two load-bearing layers - with a space between them- tied together with "pile" threads. Thesethreads may also be load-bearing, or con-structed of simple polypropylene connectedtogether and simultaneously spaced asdesired. The spacing between the layersdepends on structural requirements.Production processes need to be developedthat will allow the economical manufacture ofvarious building components with these ma-terials. One possible application for textile-reinforced concrete lies in the creation offinely dimensioned forms that would allowthe actual load-bearing behaviour to be vis-ualized. Obviously the properties of textile-reinforced concrete are highly dependentupon the textile itself; new yarns and textileproduction techniques being under continualmodification. As far as the surface designis concerned, similar scope exists with thistype of concrete as with self-compactingconcrete. The fine-grain concretes used inconjunction with textile-reinforcement have ahigh fluidity and are usually self-compacting

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(see next section). New design opportunitiesexist in the field of surface finishes both forfacade elements and elements used asformwork as part of a system-integrated wallskin. It is possible to create finely delineatedcontours of all kinds without blemishes or de-fects. Since the elements are extremely thin,it is economically viable to obtain colouredsurfaces through pigmentation, thereby obvi-ating the need for colour coating or painting.Textile-reinforced concrete has a high load-bearing capacity, even with comparativelysmall cross-sectional dimensions. It is, there-fore, a sustainable form of construction,since the use of raw materials is relativelylow, thus helping to conserve resources. Thehigh performance of textile-reinforced con-crete is shown by the construction of carvingskis, which have been tested and functionwell.

Self-compacting concrete (SCC)The greatest step forward in concrete tech-nology in recent years is certainly the devel-opment of self-compacting types of con-crete. A material that flows like honey offersfantastic opportunities for creating buildingcomponents with complex forms and sur-face effects.

Fine-grain aggregate contentSelf-compacting concrete differs fromvibrated concrete in that it contains a greaterproportion of cement and fine-grain aggre-gate. The concrete acquires its self-compacting properties in conjunction withhigh-performance additives. Examplesof various mixes for the types of concrete,including self-compacting concrete,described here are shown in ill. 14.Roughly 30 per cent of the volume of stan-dard concrete consists of the cement-pastematrix. The maximum diameter of the aggre-gate may be 8, 16 or 32 mm. The largestconstituent is the aggregate, which makesup more than 70 per cent of the volume.Depending on the water/cement ratio, thevolume of water will probably be slightly lessthan 20 per cent. Self-compacting concretediffers from standard forms of concrete in

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that it generally contains aggregate with amaximum diameter of 16 mm. The aggre-gate again accounts for about 60 per centof the overall volume. What is decisive in thiscontext is the considerably higher proportionof fine-grain material; consisting of cementand additives - mostly PFA or powderedlimestone. The fine-grain material, half ofwhich is cement, makes up about 20 percent of the mix by volume. In other words,the cement content is roughly the same asthat in standard concrete, as is the watercontent.

High-strength ano high-density concretesIn high-performance concrete (i.e. high-strength and high-density concrete) there isa considerably greater proportion of cement.The fine-grain material is generally formedby cement and microsilica. In most cases,the coarse-grain aggregate will also have amaximum diameter of 16 mm (as in self-compacting concrete), but the water contentwill be somewhat lower. In view of the muchgreater proportion of bonding agent, thewater/cement ratio will also be somewhatlower, compared with standard and self-compacting concretes.

Reactive-powder concreteThe column at the right-hand end of ill. 14shows an example of the composition of so-called "reactive-powder concrete". Here,too, the water content is roughly the sameas that for standard concrete, but there areconsiderable quantities of additional fine-grain material, silica powder and cementrequired. The proportion of "coarser aggre-gate" (albeit with a maximum grain diameterof 0.5 mm) is just over 25 per cent and thussignificantly lower than that for all other typesof concrete.

Testing methods for self-compacting concreteWith a very precise composition, it is pos-sible to prevent the coarser aggregate fromsinking in the fluid matrix. The rheologicalproperties of self-compacting concrete are,therefore, described in terms of flow times,flow dimensions and sedimentation stability. 16

Self-compacting concretes usually have aslump value of between 600 and 800 mm,which provides some indication of the yieldpoint of this type of concrete. The run-outtime from the conical discharge funnel -which as a rule lies between 10 and 20 se-conds - is an indirect measure of the viscosi-ty of the concrete, this range being desirablein relation to the required rheological proper-ties. The combination of these two valuesdetermines the consistency of the self-compacting concrete. Tests also have tobe carried out to determine whether self-compacting concrete can flow between thereinforcement. So-called "block ring tests"have been developed for this purpose. The

spacing of the bars should be coordinatedwith the maximum size of the aggregate. Inthe example of self-compacting concreteshown in ill. 17, there is a danger of seriousblocking. The two values mentioned abovedo not help to determine the sedimentationstability. For this purpose, therefore, anothertesting process has been developed -which can also be carried out on the buildingsite together with the slump test and the coni-cal discharge test - in which a sample of theconcrete is filled into a tubular vessel on siteand stored without jolting or vibration until thefollowing day. The tube is then cut apart inthe middle, and the concrete is inspected tosee whether the coarse aggregate remains

17

homogeneously distributed in the materialor has sunk to the bottom. Like compressivestrength trials, this process serves as a pre-liminary test for the acceptance of concrete.As the concrete pour has been completedby the time of testing, these tests serve as acontrol of the specified properties.

Professional techniquesWhen working with self-compacting con-crete, the temperature during the hydrationprocess is critical. In comparison with stan-dard concrete, it has a much greater rheo-logical influence on the material. Tempera-tures that are either too low or too high (up to30 °C) can result in sedimentation and ex-

technology

References:[1 ] Company brochure Bouygues, France[2] Brameshuber, W.: Selbstverdichtender Beton:

Spezialbetone vol. 5, Verlag Bau + Technik, 2003[3] Guthardt, W. et. al.: Selbstverdichtender Beton -

Innovation am Beispiel »PHAENO«, ScienceCentre in Wolfsburg, Beton-Information Spezial3/2002

14 Various concrete mixes15,19 "PHAENO" Science Centre, Wolfsburg;

completion date: 2004 [3]; architect: Zaha Hadid,London, in collaboration with Mayer/Bahrle,Lorrach

16 In-situ concrete wall in self-compacting concrete17 Testing process with block ring18 Precast concrete elements: self-compacting

concrete (above): standard concrete (below)

cessive rigidity or fluidity. It is important,therefore, that the concrete manufactureris aware of the possible effects of tempera-ture on the rheological properties of self-compacting concrete. The choice of theappropriate mix proportions and the pro-duction of self-compacting concrete pre-suppose specialist knowledge in this field.

Sharp EdgesAlthough it is not necessary to use vibratorswith self-compacting concrete, it is possibleto achieve sharply delineated forms and sur-face textures. An example of the design po-tential this offers may be seen in ill.16. Withself-compacting concrete it is in fact pos-sible to form a negatively curved surfacefree from defects and with sharply visibletimber graining. The Science Centre inWolfsburg (ills. 15,19), probably the mostwell-known example in Germany, demon-strates further the architectural design scopeoffered by self-compacting concrete today.

Self-compacting concrete in prefabricationThis material is particularly relevant in thefield of prefabrication, where there is also asocial dimension to this form of construction,in relation to labour conditions. Vibrationtables are among the noisiest appliances inthe building sector. The use of self-compactingconcrete obviates the need for this equip-ment, thus eliminating the associated healthhazard, e.g. loss of hearing. III. 12 shows thenoise levels measured in the production of aprecast concrete element. During the vibra-tion process, they can be as high as 115dB(A). The use of self-compacting concretereduces this burden to an acceptable level.As far as surface quality is concerned, thesame rules apply as for in-situ concrete.Two precast elements in self-compactingconcrete may serve as examples (ill. 18).The picture shows the difference betweenthe two types of slab - in self-compactingconcrete (above), and in standard concrete(below). The voids in the vibrated concreteare clearly visible. DETAIL 4/2003

The author is head of the Institute for BuildingResearch at Aachen University.

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Metal Facade Finishes

Stefan Schäfer

The significance of Jean Prouvé's use of me-tal as a facade material might be comparedwith the contribution Joseph Paxton made toiron and steel construction with the erectionof his Crystal Palace in London in 1851. Prou-vé, a trained blacksmith, explored numerousinnovative techniques in the course of his lifeand did much to further the cause of ad-vanced building skins. Using machines hehad developed himself in part, he was able toapply metal casting and processing methodsto large-scale construction and the creationof new building components. As a result ofhis experience in furniture manufacture, arte-facts and wrought-iron production, Prouvédeveloped a great variety of different buildingelements, like moveable sunshading fins andpost-and-rail facades. The materials he usedmost frequently were steel, aluminium andstainless steel, and sometimes brass andcopper. One of his greatest achievementswas to apply metals in areas where timber,glass and mineral materials had been usedhitherto. The curtain-wall facades Prouvédeveloped at the end of the 1950s intro-duced a new age in the use of metals (ill. 1).The advantages of metals as facade finisheslie in the ease with which they can be worked,the low maintenance they require and thescope they offer for individual design. As arule, surfaces of this kind are robust, have along life and can be economically manufac-tured.

General construction techniquesThe main factors to be considered in deter-mining the appropriate working techniquesand dimensions of metal facade finishes arewind suction and the degree of thermal ex-pansion and contraction to which elementswill be subjected. Constructional measuressuch as the correct spacing of joints and fix-ings that allow for movement in the sheetingcan help to avoid strains in the material. In-creased incidence of wind suction loads onedges and corners of buildings in particularlyaffected regions require extra constructionaldetailing. Consideration of the individualfixing-point strengths gives rise to the allow-able spacing of these fixings.

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The insulating property of thin metal sheetingis usually not very great. For that reason, it ismostly used in multilayer composite forms ofconstruction in which only the outer skin is ofmetal. Other requirements with respect to thebuilding physics of an enclosing skin will bemet by the supporting structure. With few ex-ceptions, the metallic outer layer will merelyprovide protection against the weather,corrosion and various mechanical forces.Functionally, a distinction can be made be-tween ventilated and non-ventilated formsof construction. In the former case, the outerskin and the supporting structure are sepa-rated by a cavity through which air flows.Here, it is important to provide adequatelydimensioned air inlets and outlets (> 1/500of the ventilated area). The movement of airthrough the cavity ensures that vapour es-caping from the interior of the building will beremoved before it can condense. With non-ventilated forms of construction, there is nocavity. The advantages of this are the smallerdepth, the elimination of ventilation openings,and a simpler form of construction. In thiscase, however, an effective, correctly posi-tioned vapour barrier will be necessary.

Stabilizing and jointingMetallic surfaces usually have a membrane-like thickness and are inherently unstable.Some form of structural bracing will thereforebe necessary for large sheets. This can beachieved, for example, by bending up theedges, which may also serve as a meansof fixing. Other forms of bracing include theapplication of stiffening angles to the rearface of metal sheets or the manufacture ofcomposite elements with adequate rigidity.One can distinguish between fixings thatpenetrate the sheet and are visible on theouter face, and those that do not penetratethe sheet (invisible fixings). All fixings shouldbe reversible to allow for subsequent main-tenance and replacement work. Thermal ex-pansion can cause friction between the sur-faces of metal components that are in con-tact with each other and lead to unpleasantnoises. One solution to this problem is theuse of plastic washers to separate the two

surfaces. Classical forms of jointing the indi-vidual strips of metal cladding include stand-ing seams (ill. 2, 3a) and batten roll seams.These allow loads to be transmitted withoutrestricting movement within the individualsheets. The number of fixings required willdepend on the transmission of vertical loadsand the calculated wind-suction forces.Numerous other jointing techniques are avail-able where structural aspects play a subordi-nate role. For one building project, a metalroof covering with recessed joints was de-veloped. The principle of this system (ill. 3b)was based on the use of prefabricated metalsheets with longitudinally bent edges, whichwere clipped into position on site without theuse of special tools. The interaction of preten-sioning, geometry and jointing pattern createca homogeneous surface appearance thatwould also lend itself to use in facades.Depending on the type of metal used, variousjointing techniques are available: both dis-crete fixings (screws, bolts, rivets, clips) andlinear methods (brazing, soldering, welding,adhesives). Ideally, however, metal panelsshould be clipped together or suspended.

SurfacesIn addition to visual design aspects, an im-portant consideration in determining thesurface quality of sheet metal is its long-termresistance to corrosion. Steel-based materialsare especially critical in this respect. In suchcases, protection may be provided in theform of metallic or non-metallic coatings.Some metals have their own natural surfaceprotection. Aluminium, stainless steel, zinc,tin, copper and titanium, for example, havea natural resistance to corrosion and, undernormal weather conditions, will require no ad-ditional protection. The natural, regenerative,passive coatings these metals form cansometimes be artificially induced morerapidly and in a more precise way. The ano-dizing of aluminium - often in combinationwith coloration - is one example of this. Steelsurfaces can also be chemically treated tocreate a brown, oxidized protective layer.Protective metal coatings can be appliedthrough an electro-chemical process (galva-

technology

32

Stefan Schäfer is an architect in Stuttgart andprofessor for structural design and building construc-tion at the University of Technology, Darmstadt.

1 Facade consisting of prefabricated metal panels:UNESCO building, Paris, 1969;architect: Jean Prouvé

2 Expansion clips:a for hand-formed seams;b for preformed metal sheets

3 Seam forms:a standing seam;b downstand seam

4 Liner Museum, Appenzell;architects: Gigon/Guyer, Zurich;material: chromium-steel sheet

nizing), through a vapour metallizing process,or in the form of plating. Weak acidic or alka-line solutions are used as the electrolytic bathfor galvanizing; for example copper-plating ofbrass objects will normally take place in asolution of copper sulphate (CuSO4) whilethe anodes are usually of the same materialas the original base metal. The application ofextremely thin coatings (e.g. in a vacuumprocess) is gaining in importance. Amongthe most familiar and reliable forms of surfacecoating are enamelling and galvanizing.Enamelling comprises the application of athin vitreous layer, such as silicon oxide, bydipping, spraying or powdering the surfaceand then stoving it at a temperature of ap-proximately 800 °C. Enamel powder canbe applied in thicknesses between 80 and200 µm. Surfaces treated in this way areacid- and alkali-resistant, electrically non-conductive and shock resistant. Zinc-galvanizing is carried out by dipping steelelements for a few minutes in a bath of liquidzinc at a temperature of 450 °C. The coatingwill be about 0.1 mm thick. The original metalis no longer visible but, due to the thinness ofthe protective coating, highly susceptible tomechanical damage, particularly at the edges,at perforations and at welding seams. To in-crease the resistance to corrosion, the zinccoating can be chromed, oiled or coveredwith a further coating of plastic. Freshly gal-vanized surfaces require further treatmentbefore colour coatings can be applied; alter-natively, they should be exposed to weather-ing for some months before painting. Non-metallic surface coatings include transparentor opaque paint, and calendered foils of vari-ous thicknesses. Polyester is commonly usedfor this purpose. Electrostatic powder coatingis based on the principle that particles withopposite electrical charges attract eachother. All thermally stable substances canbe treated in this way. An electrostaticallycharged layer of powder is evenly sprayedon to the earthed object and then subjectedto a fusion and setting process at 160-200°C. The thickness of the surface coating willbe roughly 30-500 µm. Vitrified or stove-enamelled coatings are produced when

4

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Metal Facade Finishes

polyester and melamine resins react andchemically fuse together at high tempera-tures (80-350 °C). They result in a shiny,mechanically robust and corrosion-resistantsurface film. They are an important aspect ofthe industrial treatment of metal surfaces(e.g. for car bodies, household appliances,etc.). Applied coatings play a major role inthe realm of building physics. Anti-drummingcoatings as sound protection and vibration-reducing coatings are examples of this.Today, industrially applied, tough varnishedcoatings are available that can withstand thesubsequent shaping of the element in ques-tion (see table 11). Other forms of surfacetreatment allow visual and functional changesto be made to the surface quality. Stuccoeffects can be created through impressedmicrostructures that significantly increase thestability of sheet metal. As a means of clean-ing, refining or strengthening metal elements,the surfaces can be blasted with stainlesssteel or corundum granules, glass or ceramicbeads. Areas that are inaccessible to mech-anical treatment can be electrically polished,to smooth and clean welding joints, for exam-ple; and fine ornamental surface texturescan be applied by brushing.

Corrosion protectionWhere metals with different chemical valen-cies are used adjacent to each other, caremust be taken to avoid galvanic corrosion

Material

Chemical Symbol

Density [g/cm3] at25°CLight Metal (LM)/Heavy Metal (HM)Elasticity [GPajThermal ExpansionCoefficient [x 10-6/°C]Thermal Conductivity[W/(mK)]Melting point [°C]Boiling point [°C]

Geological Deposit[mg/kg]/[%]Toxic

Price[€ per Tonne]

Titanium

Ti

4.51

HM

1109

22

1668

3287

0.6

no40-50,000

Steel

7.8

HM

21011.7

65

1510

3000

no2600-3000(Mild Steel)

Iron

Fe

7.87

HM

211.4

12.1

80.4

1538

2861

4.7

no150

Stainless

Steels

7.9

HM

195

17.3

14

no

Nickel

Ni

8.9

HM

20011.4-14

15 [90.9]

1455

2913

0.008

no7100

Aluminium

Al

2.7

LM

65

21-24

160

660.32

2519

8.1

no1450

Copper

Cu

8.96

HM

70

16.2-20

150

1084

2562

0.007

no

1540

Zinc

Zn

7.13

HM

69.4/104.5

31

116

419.5

907

0.012

no

870

Tin

Sn

7.29

HM

45.8/16.1

29

35.3

231.9

2602

0.00022

no

4400

Lead

Pb

11.34

HM

58.2/49.9

23.5

66.8

327

1749

0.001

yes500

5

caused by oxidation acids. Rainwater mustnot be allowed to flow from metals of highervalency to those of lower valency. Where anarea of copper is situated above an area ofzinc, for example, the zinc would be subjectto corrosion damage. Where aluminium,stainless or galvanized steel are above zinc,however, there will be no corrosion damage,although rust lines may appear due to the ox-idization of any raw cut edges. Similarly, incombination with moisture, mineral productslike cement, gypsum or lime can have an ag-gressive effect on metals. Where this is likelyto occur, separating layers will be necessary.

Transport and storageThe surfaces of all metal components should,in principle, be protected. This applies toevery stage of their transport, storage and as-sembly. Special transport pallets and specifi-cally developed lifting equipment should beused. Metal panels are usually delivered faceto face, thereby protecting each other. Wherethey are to be stored over a longer period oftime, moisture penetration should be avoi-ded. In order to allow moisture run-off, agentle incline when in storage is recommend-ed. Enclosed storage facilities are an evenbetter solution. Self-adhesive protective foilsshould, however, be removed on site as soonas possible, due to any possible residue.Individual manufacturers' storage recommen-dations should be strictly complied with.

Visual effectsIn addition to its purely functional role, perfor-ated metal cladding can be used to creatediaphanous effects. Seen from a distanceexternally, it has the appearance of a closed,metallic skin, with various possible surfacetextures. From inside the building, it can bevirtually transparent (ill. 6). High-gloss metalsurfaces create an effect of great plasticity(ill. 7); and metal fabrics can be used toachieve a state of semi-transparency (ill. 8).Finely perforated metal sheets provide goodsolar screening, while again allowing a highdegree of transparency from within. Grids orgratings permit direct (orthogonal) views intoand out of a building, while restricting obliqueviews. Metal facade elements are also ideallysuited for suspended external sunshadingand light-deflecting functions.

Metals for facade elementsAs chemical elements, metals belong to thebasic substances of our earth. Their depositsare subject to change through the agency ofman and nature. Transformation processes,like leaching for example, assist in localchemical enrichment. All metals undergo anatural circulation. For example, four timesmore copper is moved annually as a result ofbiological cycles - through the fall of leavesand the sprouting of plants - than throughhuman activity. Some metals, like iron, areeven necessary for human nutrition. Only a

6

152

7 8

5 Table of metal properties6 Pavilion in Amsterdam;

architects: Steven Holl, New York,and Rappange & Partners, Amsterdam;material: patinated perforated sheet copper

7 Housing and commercial development inDüsseldorf;architects: Frank O. Gehry, Santa Monica,Beuker, Maschlank und Partner, Düsseldorf;material: stainless steel

8 Expomedia Light Cube, Saarbrücken;architects: Kramm & Strigl, Darmstadt;material: stainless steel fabric

9 Wallraf-Richartz Museum and Ludwig Museum,Cologne;architects: Busmann + Haberer;material: titanium-zinc sheeting

10 Various forms of perforation:circular, square, linear or slotted

11 Table showing most common organic coatingmaterials: paint and film systems 9

few heavy-metal compounds, such as cad-mium and mercury, are ecologically harmfuland potential health hazards. Metals with adensity of < 4.5 g/cm3 are referred to as"light", those metals with densities above thisare defined as "heavy metals" (see table 5).Combinations of various metals are known asalloys. These may have quite different proper-ties from their component elements. Mostmetals used in building are, in fact, alloys.

SteelSteel differs from iron in its smaller content ofundesirable secondary elements such as car-bon, phosphorus and sulphur. The materialdescribed here is fine sheet steel which is notused in a pure form; i.e. without some form ofsurface protection. Among low-alloy steels,some quickly acquire an oxidized surface,but then cease to rust further (e.g. Corten®

steel). The corroded surface forms aweather-resistant coating for the steel be-neath, provided that the building skin is ableto dry out completely. These constructionsmust be particularly well detailed to avoidcontinued oxidation and unsightly corrosionblemishes on adjacent elements. Steel is areasonably priced, durable material, the useof which is ecologically unproblematic.

Stainless steelHigh-quality, rustproof stainless steel is pro-duced by alloying steel with other metals such

Organic Coatings

Coating Material

Paint systems

Polyester

Polyester

Polyurethane

High-durability polymers

Polyvinylidene fluoride

Polyvinyl chloride (Plastisol)

Film systems

Polyvinyl chloride

Polyvinyl chloride

Abbreviation

SP

SP

PUR

HDP

PVDF

PVC (P)

PVC (F)

PVF (F)

Coating thickness

μm

10

25

25

25

25

100-200

100-200

40

Corrosion protection

class

(DIN 55928-8)

II

III

III

III

as chromium (at least 10.5 per cent) or man-ganese. Today, more than 120 varieties of thisdurable alloy are produced for use in manydifferent situations. Although stainless steel iscategorized as rustproof due to its regenera-tive, insoluble, passive coating, corrosioncannot be entirely excluded, especially underaggressive environmental conditions. Agreater proportion of other metals such aschromium, nickel, molybdenum, manganeseor copper can improve the resistance to cor-rosion, but in many cases they also changethe character of the material. Stainless steelsare much more expensive than normal steelbecause of their content of chromium andnickel, but require no additional corrosion pro-tection and are extremely durable. They arenormally used only in thin sheet form, forfasteners or in smaller cross-sections.

AluminiumAfter oxygen and silicon, aluminium is thethird most commonly found element in theearth's crust (8.1 per cent content). Thissilvery-white, ductile, lightweight metal is agood electrical conductor, but, as with allcommercially used metals, it does not exist ina pure form in nature. It is extracted at a tem-perature of over 2,000 °C, which means thatthe costs of its production are very high. Thelargest deposits are to be found in Australia,West Africa, the Caribbean and South Amer-ica. It can be used in a pure state or in alloys

and is available in sheet, rolled and foil formand in various cross-sections. Its natural,regenerative oxidized surface makes itresistant to environmental influences. Alumin-ium is extremely robust and durable. Its greatresilience means that it is ideally suited forclip fixings avoiding perforations in a varietyof elements. In view of its high productioncosts, this metal cannot be regarded asenvironmentally sustainable, but its use iseconomically viable in situations where longlife is required.

ZincZinc is a bluish-white brittle metal, shiny onfreshly cut surfaces, and can be rolled at atemperature of 120 °C. The zinc content in theearth's crust is estimated at 0.012 per cent. Itis commonly available in a low-alloy form (withcopper and/or titanium). Because of the natu-ral surface coating it forms, zinc requires nofurther treatment to protect it against corro-sion. In fact, it is one of the cheapest protec-tive coatings for other metals. Exposed to ag-gressive moisture (e.g. acid rain), however,it can suffer damage in the long term. Zinc isnon-toxic, compared with some heavy metals;run-off rainwater containing zinc residues is,therefore, not a health hazard. In the form oftitanium-zinc, its mechanical and technicalproperties are greatly enhanced. Zinc scrapcan be practically 100 per cent recycled.Zinc sheeting can be easily worked even at

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153

10 11

III

III

III

III

Metal Facade Finishes

12 Milled edges of metal plates with plastic core:a milled V-shaped groove for folding the sheetingb 90° bend

13 Sheet metal cross-sections:F = flat L = linear recessedG = grooved M = micro-profileT = trapezoidal section C = corrugated

14 Table: electrochemical (reactivity) series formetals compared with hydrogen 12

low temperatures. Zinc is a widely used ma-terial due predominantly to its inherent stabil-ity, economy of use as a corrosion protectingmetal and lack of health issues.

TitaniumThis silvery-white, extremely ductile metal,the 22nd element in the periodic table, is thetenth most common element in the earth'scrust (0.6 per cent). A reliable method of ex-traction was introduced in the 1950s. Titan-ium is now produced in two basic forms: aspure titanium (> 99.2 per cent titanium, plusoxygen, carbon and iron) in four strengthsranging from 290 to 740 N/mm2; and as titan-ium alloy (80-98 per cent titanium plus alu-minium, vanadium, tin, chromium, etc.) withstrengths exceeding 1,200 N/mm2. The vari-ous strengths of pure titanium are determinedby their oxygen content. Alloyed with pallad-ium and nickel-molybdenum, titanium has amuch greater resistance to corrosion. Titan-ium is 42 per cent lighter than steel of equiva-lent strength, but is considerably more ex-pensive. Due to its corrosion resistance, highstrength combined with low weight, and sta-ble mechanical and thermal properties; it ispopular in many different areas, particularlyaviation and space technology.

CopperCopper is a glossy, red, heavy metal; rela-tively soft, robust, highly ductile and, second

MetalGoldMercurySilverCopper

Hydrogen

LeadTinNickelCadmiumIronChromiumZincManganeseAluminiumMagnesiumPotassium

SymbolAu

HgAgCuH

PBSnNiCdFeCrZnMnAlMgK

Normal potential (V)+ 1.50+ 0.85+ 0.80+ 0.35

0-0.12-0.14-0.23-0.40-0.44-0.56-0.76-1.05-1.68-2.34-2.9214

154

only to silver, an excellent conductor of elec-tricity and heat. It makes up 0.007 per cent ofthe earth's crust with a deposit incidence be-tween 3 and 290 mg/kg. Copper forms a nat-ural oxidized protective coating on its surfacewhen exposed to the atmosphere; dependingon environmental conditions, roof geometry,etc., it can assume a green patina (coppercarbonate) over the course of time. Due tothe improved air conditions over the last20 years, the rate of decay of copper sur-faces has decelerated; in Europe, the rateof run-off has been reported to be between0.7 and 1.5 g/m2/year. In spite of the highercosts involved in its production, its extremelylong life makes the use of this material eco-nomically viable. Copper is manufactured inwire, rod, sheet and tubular form, and is alsoused for various fittings.

LeadThis bluish-grey, soft, malleable, slightly toxicheavy metal is shiny on freshly cut surfacesand forms a protective oxide coating whenexposed to the air. The content of lead in theearth's crust is calculated to be about 0.002per cent. The largest deposits are to be foundin the USA, Australia, Russia and Canada. Asa result of its excellent recycling qualities, thedemand for lead has annually decreased.Lead (Lat.: plumbum) has been in use since2500 B.C., but was first widely used by theRomans for plumbing. Continued demand

References:

Deutsches Kupfer-lnstitut: Beschichten von Kupferund Kupfer-Zink-Legierungen mit farblosenTransparentlacken Deutsches Kupfer-lnstitut,Berlin, 1991

Franqué, O. V.: Wechselwirkungen zwischenKupfer und Umgetung: Deutsches Kupfer-lnstitut, Berlin, 1983

Geyer, C: Einschalige Dachkonstruktionen mitKupfer; DBZ 11/93 pp. 1905-1908

Haselbach. M.: Kupfer im Hochbau; DeutschesKupfer-lnstitut, Berlin, 1987

Koewius, Gross, Angehrn: Aluminium-Konstruktionen.Aluminium-Verlag, Düsseldorf, 1999

Liersch, K.: Belüftete Dach- und Wandkon-struktionen, Bauverlag, Wiesbaden and Berlin var.vols. since 1981

Moritz, Karsten: Membranwerkstoffe im Hochbau.Detail 6/2000. pp. 1050-1055, Institut für inter-nationale Architektur-Dokumentation, Munich

caused lead to become the most widely usednon-iron metal in the 1920s; since 1925, how-ever, it has fallen to fourth place after alumin-ium, copper and zinc. The available worldsupply of lead is estimated to be approxi-mately 200 million tonnes. It is extremely re-sistant to hard water, but tends to dissolve insoft water with a high CO2 content, which isone reason why it is no longer used for waterpipes. Lead has neglible qualities as a ther-mal and electrical conductor. It is mainly usedin building today to form connections and asa shield against radiation. The lead alloys stillfound in construction (drips, flashings, etc.)present no health hazard.

TinTin is the 30th most common element (0.0035per cent). The largest geological deposits areto be found in Australia, Malaysia, Indonesia,Bolivia, Thailand, Nigeria, the Congo andZaire. In its pure form, this silvery-white,somewhat soft heavy metal has a relativelylow melting point. It assumes three modifiedforms, changing its crystalline structure at13.25 °C and 162 °C. At room temperature itis covered with a grey protective oxide coat-ing. More than a third of the tin used today isa product of recycling. As a technical mater-ial, aluminium is increasingly being used as asubstitute. Almost half the tin produced todayis applied as a durable, silvery coating toother metals (tin plate). DETAIL 1/2 2003

Schäfer, Stefan: Neuartige metallische Dach-eindeckung. Detail 5/2000, pp. 880-882, Institutfür internationale Architektur-Dokumentation,Munich

Schittich, Christian (ed.): Gebäudehüllen -Konzepte, Schichten, Material. Institut fürinternationale Architektur-Dokumentation,Munich 2001

Schulitz, Sobek, Habermann: Steel ConstructionManual, Institut für internationale Architektur-Dokumentation, Munich 1999

Schunck, Oster, Barthel, Kiessl: Roof ConstructionManual, Pitched Roofs. Institut für internationaleArchitektur-Dokumentation,Munich 2002

Sulzer, Peter (ed.): Jean Prouvé - Meister derMetallumformung, Das neue Blech 15,Verlagsgesellschaft Rudolf Müller GmbH,Cologne, 1991

13

Sheet titanium-zinc

Metal shingles, plates and sheetsClassically, metal cladding or roofing is inthe form of bands of sheet metal with welted,standing or batten seams, which result in acharacteristic banded structure. The greatresistance of metal coverings to weatheringallows roofs with a slope of < 15° to be real-ized. In view of the high proportion of manualwork involved, only soft metals such as cop-per or zinc are suitable. Cladding systemswith preformed, shingle-like flat sheets havealso enjoyed increased usage in recentyears, allowing various patterns of articula-tion to be created. Systems of this kind areeasy to joint - usually by means of concealedclips fixed to the supporting structure.

Oxidized steel with round perforations

Perforated metal sheetingPerforations between < 1 mm and roughly500 mm in diameter and with various spac-ings can be punched in thin metal sheets bya number of processes and in combinationwith computerized numeric control (CNC).As a rule, the diameter of the perforationsshould not be less than the thickness of thesheet. Perforations can be in straight lines orin an offset pattern; they can be round,square, slit-like or in various ornamentalforms. A common feature of all punchingprocesses is the wave-like deformation of themetal sheets caused by the energy released.This deformation has to be corrected subse-quently before the sheets are cut to size.

Stainless steel with lenticular dimpled perforations

The spacing of the perforations at the edgesof the sheets should also be considered care-fully. Metal thicknesses should be between0.5 mm and 6 mm. For perforated sheetsmore than 6 mm thick, a soft material is prefer-able. Standard sheeting is available in sizesup to 1.6 x 4.0 m, and in coils up to 1.25 mwide and up to 2 mm thick. Special sizes canbe manufactured to order. Perforated sheet-ing is widely used in trade fair and interiorconstruction, for facade cladding, sunshadinglouvres and balustrades. Ease of handling,highly industrialized production methods, awide range of surface textures and its lightweight make this form of sheeting an econom-ical and versatile building material.

Stainless steel, embossed

Embossed metal sheetingEmbossed metal sheeting is manufactureda similar process to that used for perforatedsheeting. The sheet is not punched throughits thickness, however; the surface is sub-jected to a process of deformation to createvarious protrusions and patterns. The depthof the embossing will depend on the thick-ness of the material. The embossed areashould be rectangular and cover the entiresheet, with the exception of edge strips,which may be bent. Embossed sheets arecommonly used internally - where non-slipfinishes are required, for example. Greatreservations still exist towards the use ofthese materials for facades, however.

Expanded steel mesh

Expanded metal meshExpanded metal mesh is a semi-finished pro-duct with a planar structure and openingsin various forms. No waste is incurred in itsmanufacture: the sheets are merely cut anddrawn to shape. The process can be appliedto iron, steel, aluminium and lightweight al-loys, as well as to copper, brass, nickel,bronze and zinc. Light forms of expandedmetal mesh are used as a base for plaster.The great stability of this material and its rel-atively light weight allow the creation of ex-tremely resilient facade elements. Expandedmetal mesh is also used as a translucent"curtain" to large openings and for grilles,suspended soffits and visual screening.

Stainless steel strip grating

Metal gratingsGratings are commonly made from steel,stainless steel or aluminium and consist ofslotted bearing bars and filler strips, pressedtogether in an industrial process and/or elec-trically welded. The orthogonal grid of barscan be manufactured to various spacings.The edges of gratings are enclosed in andstabilized by a frame-like surround. To avoidany confusion in determining the load-bearing direction, square gratings should notbe used where they have to carry foot traffic.Gratings can be made with non-slip and vari-ous other surface qualities. They can also beused as facade and soffit elements. Gratingsare available in all sizes and depths.

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Metal Facade Finishes

Ribbed aluminium panel

Ribbed metal sheets and coffered panelsRibbed metal sheets can be cold-rolled tovarious geometries and to lengths up toroughly 4 m. Sheeting of this kind can beused in single- or multilayer forms of con-struction for load-bearing planar floor struc-tures or for wall elements. A wide range ofcross-sections and surface textures areavailable. The thickness of the metal is nor-mally between 0.5 mm and roughly 1.5 mm(coffered panels: ca. 1.0-1.5 mm). The mostcommon material used for this purpose isthin steel sheeting with a corrosion-resistantsurface coating applied at the works. In manyroof systems, the edge sections are industri-ally preformed for clamp or press fixing.

Multilayer aluminium sheet

Multilayer sheetsComposite or multilayer (laminated) elementsusually consist of a plastic core with light-weight metal sheeting on both faces. They aresupplied as slabs or panels with the surfacefinish often covered with a protective foil layer.Slabs with maximum dimensions of roughly1.50 x 5 m are available and with metal thick-nesses between 2 mm and max. 10 mm.Sheet abutments can be screwed, bolted,riveted, or fixed with adhesives or clips. Al-though multilayer sheets are relatively expen-sive, their great stability and low weight simpl-ify operations on site and reduce the cost ofthe supporting structure, allowing precise andeconomical facade solutions.

Thin-steel sandwich panel

Sandwich panelsSandwich panels are prefabricated compo-site elements, consisting of two shear-resistant steel sheets and a multifunctionalinsulating core of polyurethane foam. Panelsare available with various surface texturesand cross-sections. They can be simply fixedin position with preformed interlocking seams.Sandwich panels require little maintenanceand are extremely robust. They are alsocapable of transmitting substantial loads.An 80 mm thick standard wall panel canspan a distance of 5-6 m; while a similar roofelement with a ribbed profile on top and abeaded underside (and a weight of roughly11-18 kg/m2) can span a distance of 4-6 m.

Stainless steel fabric: cable warp and rod weft

Metal fabricsRound or flat wires, bands or cables can bewoven to form various kinds of metal fabric.Commonly used materials include stainlesssteel, titanium, chromium-nickel steel andeven copper and brass. Where the individualwires or strands have a diameter of morethan 3 mm, their wavelike profile should bepreformed (without pretensioning). Using var-ious classical weaves, fabrics up to 8 m inwidth can be produced. Metallic fabrics areavailable in a natural form or with various sur-face treatments: painted, anodized, pickled,etc. They have great stability and can beused over large areas without intermediateseams or connecting elements. Metal fabrics

156

Stainless steel fabric: warp chains and weft rods

can be obtained in roll and panel form, or cutto size. In recent years these materials havebeen increasingly used in architecture. Thescope for rolling them makes them suitable forsunshading and visual screening purposes.They are also used for filter heads, safetybarriers, infill panels, windbreaks and evenpartitions. Materials of this kind require littlemaintenance and can be readily cleaned. Thefact that they can be built in as pretensionedelements has the structural advantage of aload-bearing function combined with lowweight. Special fixing details have to be de-veloped to ensure an efficient load transfer atthe points of support. In addition to fabrics,grilles and gratings can be formed. Structures

Stainless steel fabric: loops and round rods

of great strength can be created by weldingor pressing the wires together at their pointsof intersection. A wide range of products isavailable in a variety of mesh dimensions,wire thicknesses and metals, including galva-nized and ungalvanized steel, aluminium andstainless steel. Large-mesh wire structuresare used for fences and enclosures. Wovenwire-mesh materials are also employed inmountain regions as safety nets to withstandsnow or avalanches. In building, wire nettingcan be used in conjunction with other materi-als to stabilize dry stonework. The flexibility,stability and extreme lightness of wire meshmakes it suitable for large-span structuressuch as aviaries.

technology

Metal Mesh Facades

Stefan Schäfer

1

Today, a great selection of diaphanousmetal materials is available to architects,ranging from perforated sheets, gratingsand expanded mesh to net-like, woven andknitted fabrics. The desire to achieve greatertransparency in building has been met byglass. Now planners and designers areseeking ways to create building skins with arange of effects between transparency andopaqueness. Not only simple products fromthe realms of industrial building and scaf-folding are being used for this purpose;more sophisticated elements have alsobeen developed, as can be seen in manyprestigious modern structures. Similarly,the ongoing improvement of manufacturingtechniques is resulting in materials andproducts with special properties that offernew scope for design, especially in thecontext of building skins.

Diaphanous metal building skinsPerforated layers can result in interestingvisual effects that vary with the distance ofthe observer from the surface structure.From afar, one will have the impression of apractically closed metal skin, while from an-other perspective, it may seem almost trans-parent. The changes caused by light andshade, sun and rain, and the differencesbetween day and night will enliven the sur-face and lend the structure a diverse rangeof effects. Views into the building will varyaccording to the angle of incidence of light.Depending on one's position, the surfacesmay appear opaque or transparent. Sheetmetal with very fine perforations, andgrating-like components also allow a highdegree of sunshading without seriouslyimpeding the view out of a building.The term "skin" itself suggests a sense oflightness and permeability, as well as a cer-tain variability in appearance. This state ofopenness is an essential characteristic ofthese semi-finished products, which havetheir origins in industrial filter and screeningtechnologies. A new understanding of spa-tial demarcation and enclosure was neces-sary, however, before the scope of fabric-like materials could be discovered for build-

ing. With the introduction of stitch-like, per-forated metal products for use in facadeconstruction, it became possible to coverbuildings with light, fabric-like materials inthe nature of a curtain. Metal meshes witha textile character can be manufactured tocover large areas. The advantages of metalfabric facades lie in their comparativelyeasy assembly and treatment, the low levelof maintenance they require, and the scopethey offer for individual design. In addition,they are usually robust and can be econom-ically produced.

Metal fabricsMetal fabrics consist of round or flat wires,strands or cables. The metals used includeuntreated iron, galvanized steel, stainlesssteel and chromium-nickel steel. Aluminium,bronze, copper, brass, titanium and tin canalso be specified if desired. As with woventextiles, the longitudinal wires (warp) in thefabric strip can be woven in a variety offorms with the lateral wires (weft). Metalfabrics are produced on special weavinglooms. The most important weave forms aredescribed below.

Plain weave (ill. 4a)This is the most common form of weaveused for metal fabrics. It allows a high deg-ree of precision and the most even spac-ings. To achieve a better positioning of the

warp and weft wires, a strong curvature ofthe wires is necessary at the points of con-tact. This, in turn, results in a rough surfacetexture. The greater the ratio between theaperture of the mesh (w) and the diameterof the wire (d), the more subject to displacement the mesh will be. A ratio of less than3:1 (w:d) is, therefore, recommended.

Plain Dutch weave (ill. 4b)A special form of plain weave is where thewarp wires are considerably thicker thanthe weft wires. The tight alignment of ad-joining weft wires results in what is knownas a "zero mesh". The almost triangularopenings created with this kind of weaveare visible when viewed from the side andresult in a homogeneous appearance. Bysubjecting the finished mesh to a rollingprocess (calendering), the surface rough-ness can be reduced. The mesh can beeasily bent to shape about the axis of thethick warp wires.

Twill weave (ill. 4c)Twill weave results in less stress in the wireduring the weaving process. The geometryof the weave means that the radii of curva-ture of the wires are only half as great asthose in plain weaves, so that the strains atthe crimps are much smaller. Fine-meshfabrics are manufactured almost exclusivelywith this weave, which allows the use of rel-

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Metal Mesh Facades

1 Parking block at Cologne-Bonn Airportarchitects: Murphy/Jahn, Chicago

2 Post Office Tower, Bonnarchitects: Murphy/Jahn, Chicago

3 Facade fixing: lower fixing with tension springs4 Types of weave for metal mesh fabrics

atively large wire gauges. With increasingcohesion (the number of wires crossed inone weave), the precision of the mesh de-creases, but the surface smoothness in-creases.

Twill weave (ill. 4d)Closely aligned weft wires are woven in atwilled type of weave and pressed together.There is always a weft wire over and underevery warp wire. Where the wire diametersare the same, twice as many weft wires areused as in the normal ribbed weaving. Theoutcome is a very dense, mechanically re-silient weave with an extremely smooth,stable surface and fine, pore-like openings.

Reverse plain Dutch weave (ill. 4e)This type of weave is a reversed form ofplain Dutch weave. The closely alignedwarp wires have a much smaller diameterthan the strong weft wires. The very precisemesh formed with this type of weave isdistinguished by fine openings oblique tothe surface plane. The fabric itself has aremarkably high mechanical strength andcan be readily shaped about the axis ofthe thicker wires.

Long-mesh weave (ill. 4f)With a mesh ratio of 1:3, this type of weavehas great cohesion. If one reverses thedirection of the weave, one speaks of abroad-mesh weave. To achieve greaterstability, wires of different thicknesses maybe used for warp and weft.

Multiplex weave (ill. 4g)In this type of mesh, groups of five parallelwires are woven together in both directionsto produce a very smooth, easily cleanedsurface in the form of a regular chequeredpattern.

Five-heddle twill weave (ill. 4h)This is a special form of weave consisting ofa four-strand arrangement. Strands of singlewires are laid out parallel to each other inboth directions to form a large number oftiny, pore-like openings.

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Stainless steel mesh: long meshes/double wires

Metal fabric qualityAs a means of determining the quality ofmetal fabrics in Germany, the followingcriteria are defined (in DIN 4189)• Aperture (opening) (w)The clear space between adjoining wires isdefined for both the warp and weft directions.

• Wire diameter (d)The wire diameter is defined prior toweaving. Slight changes in diameter canoccur during the fabrication process.

• MeshThis is defined in terms of the number ofmeshes per inch measured between wireaxes.

• Open sieve area (Ao or Fo)

Stainless steel knitted fabric: corrugated round wire

The area of mesh spacings is given as apercentage of the entire mesh area.

• Number of stitches (mesh/cm2)The number of stitches or meshes is statedper square centimetre.

• Fabric thickness (D)The thickness of the fabric dependentupon the wire diameter.

Fabric propertiesThere are six fabric quality level, which aredenoted with numbers from 0 to 5. At theupper end of the quality scale, resistanceto the displacement of wires is greater.Technically speaking, metal mesh materialsare extremely efficient and versatile. In addi-

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5 Velodrome in Berlin: view from above and sectionthrough tensioning of metal fabric on roofscale 1:51 Ø 84.3 mm stainless steel disc2 stainless steel fabric3 110x30x2 mm steel plate with Ø 2.8 mm

tensioning springarchitects: Dominique Perrault. Paris, incollaboration with APP, Berlin

6 "Five Courtyards" shopping and commercialdevelopment, Munich;architects: Herzog & de Meuron, Basle;material: folded sheet tombac (brass alloywith a high proportion of copper)

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tion to their industrial uses - as filters, sievesand for sound absorption - they now havea wide range of applications in architecture;especially in facade construction, as walland soffit linings, and in forming partitions.There is even scope for the use of fine-meshstainless steel products as floor finishes -as matting that requires no preliminary sub-floor measures. The material is virtuallymaintenance free, of unlimited durabilityand completely recyclable. In addition tothe production of small, medium and largebatches, many firms are prepared to manu-facture individual elements to order.

Metal grilles and knitted fabricsWire-mesh products are complementedby a range of other materials, including flat-strand products (e.g. metal grilles and grat-ings) and knitted fabrics. Thanks to simpleindustrialized mass production, products ofthis kind are very reasonable in price. Netmaterials are a special case in this context.Typologically, they are single-layer meshproducts, consisting of parallel steel cablesjoined together at offset nodes. Nets of thiskind possess great three-dimensional flexi-bility and mesh stability and are of minimalweight. As a result, they are especiallysuitable for wide-span open structuressuch as aviaries.

Knitted metal fabrics consist of a virtuallyendless thread wound in a series of stitchesrow by row. Knitted fabrics have been ap-plied mainly as internal finishings and infilter technology. They can also be usedfor sunshading; e.g. in the cavity betweenpanes of double glazing.

Assembly and fixing of metal fabricsAn important factor in the assembly of metalmesh products is the geometry of the fa-cade areas. A logical classification of fa-cade types would be: planar surfaces, sur-faces curved about a single axis, and thosecurved about two axes. In most cases, how-ever, facades are in the form of flat planes.By pretensioning flat areas of mesh acrossa facade, negative effects such as vibration,whipping and flapping can be reduced, 6

but heavy anchoring loads will occur atthe points of support. In interior situations,where there is no wind to cause flapping,metal fabrics can be freely suspended toform soffits, wall linings, etc. Mesh sheetingsubject to wind loads, however, requiresnumerous fixings along the "weak" axis.The principle underlying the manufactureof ribbed weaves, with warp or weft wiresof large dimensions, facilitates the transmis-sion of loads along a single axis with greaterdistances between fixings. In such cases,the wires act like a series of closely spacedbeams subject to bending. The softer wiresalong the "weak" axis either carry no loadsat all or transmit only tension. Areas curved

about two axes are obviously the idealstructural solution, since the geometry al-lows a simpler transmission of loads to thesupporting structure. To avoid complicatedintersections and cutting, the appropriateweave with flexible mesh cross-sectionsshould be specified. Fabric mesh productsmust be fixed in a hanging state, like cur-tains. The dead load is then transmittedthrough the upper supports and conveyedto the ground. DETAIL 7/8 2003

Stefan Schäfer is an architect in Stuttgart and profes-sor for structural design and building construction atthe University of Technology, Darmstadt.

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Stone Surface Dressing

Theodor HuguesLudwig SteigerJohann Weber

Theodor Hugues, emeritus professor of the Facultyof Building Construction and Materials at the Universityof Technology, MunichLudwig Steiger and Johann Weber, members of theProf. Florian Musso Faculty of Building Constructionand Materials at the University of Technology, Munich

1 Bush hammer with interchangeable heads 1

New mechanical tools and techniques allowstone to be dressed much more easily andquickly. This, in turn, has led to an increaseddemand for "craft-worked" products. Themany different textures of stone mean thata great range of treatments can be applied.It is possible not only to bring out the spe-cific properties of the material, but to exploitvarious effects of light and shade. Thechoice of surface finish, however, will de-pend on the type of stone, its hardness, theeffects that can be achieved, and the situa-tion in which an element is to be used. Thestrength of the stone is an important factorin determining which finish to apply. Everyworking process demands a minimum mate-rial thickness in order to withstand the tool-ing impact. If properly selected and exe-cuted, the treatment can greatly enhance theexpressive quality of a building component,although not all forms of dressing can be ap-plied to all kinds of stone. The stoneworkingtrade distinguishes between "hard" and"soft" materials. Soft stone includes sedi-mentary rock like limestone and sandstoneas well as marble. Hard stone ranges fromeffusive and igneous rock, such as granite,syenite and basalt, to metamorphic rock likegneiss, quartzite and slate. The surfacequality will be determined by the finenessof the treatment applied. Polishing, whichproduces the finest surface of all, brings outthe mineral content, the colour, texture andstructure of the stone. Dark stones revealtheir true character only through polishing,whereas other, coarser forms of treatmentcan make the surface appear paler in colour.Conversely, polishing makes lighter-coloured stone appear somewhat darker.Stone can be polished only if it is sufficientlyhard and dense, however. Many other as-pects have to be considered, too; for exam-ple, the fact that rougher finishes are subjectto greater soiling, while stone flooring hasto comply with non-slip safety requirements.On the following pages, various kinds of sur-face treatment are described to two types ofstone found in Germany: Jurassic limestonefrom the Altmühl region, and granite from theBavarian Forest. DETAIL 11/2003

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• Indicates common forms of surface treatment for the various types of stone,whereby other kinds of surface treatment are not excluded.

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Punched or pointed surface (coarse/fine)

The surface is struck off using a hammerand a tapering, pointed iron. The entire areashould be dressed in this way. For finerwork, the punching should be evenly spacedand the hammer blows of equal force.

Vertically punched surface

This is a special form of punched or pointedwork in which the iron is held almost at rightangles to the surface, as opposed to thecommon form of treatment where the tool isheld at an angle of about 45°.

Furrowed or strip-tooled surface

In this special type of treatment, a hammerand chisel are used to create regular paral-lel tracks to a predefined pattern. Using thesame technique, it is also possible to pro-duce special patterns (e.g. herringbone).

Notched-chiselled surface

The claw or toothed chisels used for this typeof finish have a 2-5 cm wide tip with betweenthree and five teeth. By applying the chiselin different directions, a variety of effects canbe achieved (straight, curved, diagonal).

Boasted or droved surface

A wide range of effects can be achievedusing boasting or drove chisels of differentwidths (ca. 8-15 cm) and by varying thespacing, the angle and direction of working,as well as the force of the hammer blows.

Herringbone boasted surface

With this type of treatment, the desiredherringbone pattern can be achieved byusing a roughly 3-centimetre-wide chiseland dressing the stone in alternatingdiagonal directions in parallel strips.

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Stone Surface Dressing

Bush-hammered surface

The interchangeable heads of the bushhammer have pyramidal teeth in various ar-rangements, depending on the coarseness/fineness of the work required (see ill. p. 160).The tooth spacings range from 4 to 15 mm.

Fine bush-hammered surface

Using a hammer head or iron with a toothspacing of 4-5 mm (12x12 teeth), a finebush-hammered surface can be obtainedwith an even, homogeneous finish. This mayalso undergo subsequent grinding.

Pointed and ground surface

This type of work involves a combinationof two quite different surface treatments.The stone is first punched or pointed, thenground to soften the angular finish achievedthrough the initial process.

Punched, combed and ground surface

A punched or pointed finish can be re-worked with a toothed chisel to remove ir-regularities and unwanted roughness in thesurface. A subsequent grinding processwill then provide a more uniform finish.

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Punched, bush-hammered, axed and ground

With this kind of treatment, the surface ofthe stone is subjected to four quite differentprocesses - a combination of enliveningand smoothing effects - which produce avaried and animated texture.

Coarse-punched and combed surface

An extremely lively texture can be obtainedby dragging a serrated tool over a coarselypunched surface. In this way, an even,linear combed texture is overlaid on therougher background treatment.

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Bush-hammered, brushed and partly ground

In this case, three mechanical forms oftreatment are applied to the surface. In thecourse of the work, the initially coarse-tooledstone undergoes a gradual process ofrefinement and smoothing.

Bush-hammered, brushed and waxed surface

The surface of the stone is subjected totwo working processes, while the final waxtreatment serves to intensify the colour andprovides additional protection during sub-sequent jointing or other work.

Diamond-sawn surface

Diamond-blade saws - used in a horizontalto-and-fro movement, or in combination withcircular or drag saws, or disc cutting tools -produce a relatively fine surface finish,although the saw marks remain visible.

Ground surface

Depending on the grain size of the abrasivesand used, coarse or microscopically finecircular marks will be visible in the surface.The work is usually carried out wet. Onlysmall areas of stone can be dry ground.

Laser-treated surface

With laser technology, it is possible tocreate extremely fine indentations in apolished or smoothly ground surface. Thecolour brilliance of the stone is retainedalmost completely with this process.

Polished surface

Polishing is the final refinement applied toground stone. Small openings in the surfacecan be filled with epoxy resin or mineralsubstances. Hard stone is polished mechan-ically with ceramic or diamond discs.

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Stone Surface Dressing

Finely hewn surface

The face of the naturally cleft stone fromthe quarry (quarry face) is finely tooled witha 3-cm-wide flat iron. The different anglesand depths of the chiselling lend the surfacean extremely lively effect.

Bush-hammered surface

The mechanically bush-hammered surfaceof the granite (hammer with 2x2 teeth)indicates the different effects that may beachieved when similar forms of treatmentare applied to different types of stone.

Fine bush-hammered surface

In this example of fine bush-hammering,the sawn surface of the granite was me-chanically worked with a pneumatic hammer(attachment with 5x5 teeth) to producethe desired effect.

Serrated strip treatment

The working technique is similar to that forbush-hammering, although here the surfaceis articulated into parallel, saddle-shapedstrips and combed. The boldness of thestriped effect depends on the type of stone.

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Sandblasted surface

Sand or synthetic corundum (aluminiumoxide) is blasted under great pressure on tothe sawn stone to produce an evenly rough-ened surface. Saw marks remain visible, buta uniform, softened finish is achieved.

Flame treatment

A blowtorch flame is applied to the stone untilthe surface particles split off, forming anevenly roughened finish that reveals the crys-talline structure. Quartz-bearing stone of ade-quate thickness is required for this process.

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From the Molecule to theFinished Building

Jean-Luc SandozJan-Erik Schmitt

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Ecological considerations in the21st centurySafeguarding the environment and preserv-ing the balance of nature are the greatchallenges facing humanity in the 21st cen-tury. With each new climate-related disaster,the concept of sustainable developmentgains in importance. Higher levels of carbondioxide in the atmosphere lead to thereflection of infrared radiation and globalwarming, which in turn results in an intensi-fication of the greenhouse effect. Studiesof the development of global temperaturesshow that a further increase of 1.5-2.0 °Cwould mean that an average temperaturehad been attained that last prevailed on

earth some five million years ago. Thatwould be equivalent to leaping across20 ice ages within a period of only150 years. Climatologists, indeed, predicta mean rise in temperature of 2-6 °C,extreme in geological terms.

Nature and constructionBuilding construction and the use of thebuilt environment are two major factors inthe worldwide emission of CO2. By this ismeant the production of building materialson the one hand, and the heating and air-conditioning of buildings on the other. Inview of the natural properties of wood, tim-ber construction provides scope for amelio-

1 Platform for Expo 02 in Neuenburg, Switzerland(27,000 m2 in O'Portune system)

2 Soffit of floor in O'Portune system3 Experimental model of D-Dalle system4 Model section with bonding angle5 Sheet steel angle used in composite floor

construction6 Section through D-Dalle floor system7 Section through O'Portune floor system

rating this situation. As part of their growth,trees absorb carbon dioxide, which isstored in the timber cut from them. A cubicmetre of oak, for example, contains onetonne of CO2. By specifying timber in build-ing, when this is accompanied by reforesta-tion, one not only stockpiles carbon dioxideby using timber; one also reduces CO2

emissions by curbing the production ofsteel, concrete and other materials.Timber is thus ecologically beneficial, aslong as it is used more or less in its naturalstate; i.e. in solid form without chemicaltreatment and the use of glues, and withoutlong transport routes. Timber is also super-ior to other construction materials at the end

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From the Molecule to the Finished Building

8 9 10

of its useful life, as a clean organic heatingfuel. Timber structures also possess ex-tremely good properties with respect tobuilding physics. This is attributable to thegreat porosity of the material. With a densityof 0.42 (420 kg/m3), spruce has a 73 percent porosity, for example. With nearlythree-quarters of its volume in the form ofvoids, this timber is an excellent insulatingmaterial and an efficient hydrothermal regu-lator in buildings. These qualities serve tominimize heating needs in winter and cool-ing needs in summer.

From single element to complete buildingThroughout history, timber jointing tech-

niques have developed from the simplestconnections of round pegs and scantlings,via iron ring fixings, to the nails and screwsof the industrial revolution. The 20th centurywitnessed the development of laminatedtimber elements. Synthetic adhesives wereemployed in place of the mechanical fixings(as designed by the architect PhilibertDelorme in the 16th century) between solidboards in similar forms of construction.These synthetic adhesives enabled thedevelopment of new forms of manufactureand assembly of structural elements to pre-viously unimagined new dimensions. Inorder to achieve environmentally friendlierand more economical solutions, and to im-

prove the status of timber in comparisonwith steel and concrete, a number ofresearch projects have been undertakenat the Swiss University of Technology inLausanne (EPFL). These have focused onthe development of new constructional prin-ciples and the realization of pilot schemes,as well as on the serialization of products.All the systems discussed below have onething in common: they consist to more than80 per cent of simple timber boards of com-monly available dimensions. These were ap-plied to timber stuctural systems requiringlarge spans, self-supporting wall elements,or composite timber and concrete slabs.The remaining 10-20 per cent are account-ed for by technologically advanced timberproducts that serve to increase the econ-omic efficiency of the concepts.The simple timber board is multiplied toform a complete building. It fuses into anew, grander structure; just as glucosebonds to form cellulose in order to createtimber in the first place.

O'Portune flooring elementIn the 1980s, supported by investigationsinitiated by Prof. Julius Natterer at the EPFL,new paths were explored in the constructionof solid timber slabs. Floor slabs of face-nailed boards on edge can be constructedto fit into any existing or planned construc-tion. Spans of up to about 5 m can bebridged with this system. Elements of thiskind also act as an effective buffer againstmoisture. The main problem of this form ofconstruction is its relatively high cost: onecubic metre of timber is required to cover anarea of only 5-6 m2. A new concept wassought, therefore, that would use less timberand span greater distances. The outcome ofthe research was the O'Portune floor ele-ment, which represents an optimization ofthe face-nailed board system. Again, theboards are fixed together on-edge, but inthis case, alternate members are verticallyoffset. With the same quantity of timber,therefore, it is possible to achieve a greaterstructural depth and rigidity. The individualboards are screwed rather than nailed to-11

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gether, whereby each screw passesthrough up to three shear joints.For medium spans of between 5 and 8 m,O'Portune beams are used instead of con-tinuous slabs. The beams occupy betweenhalf and a third of the overall floor area,and the system functions like a conventionalbeam structure with planar elements(oriented-strand board, plywood, etc.)between the downstand members. Theaesthetic contrast between the beams andthe panels can be utilized as desired.For spans of between 9 and 11 m, theO'Portune beam system would cover theentire floor area. The fluting on the under-side also ensures a considerable improve-ment to acoustic properties.To bridge even greater spans (up to 18 m)or to carry greater loads, the timber floorcan be incorporated in a composite form ofconstruction with concrete. The system isbased on the use of timber as a reinforcingelement in the tension zone, with a concretetopping to resist compression. This servesto increase the load-bearing capacity of theslab. The offset timber boards provide anideal means of anchoring the connectingmembers: sheet steel angles, perforated toachieve a better connection, are inserted atright-angles to the line of the boards (ills. 4,5).

"Wenus" slab elementThe concept underlying such slab elementsis based on studies of non-timber systemslike corrugated cardboard, a material that islight and nevertheless robust on account ofits internal corrugations. The translation ofthis idea into timber construction resultedin a W-shape (wave) cross-section 15 cmdeep, which allows the use of 20-cm-wideboards. The rigidity of the final cross-sectionis 15 to 20 times greater than that of theoriginal (horizontal) cross-section of theboards, using roughly the same quantityof timber.The "Wenus" slab, as it is known, is a sim-ple, self-supporting system. To facilitate as-sembly, the boards are screwed into posi-tion on a prefabricated construction tem-plate, which determines the wave structure,

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at the ends and at intermediate points tocreate rigid elements. In this way, a mini-mum of timber is used per square metre offloor area. In addition, the slab element hasa multi-functional character, since it is pos-sible to leave the load-bearing structure ex-posed. Used as a wall element, it providesan aesthetically pleasing form of cladding(ill. 11); as a horizontal slab, with spans ofup to 5.50 m, it provides a visually attractiveexposed soffit. The inclination of the sur-faces also lend it good acoustic properties.Flooring can be applied in a traditionalmanner with a floated screed and finishes,or in the form of floated parquet flooring ona layer of sound insulation. To improve theacoustic insulation even further, the slabelements can be partially filled with sand.

Ariane trussThe Ariane truss, which was designed tospan distances of more than 50 m, canbe formed with boards of up to 5 m inlength. The principle of the truss is that thecross-sections of the beams are made up ofa number of smaller cross-sections, similarto the composition of a rope (hence the allu-sion to Ariane or Ariadne from Greek mytho-logy). The individual boards are screwedor nailed together to form the final cross-section. Junctions between the ends of theboards are staggered to avoid weak points.This system allows elements of theoreticallyunlimited length to be created. This tech-nique is analogous to timber mast construc-tion in boat building.

The various members of the truss are joinedby means of internal gusset plates (ill. 12).These consist of laminated timber sheeting,which thus avoids the use of metal plates orcast steel elements. The diagonals can bedirectly bolted to the gusset plates, greatlysimplifying assembly. All the timber mem-bers of a truss are drawn with the aidof CAD programs, and the data is finallytransmitted to a carpentry works near thesite, where the various parts are cut to size.Site assembly can then be carried out bycarpenters from the area. In this way, localresources are used, both as labour and

materials, and transport routes are kept toa minimum, thus conserving energy.

ConclusionSustainable development demands a newapproach to, and harsher judgement of,the technical achievements of the 20thcentury. Environmentally and economicallyspeaking, alternative construction methodswith reduced CO2 levels must be devel-oped.As an organic carbon material used in con-struction, timber is ideally suited to maintain-ing the cycle of nature. All new ideas inbuilding should be based on a conceptof "molecular architecture", in which the in-dividual constructional elements form the"basic molecules". Using traditional tech-niques in combination with new technology,concepts of this kind are already beingimplemented today to realize large-spanopen structures, or to form panels as shear-resistant elements for walls and floors.These concepts can be infinitely refined tocomply with the requirements of architectsand clients.

The systems described above, based onthe use of nailed or screwed boards, withoutadhesives or additional chemical treatmentof the timber, mark a small step towardsa comprehensive concept of sustainabledevelopment - from the molecule to thefinished building. DETAIL 1/2 2004

8 Prefabricated Wenus elements9 Wenus element forming cantilevered slab

10 Section through Wenus system11 Wenus elements forming self-supporting,

bracing wall12 Ariane system gusset plate13 Equestrian hall in Arezzo with a span of 45 m

Jean-Luc Sandoz was professor for timber con-struction at the EPFL in Lausanne from 1993 to 1998.Today, he teaches at various universities in Europe.Since 1998 he has also been in charge of the engi-neering consultancy CBS-CBT in Switzerland andFrance. (www.cbs-cbt.com)

Jan-Erik Schmitt studied building engineering inKarlsruhe, specializing in structural engineering.For two years he has been an assistant in the CBTengineering consultancy for timber construction inSt Sulpice near Lausanne.

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Design and construction teams • Contractors and suppliers

page 28Media Library in VénissieuxAvenue Marcel HouelF-69631 Vénissieux

• Client:Stadt Vénissieux• Architects:Dominique Perrault, ParisGuilhem Menanteau (project architect),Jérome Thibault, Eve Deprez,Antoine Weygand (assistants)• Structural engineer:Guy Morisseau, Paris• Consultants:BERIM 17, Vénissieux

• Main contractor:Lamy-Nallet, GivoisTel.: +33 4 72492380Fax: +33 4 78071980• Structural steelwork:Viry SA, RemiremontTel: +33 3 296445-45Fax: +33 3 296445-49• Facade construction:Atem, MérignacTel.: +33 5 579200-92Fax: +33 5 579200-90• Facade construction:Wicona, Bonneuil sur MarneTel.: +33 1 451380-00Fax: +33 1 451380-20• Roofing:Sarec, FloiracTel.: +33 5 56866202Fax: +33 5 56408265• Furniture:Forum Diffusion, ParisTel.: +33 1 43806200Fax: +33 1 43807690

page 32Museum in KalkrieseVennerstrasse 69D-49565 Bramsche-Kalknese GmbH

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• Client:Varusschlacht im OsnabrückerlandMuseum und Park Kalkriese GmbH,Bramsche-Kalkriese• Architects:Annette Gigon, Mike Guyer, ZurichVolker Mencke (project architect),• Structural engineers:Gantert + Wiemeler Ingenieurplanung,Münster• Mechanical services:Jager + Partner GmbH, Osnabrück• Electrical planning:H.-P. Wallenhorst, Osnabrück• Landscape planning:Zulauf Seippel SchweingruberLandschaftsarchitekten, Baden• Construction management:Pbr Planungsbüro Rohling AG.Osnabrück

page 38Secondary School in ViennaHeustadelgasse 4A-1030 Vienna

Competition: November 1998Start of construction: April 2000Completion date: May 2002Type of school: federal second-

ary school withvarious coursesand levels

No. of classrooms: 32 for 900-1,000pupils (years 1-8)

Special classrooms 10No. of storeys: 2Library: 153 m2

Central assembly hall: 458m2

Multi-purpose space: 156 m2

Sports hall: 1,225m2

Courtyard: 30 × 40mSports areas: 2,070 m2

Site area: 17,000 m2

Footprint: 5,550 m2

Net floor area: 11,450 m2

Gross volume: 57,500 m3

Parking spaces/basement garage: 31Construction costs: €14,171,200

• Client:BIG Bundesimmobilienges. mbH,Vienna• Architects:Henke and Schreieck, Vienna• Structural engineers:Manfred Gmeiner, Martin Haferl, Vienna• Mechanical services:ZFG-Proiect GmbH / Eipeldauer GmbH,Baden• Building physics:Walter Prause, Vienna

• Lettering:Ingeborg Kumpfmüller, Vienna

• Contractor:Strabag GmbH, ViennaTel.: +43 1 21728-0Fax: +43 1 21728-146• Facade construction:Schüco International KG, BielefeldTel.: +49 521 783-0Fax: +49 521 783-451www.schueco.de• Facade construction:Aluet Fassadentechnik GmbH, ViennaTel.: +43 1 616743-0Fax: +43 1 616743-2• Stonework:NMP GmbH, Tribuswinkel / BadenTel.: +43 2252 46565-55Fax: +43 2252 46565-65horn@natursteinmontage.com• Heating/Ventilation/Sanitary installation:HTG GmbH, ViennaTel.: +43 1 8043548-61Fax: +43 1 8043548-46helmut.brandt@htg-austria.com• Glass:Petschenig glastec GmbH,LepoldsdorfTel: +43 2216 2266Fax: +43 2216 2266-44• Dry construction system:Stuck & Innenausbau Wilhelm Höger,ViennaTel.: +43 1 2902972Fax: +43 1 29029724• Acoustic ceilings:Hoesch Bausysteme GmbH, ViennaTel.: +43 1 61546-40Fax: +43 1 61546-30www.hoesch.at- Joinery work:KTB GmbH, GrazTel.: +43 0316 491224Fax: +43 0316 491504ktb.graz@utanet.at• Sports equipment:Erste Österr. Turn- und Sportgeräte-fabrik GmbH, Wiener NeudorfTel.: +43 2236 63182-0Fax: +43 2236 63186office@atmos-platurn.atwww.atmos-platurn.at• External /Sports facilities:Swietelsky, LinzTel.: +43 0732 6971Fax: +43 0732 6971-240

page 46Museum of Soviet Special Camp inSachsenhausenStrasse der Nationen 22D-16515 Oranienburg

page 50Laboratory Building in UtrechtUithofNL-Utrecht

• Client:Universität Utrecht• Architects:UN Studios, Ben van Berkel, CarolineBos, AmsterdamLudo Grooteman. Walther Kloet, HarmWassink, Remco Bruggink, JeroenKreijnen, Aad Krom, Laura Negrmi,Marc Prins, Marion Regitko, Henri Snel,Paul Vriend, Jacco van Wengerden,Mark Westerhuis (assistants)• Structural engineers:ABT Engineer, Velp• Mechanical services:Smits van Burgst, Zoetermeer• Landscape planning:West 8, Rotterdam

• General contractor:Ballast Nedam N.V., NieuwegeinTel: +31 30 285-3333Fax: +31 30 285-4875

• Client:Ministry of Finance, Brandenburg• Architects.Schneider + Schumacher, FrankfurtNadja Hellenthal (project architect),Gunilla Klinkhammer (assistant),Simone Walser (project planner),Volker Kilian, Jörg Böttcher, NicolasSchrabeck (competition)• Structural engineers:Bollinger + Grohmann, Frankfurt• Mechanical services:Brendel Ingenieure AG, Berlin• Electrical planning:Brendel Ingenieure AG, Berlin• Landscape planning:Schneider + schuhmacher, Frankfurt• Construction manager:Christian Jahnig, Berlin

• Structure / Prefabricated facade:Hering Bau GmbH & Co. KGHochbauen, BurbachTel.: +49 2736 27-0Fax: +49 2736 27-256www.bvmb.de• Steelwork / Glass roof:STS Stahltechnik GmbH, DelmenhorstTel.: +49 4221 6855-270Fax: +49 4221 6855-279www.sts-stahltechnik.de• Exhibition facilities:Stefan Haslbeck, FuldaTel.: +49 661 25090-95Fax: +49 661 25090-93

Appendix

page 54Primary School in AuWalzenhauserstrasseCH-9434 Au

• Client:Primarschulgemeinde Au• Architect:Beat Consoni, RorschachDaniel Frick (assistant)• Structural engineers:Zoller AG Bauingenieure.St. Margrethen• Mechanical services:Enplan AG, St. Gallen• Electrical planning:Projekt AG, Heerbrugg• Sanitary planning:Tomaschett, Rorschach• Construction manager:Frankhauser Brocker ArchitectsAG, Au

• Main contractor:Dittadi AG, AuTel.: +41 744 1669Fax: +41 744 1769• Metalwork / Windows / External doors:Strub, AuTel.: +41 744 2455Fax: +41 744 2450• Metalwork / Roofing:HWT Haus- und Wassertechnik, AuTel.: +41 744 1559Fax: +41 744 6058• Sunshading:SWEMO AG. St. GallenTel.: +41 278 6033Fax: +41 278 6083• Heating systems:Hälg & Co. AG, St. GallenTel.: +41 243 3838Fax: +41 243 3840• Ventilation systems:Schenk, Bruhin & Co. AG, SargansTel.: +41 81 723 0261Fax: +41 81 723 7646• Joinery work:Zomoform, AuTel.: +41 744 1633Fax: +41 744 6841• Wall elements:Rosconi AG, VillmergenTel.: +41 56 622 9430Fax: +41 56 621 9844• Stone floor coverings:Castratori Baukeramik, AuTel.: +41 744 4848Fax: +41 744 5588• Luminaires:Tulux AG, TuggenTel.: +41 55 445 1616Fax: +41 55 455 1920

• Wall panels / Projection wall:Hunziger AG. ThalwillTel.: +41 722 8111Fax: +41 720 5629• Lifts:Köppel Aufzüge AG, AuTel.: +41 747 4780Fax: +41 747 4781

page 58Restaurant in BrightonBartholomew SquareGB-Brighton, Sussex

• Client:Moshi Moshi, London• Architects:dRMM, de Rijke Marsh Morgan, LondonAlex de Rijke, Michael Spooner,Satoshi Isono (assistants)• Structural engineers:Michael Hadi Associates, London• Landscape planning:dRMM, London• Furniture design:dRMM, London• Construction manager:Guildprime Ltd., Rayleigh

• Translucent facade:Kalwall, USA-ManchesterTel.: +1 603 6273861Fax: +1 603 6277905www.kalwall.com• Weathered copper (facade):TECU, OsnabrückTel.: +49 541 321-4323Fax: +49 541 321-4030info-tecu@kme.comwww.tecu.com• External timber paving:HLD Ltd, GainsboroughTel.: +44 1427 611800Fax: +44 1427 612867technical@hld.co.ukwww.hld.co.uk• Furniture:Lloyd Loom Ltd., SpaldingTel.: +44 1775 712111Fax: +44 1775 710571info@lloydloom.comwww.lloydloom.com• Fluorescent ceiling paint:Bristol Paints Ltd., BristolTel.: +44 20 7624 4370tech.sales@bristolpaint.comwww.bristolpaint.com• Catering facilities:Trak Conveyor Systems Ltd., MerseysideTel.: +44 151 549-1010Fax: +44 151 549-1212sales@trakhupfer.co.ukwww.trakhupfer.co.uk

page 63Wine Tavern in FellbachCannstatterstrasse 13/2D-70734 Fellbach

• Client:Markus Heid, Fellbach• Architect:Christine Remensperger, StuttgartJohannes Michel (assistant)• Structural engineers:Dieter Seibold, Fellbach• Building physics:Jürgen Horitmann, Andreas Berger,Altensteig

• Structure:Homann Rothfurs GmbH, StuttgartTel.: +49 711 23685-91Fax: +49 711 23685-93• Windows:Weber, EhingenTel.: +49 7391 7096-70Fax: +49 7391 7096-80• Joinery work / Interior fittings:B + K Innenausbau, StuttgartTel.: +49 711 530450-5Fax: +49 711 530450-4• Floor finishes:Fußboden Haag, StuttgartTel.: +49 711 13485-0Fax: +49 711 13485-90• Tables and chairs:Sirch und Bitzer, OttobeurenTel.: +49 8338 1060Fax: +49 8338 933470• Lighting:Uli Jetzt Beleuchtungen GmbH,BacknangTel.: +49 7191 3238-0Fax: +49 7191 3238-2info@uli-jetzt.dewww.uli-jetzt.de

page 68Pedestrian Bridge in BoudryCH-2017 Boudry

• Client:Kanton Neuchâtel• Architects:Geninasca Delefortrie SA,Architectes FAS SIA, NeuchâtelChristine Perla (assistant)• Structural engineers:Chablais Poffet SA, Esavayer-le-Lac

• Steelwork:Steiner SA, La Chaux-de-FondsTel.: +41 32 96824-24Fax: +41 32 96824-54• Foundations:Michel Morciano SA, BoudryTel.: +41 32 8424486Fax: +41 32 8425503• Timber elements:Tschäppät SA, CornauxTel.: +41 32 7571147Fax: +41 32 7571943

page 70Hotel in GroningenGrote GangNL-Groningen

• Client:Nijestee Vastgoed, Dhr. Renken,Groningen• Architects:Foreign Office Architects, AlejandroZaera Polo, Farshid Moussavi, LondonMarco Guarnieri, Xavier Ortiz,Lluis Viu Rebes (assistants)• Construction planning:ARTèS, Groningen• Structural engineers:Ingenieursbureau Dijkhuis, Groningen• Mechanical services:Wolter & Dros Aquatherm, Groningen• Electrical planning:Wolter & Dros Aquatherm, Groningen

• General contractor:Van Wijnen, GroningenTel.: +31 50 5414416www. vanwijnen.nl• Aluminium facade:Soedyk Geveltechniek, Buitenpostlei.: +31 511 5437-35Fax: +31 511 5437-85info@seedyk.nlwww. seedyk.nl• External steel plates:TSV Metaalbouw, Nieuw-BuinenTel.: +31 599 650778Fax: +31 599 651060info@tsv.nlwww.tsv.nl• Steel stairs:Stairway, HengeloTel.: +31 74 2503232

171

Contractors and suppliers

• Internal doors:Bouwprodukten Zomer, VriesTel.: +31 592 544114

page 74House in DortmundKuntzestrasse 71D-44225 Dortmund

• Client:Sabine and Martin Ebeling, Dortmund• Architects:Archifactory.de, Bochum• Structural engineers:Assmann Beraten und Planen.Dortmund• Landscape planning:Archifactory.de, Bochum• Construction manager:Archifactory.de, Bochum

• Structure / Earthworks:Aasee Baugesellschaft mbH, BottropTel.: +49 2045 4073-38Fax: +49 2045 4073-39• Metalwork/Glazing:Fa. Kremer, GelsenkirchenTel.: +49 209 4080-10Fax: +49 209 4080-11info@kremer-metallbau.dewww.kremer-metallbau.de• Carpentry / Timber engeneering:Greitemann, Meschede-ErflinghausenTel.: +49 291 53131Fax: +49 291 53263greitemann.erflinghausen@t-online.de• Ironmongery:W. Siegel GmbH, BottropTel.: +49 2045 4951Fax: +49 2045 4976• Plastering / Painting:Margerka OHG, RecktinghausenTel.: +49 2361 184075Fax: +49 2361 184978• Ytong blocks:Hebel AG, FürstenfeldbruckTel,: +49 8141 98-0Fax: +49 8141 98-324www.xella.de• Roof insulation:DOW Deutschland GmbH, SchwalbachTel.: +49 6196 566-0Fax: +49 6196 566-402www.styrofoam.de• Optifloat glass:Pilkington Deutschland AG, EssenTel.: +49 201 1254Fax: +49 201 1255075www.pilkington.de• Museum terrazzo flooring:Franz Ernst GmbH, RecklinghausenTel.: +49 2361 61031Fax: +49 2361 375457

172

page 80Store and Studio in HagiJ-Hagi-shi, Yamaguchi

• Client:Kazuhiko Miwa, Yamaguchi• Architects:Sambuichi Architects, Hiroshi Sambui-chi, HiroshimaHidenori Ejima, Manabu Aritsuka,Tsuyoshi Oda, Masataka Maehara(assistants)• Structural engineers:Sadakatsu Nishimura, Hiroshima

• Formwork:Takemiya Corporation, Yamaguchi-kenTel.: +81 832 83 1577• Sanitary installation:Toto, FukuokaTel.: +81 93 951 2111• Lighting:Nippo, TokyoTel: +81 3 5703 2181• Chairs:hhstyle.com, TokyoTel.: +81 3 3400 3434

page 84Housing Development in DornbirnSebastianstrasse 6aA-6850 Dornbirn

• Client:I+R Schertler GmbH,Lauterach• Architects:Baumschlager-Eberte, LochauHarald Nasahl (project architect)Christine Falkner (assistant)• Structural engineers:Rüsch, Diem, Schuler, Eric Hämmerle,Dornbirn• Mechanical services:Peter Diem, Bregenz• Electrical planning:Elmar Graf GmbH, Dornbirn

• Landscape planning:Geringer Gartenpark GmbH,Ranken• Building physics:Lothar Künz, Hard

• Master builder (timber construction)Schertler-Alge GmbH, LauterachTel.: +43 5574 6888-0Fax: +43 5574 6888-199www.schertler-alge.at• Glazed facade:Glas Marte GmbH, DornbirnTel.: +43 5574 6722-0Fax: +43 5574 6722-55• Metalwork / Roof waterproofing:Hollenstein Spengler GmbH, DornbirnTel: +43 5572 23234Fax: +43 5572 31154• Electrical installation:Elmar Graf GmbH, DornbirnTel.: +43 5572 23074-0Fax: +43 5572 22861• HeatingA/entilation/Sanitary installation:Hepp Walter GmbH, DornbirnTel.: +43 5572 24486Fax: +43 5572 24486-14• Screeds:Tschanhenz GmbH, BludenzTel.: +43 5552 69111Fax: +43 5552 69111-4

page 87University for Applied Designin WiesbadenUnter den Eichen 5D-65195 Wiesbaden

• Client:Ministry for Science and the Arts in Hesse• Architects:Mahler Günster Fuchs Architects,StuttgartFlorian Technau (project architect),Alexander Carl, Martina Schlude,Karin Schmid-Arnoldt (assistants)• Structural engineers:Fischer & Friedrich, Stuttgart• Electrical planning:Paul & Gampe & Partner GmbH,Esslingen• Landscape planning:Taunusfilm Dirk Schelhorn, Frankfurt• Acoustic planning:Ingenieurbüro Leschnik, Buxtehude• Project manager:Oktavia Galinke, Frankfurt

• Structure:Hoch- und Tiefbau Schick GmbH.Bad KissingenTel.: +49 9736 420Fax: +49 9736 4299

• Facade:Merk Holzbau GmbH & Co., AichachTel.: +49 8251 9081-20Fax: +49 8251 9081-03• Window elements:Okalux GmbH, MarktheidenfeldTel: +49 9391 900-0Fax: +49 9391 900-100www.okalux.de• Windows:Schwaiger Fenster, RohrdorfTel.: +49 8032 9545-19Fax: +49 8032 9545-28• Glass blocks:E-Glasbeton GmbH, OberurselTel.: +49 6171 5207577Fax: +49 6171 581270• Roof waterproofing:Bock Industriebedachungen GmbH,MoringenTel.: +49 5554 9922-0Fax: +49 5554 9922-22

page 92Laban Centre in LondonCreekside, DeptfordGB-London

• Client:Laban Centre, London• Architects:Herzog & de Meuron, BasleMichael Casey (project architect).Jayne Barlow, Konstanze Beelitz, Chris-tine Binswanger, Nandita Boger, FunBudiman, Peter Cookson, Irina Davido-vici, Rita Maria Diniz, Hernan Fierro-Castro, Alice Foxley, Harry Gugger,Jacques Herzog, Detlef Horisberger,Jean Paul Jaccaud, Nick Lyons, StefanMarbach, Christoph Mauz, Pierre deMeuron, Christopher Pannett, KristenWhittle• Structural engineers:Whitby Bird & Partners, London• Mechanical services:Whitby Bird & Partners, London• IT engineers:Arup Communications, London• Landscape planning:Vogt Landschaftsarchitekten, Zurich• Acoustic planning:Arup Acoustics, Winchester

• Facade cladding:Rodeca GmbH, Muhlheim a.d. RuhrTel.: +49 208 76502-0Fax: +49 208 76502-11www.rodeca.de• Facade construction:Metallbau Hirsch AG, BielTel.: +41 32 3441711Fax: +41 32 3417735

A p p e n d i x

page 98Weekend House in AustraliaAUS-Victona

• Client:No details• Architects:Sean Godsell Architects, MelbourneHayley Franklin (assistant)• Structural engineers:Felicetti Ry Ltd., Melbourne• Landscape planning:Sean Godsell with Sam Cox, Melbourne• Project management:Kane Constructions Pty Ltd, Richmond

• Steel facade framing:Dandenong Steel Ry Ltd., DandenongTel.: +61 3 9793 3348• Toughened safety glass:Pilkington Ry Ltd., VictoriaTel.: +61 3 9212 2222• Preoxidized steel panels:BHP Billiton Ry Ltd., Victoria• Metalworking / steel doors andwindows:Shush Metal Design, KensingtonTel: +61 3 9372 6211Fax: +61 3 9372 6200• Jarrah sunshading strips:Marant Industries, Victoria

page 102Administration Building in ReutlingenSchulstrasse 23D-72764 Reutlingen

• Client:Verband der Metall- und Elektroindust-rie Baden Württemberg e.V., Stuttgart• Architects:Allmann Sattler Wappner, MunichHelgo von Meier, Georg Rafailidis, An-gela Hertel, Bettina Mutzenbach, Sus-anne Rath (assistants)• Structural engineers:Sobek Ingenieure, Stuttgart

• Facade planning:Fuchs R + R, Munich• Metal sheets to plinth andexternal areas:Konzeption + Grafik, Roswitha AllmannMediendesign, Munich• Landscape architects:Realgrün, Munich• Energy consultants:TransSolar Energietechnik GmbH,Stuttgart

Facade construction:Frener & Reifer Metallbau GmbH,BressanoneTel.: +39 0472 270111Fax: +39 0472 833550www.frener-reifer.it• Floor finishes / Synthetic resin screed:Sto GmbH, StühlingenTel.: +49 7744 57-0Fax: +49 7744 572010www.sto.de• Lighting (downlights):Zumtobel Staff GmbH, DornbirnTel.: +43 5572 3900Fax: +43 5572 390275www.zumtobelstaff.com

page 106Production Building for Large-ScalePrinting Technology in GrosshofleinIndustnestrasse 1A-7051 Grosshoflein

Fabricated products / Printed itemsProduction area: 1,168 m2

Administration area: 508 m2

Total area: 2341 m2

Volume: 12,989 m3

Total costs:Costs/m2: €466 /m 2

Costs/m3: € 8 4 / m 2

Height betweenfloors (prod.): 7.41 mHeight betweenfloors (admin.): 3.77 mmaximum height: 7.71 mExternal dimensions: 56.3 x 29.7 mFree span (structure): 20.8 x 8.7 mColumn grid: 6.2 mBeginning ofconstruction: Dec. 2001Completion: June 2002

• Client:Trevision GmbH, Grosshöflein• Architects:querkraft architects, Vienna• Structural engineers:Vasko & Partner, Vienna• Mechanical services:PME, Ollern/Riedberg

Lighting design:Konzept Licht Steindl, Vienna• Artists:Trevision GmbH, Grosshöflein

• Main contractor:Bader Bau GmbH, HoritschonTel.: +43 2610 422-01Fax: +43 2610 422-17• Steelwork:Buttazoni GmbH, SollenauTel.: +43 2628 48375Fax: +43 2628 48375-20www.buttazoni.at• Facade:Brucha GmbH, ViennaTel: +43 1 6670622-0Fax: +43 1 6678750www.brucha.at• Aluminium sections system:Wicona Bausysteme GmbH, UlmTel: +49 731 3984-0Fax: +49 731 3984-241www.wicona.de• Roof / Facade:Gerger Stahlbau GmbH,St. Michael im BurgenlandTel.: +43 3327 2430-0Fax: +43 3327 2430-41stahlbau.gerger@telecom.at• Corrugated metal cladding:Taborsky Dach- und Wandsysteme,GramatneusiedlTel.: +43 2234 74008Fax: +43 2234 74008-27www.wellblech.com• Glass elements:Glas Meisl, GrazTel.: +43 316 401124-12Fax: +43 316 401144-18• Electrical installation:Radics GmbH, EisenstadtTel.: +43 2682 63556Fax: +43 2682 63556-16radics@bkf.at• Sanitary installation:Aqua, TheresienfeldTel.: +43 2622 72424Fax: +43 2622 72424-14schefberger@aon.at• High-level racking:Forster Metallbau GmbH, St. PeterTel.: +43 7477 401-0Fax: +43 7477 401-440www.forster.at• Partitions:Kautex Textron GmbH & Co. KG, BonnTel.: +49 228 488-0Fax: +49 228 488-3710www.kautex.de• Industrial flooring:Regele, PottendorfTel.: +43 2623 72431Fax: +43 2623 72431• Lighting:Trilux-Lenze GmbH & Co. KG,ArnsbergTel.: +49 2932 301-630Fax: +49 2932 301-510• Interior fittings:Stak Living Home International, ViennaTel.: +43 1 7136161Fax: +43 1 7136161www.stak.at• Lock systems:Kaba Gege GmbH, HerzogenburgTel.: +43 2782 808-0Fax: +43 2782 808-5505www.kabagege.com

page 114Extension of the Albertina in ViennaAugustinerstrasse 1A-1010 Vienna

• Client:Burghauptmannschaft Österreich, Hof-burg Säulenstiege und Albertina Vienna• Architects:Erich G. Steinmayr & Friedrich H.Mascher, Feldkirch / Vienna,Josef Nachbaur-Sturm(project architect),Matthias Bauer, Josef Burtschser,Ulrike Caglar, Christian Dansco, RobertDunser, Alfred Fink, Ellen Gehrke,Helmut Gruber, Stefan Gruber, BerndHeger, Benedikt Neuhoeffer, MajaLorbek, Daniel Pleikies, Peter Prinz-Sobre, Philipp Schussling, SebastianWorter (assistants)• Structural engineers:Robert Harrauer & Wolfgang Tötzel,Vienna• Mechanical services:All-Projekt, Vienna• Lighting design:Lighting Design Vienna. Eichgraben• Building physics:H.-P. Dworak, Vienna• Project management:ISP Schickl & Partner, Vienna

• General contractor for earthworks,structure, interior fittings, excludingglazing and metalwork:Porr AG, ViennaTel.: +43 50 626-0Fax: +43 50 626-1111• General contractor for facadeconstruction, interior fittings:ALU Sommer, StoobTel.: +43 2612 42-556Fax: +43 2612 42-904www.alu-sommer.at• Black anodized aluminium components:BWB Oberflächentechnik AltenrheinAG, AltenrheinTel.: +41 71 85861-64Fax: +41 71 85861-71www.bwb.ch• Natural anodized aluminiumcomponents:ARGU Oberflächentechnik GmbH,GruenburgTel: +43 7257 7696-0Fax: +43 7257 7696-41www.agru.net• Side wall sections:Alusuisse AG, CH-NeuhausenTel.: +41 52 674-9111Fax: +41 52 674-9676www.algroup.ch

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Contractors and suppliers

page 122Studio Extension in OlotValls Veils 9E-17800 Olot

• Client:Ruscalleda + Verdaguer, Olot• Architects:Jordi Hidalgo + Daniela Hartmann,BarcelonaJauhiainen Tuomo (assistant), Helsinki• Construction manager:Jordi Hidalgo, Barcelona

• Contractor:LI-BRA Serveis de Construcció iRestauració S.L., OlotTel.: +34 972 261960• Metalwork:Metal.liques Olot S.L., OlotTel.: +34 972 269282

page 126House in Mont-MalmédyMontB-4960 Malmédy

• Client:De Pauw-Herrmann, Antwerp• Architects:ARTAU SCRL, Norbert Nelles, LucDutilleux, MalmédyFabienne Courtejoie, Natalie Ries(assistants)• Structural engineers:BCT, Philippe Colson, Liege

• Structure:Michel Hendrick, OuifatTel.: +32 80 44 55 76• Roof:Zanzen Paul Sprl, SourbrodtTel.: +32 80 4402-20Fax: +32 80 4402-21• Facade construction:Carrières de la Warche. MalmédyTel.: +32 80 770058

174

Fax: +32 80 339990info@carrieres-nelles.comwww. carrieres-nelles.com• Interior fittings / Furniture:Jacques Thunus Sprl, WaimesTel: +32 80 444163Fax: +32 80 445483• Electrical installation:Thérer Marcel Sprl, MalmédyTel.: +32 80 330337• Dry construction system:Dethier & Fits Sprl,ButgenbachTel.: +32 80 678571Fax: +32 80 679153

page 130Representation of the States ofBrandenburg and Mecklenburg-Western Pomerania in BerlinIn den Ministergärten 1 and 3D-10117 Berlin

• Client:Federal State of Brandenburg, FederalState of Mecklenburg-Western Pomera-nia, represented by their respectiveFinance Ministries and the PotsdamReal Estate and Building Department• Architects:Gerkan, Marg und Partner, HamburgStephan Rewolle (project architect),Kemal Akay, Margret Böthig, AnnettJaneczko, Antje Pfeifer, Katja Bernert,Elke Hoffmeister (assistants)• Structural engineers:Köber & Partner GmbH,Brandenburg a.d.Havel• Mechanical services:Bauplan, Schwerin• Electrical planning:ITA Ingenieurbüro TechnischeAusrüstung GmbH Potsdam, Berghoiz-Rehbrücke• Landscape planning:Wes & Partner, Krafft-Wehberg,Berlin• Lighting planning:Conceptlicht GmbH, Traunreut

• Stone facade:Natursteinwerk Villmar, Villmar/LahnTel.: +49 6482 9141-0Fax: +49 6482 9141-25• Metal windows facade:Schindler GmbH & Co., RodingTel.: +49 9461 409-0Fax: +49 9461 409-100• Wooden windows facade:VHB Vereinigte Holzbaubetriebe,MemmingenTel.: +49 8331 9464-0Fax: +49 8331 9464-19

• Slates:Empresa das Lousas de Valongo,ValongoTel.: +351 2 415740-0• Stone floor coverings:Saalburger Marmor Werk, SaalburgTel.: +49 36647 300-0Fax: +49 36647 300-30• Ironmongery:Hauk Metallbau, NauenTel.: +49 3321 4494-0Fax: +49 3321 4494-29• Lighting:Metallkonstruktion Birke GmbH, PegauTel.: +49 34296 762-41Fax: +49 34296 762-42• Plastering:Knauf, BerlinTel.: +49 30 397816-26Fax: +49 30 397816-30• Chair lift:Innocon, ZossenTel.: +49 3377 34062-3Fax: +49 3377 34062-4• Acoustic walls:Topakustik, BerlinTel.: +49 30 306923-0Fax: +49 30 3017025

page 136School Building in ZurichStapferstrasse 48/50CH-8006 Zurich

• Client:Amt für Hochbauten Stadt Zurich• Architects:Patrick Gmür Architects, ZurichMichael Geschwentner, FranziskaPlüss, Alessandra Boggia, BarbaraRuppeiner, Katja Albiez, MicheleMambourg, Jan Stoos, Diana deStopani, Monique Strüby, Anja Hahn(assistants)• Structural engineers:Aerni + Aerni, Zurich• Mechanical services:Zünd Heizungstechnik, Zurich• Electrical planning:Mehler + Partner AG, Meilen• Sanitary planning:Jaques von Moos, Zurich• Landscape planning:Raderschall LandschaftsarchitektenAG, Zurich• Construction manager:GMS Partner AG, Zurich• Artists:Peter Rösch, Lucerne• Paint:Lascauxfarben, AcrylBarbara Diethelm AG, BrüttisellenTel.: +41 1 807414-1

Fax: +41 1 807414-0www.lascaux.ch

page 138Housing and Commercial Block inZurichNeugasse/LuisenstrasseCH-Zurich

• Client:Neugass Kino AG, ZurichLifä AG, Zurich• Architects:Marcel Meili, Markus Peter Archi-tects, Zurich with Zeno VogelAstrid Staufer & Thomas HaslerArchitects, FrauenfeldMilan Augustin (project architect),Peter Althaus, Riet Bezzola, PatrickWiesmann, Stefan Deola, AlexanderAlbertini, Emil Häberlin (assistants)• Structural engineers:Karl Dillier, Seuzach• Construction manager:Gianesi + Hofmann, ZumikonUrs Jöger

• Thermal insulation composite system:Greutol AG, OtelfingenTel.: +43 411 77-77Fax: +43 411 77-78www.greutol.ch• Structure:Gautschi Bau AG, AffolternTel.: +41 1 761-4747Fax: +41 1 761-9557www.gautschibau.ch• Facade:Diener AG, ZurichTel.: +41 1 253703-0Fax: +41 1 253703-1www.diener.ch• Glass elements:Pilkington Schweiz AG, WikonTel.: +41 62 745010-1Fax: +41 62 745010-2www.pilkington.com• Floor coverings:Forbo Repoxit AG, WinterthurTel.: +41 52 242-1721Fax: +41 52 242-9391www.repoxit.forbo.com

Contractors and suppliersDetails of contractors and suppliers arebased on information provided by therespective architects.

Appendix

Photo credits

p. 9:Duccio Malagamba, Barcelona

p. 10:ApA© R. Roozen

pp.11/4, 51-53, 21 top right,58, 60-62, 70-73,87, 88, 91,92-93 bottom, 95, 97:Christian Richters, Münster

p, 11/6:Klaus Kinold, Munich

pp. 12, 13/5:MIT Press

pp. 13/3, 13/4:University of Southern California

p. 14:Tim Street-Porter, Los Angeles

p. 15:Scot Zimmerman, Heber City, Utah

pp. 16 top, 17 top right, 20 top, 109,143, 159, 168:Frank Kaltenbach, Munich

pp. 16 bottom, 32, 33, 35, 138-142,151:Heinrich Helfenstein, Zurich

pp. 17 top left, 19 bottom, 63-67:Roland Halbe, Stuttgart

p. 17 bottom:Ralph Feiner, Malans

p. 18 top:Hisao Suzuki, Barcelona

p. 18 bottom:Gerrit Engel, Berlin

pp. 19 top, 27, 90, 93 top, 94, 96, 157:Christian Schittich, Munich

pp. 20 bottom, 38, 39, 41-43.45 bottom, 117, 120:Margherita Spiluttini, Vienna

p. 21 bottom:Dennis Gilbert/View, London

pp. 21 top left, 84-86:Eduard Hueber, New York

Photos for which no credit is given were either provided by the respectivearchitects, or they are product photos from the DETAIL archives.

p. 22 top:from: Kurt Ackermann (editor),Industriebau, DVA, Stuttgart, 1984

p. 22 bottom:H. G. Esch, Hennef

p. 23 top:Archiv Herbert Gunia, Essen

p. 23/5:Museum für Verkehr und TechnikBerlin, Borsig Archiv

p. 24 top:from: Colin Davies, High-TechArchitektur, Gerd Hatje, Stuttgart, 1988

p. 24 bottom:Richard Davies. London

p. 25:Ken Kirkwood, Northamptonshire

p. 26 top:Michael Wurzbach. Hamburg

p. 26 bottom:Jens Willebrand. Cologne

pp. 28, 31:André Morin / ADAGP, Paris

pp. 29, 30:Georges Fessey / ADAGP, Paris

p. 34:Ruedi Baur/ Integral, Zurich

p. 36:Klemens Ortmeyer / architekturphoto,Brunswick

pp. 46, 47, 48, 49:Jörg Hempel, Aachen

p. 54:Michael Egloff, Zurich

p. 55:Klaus Kinold, Munich

pp. 68-69:Thomas Jantscher, Colombier

pp. 75-78:Gernot Maul, Munster

pp. 80, 81, 83:Shinkenchiku-sha, Tokyo

p. 89:Ali Moshiri, Zierenberg

pp. 98-101:Earl Carter, St Kilda / Australia

pp. 102, 104:Stefanie Friedrich, Munich/Frener & Reifer, Bressanone

p. 103:Florian Holzherr, Munich

p. 105:Jens Passoth, Berlin

pp. 106, 107, 110:Herta Hurnaus, Vienna

p.114:Bruno Klomfar, Vienna

pp. 116, 119:Anna Blau, Vienna

pp. 118, 121:Christa Schicker, Munich

pp. 122, 123, 125:Eugeni Rons, Gironapp. 126-127, 129:Jean-Luc Deru, Liège

pp. 130-135:Christian Gahl, Berlin

p. 136 top:Menga von Sprecher, Zurich

pp. 136 bottom, 137:Georg Aerni, Zurich

p. 144:Bouygen company, Paris

p. 145:VSL-lntrafor Gruppe, Subingen

p. 146:Gaston Bergerent / AMC, Paris

p. 148:Beton Marketing Nord, Sehnde

p. 150:ADMM-ADAGP, Paris

p. 152 bottom centre + right:Paul Warchol, New York

p. 153:Marliese Darsow, Krefeld

p. 155 top left:Rheinzink GmbH & Co. KG, Datteln

p. 155 top right, bottom left:Heinrich Fiedler GmbH & Co. KG,Regensburg

p. 155 bottom centre:Fils S.p.A., Pedrengo

p. 155 bottom right:AIM, Nürtingen

p. 156 top left:Corus Bausysteme GmbH, Koblenz

p. 156 top centre:Alcan Singen GmbH, Singen

p, 156 top right:Hoesch Siegerlandwerke GmbH,Siegen

p. 156 bottom:Gebr. Kufferath GmbH & Co. KG,Düren

p. 158:Eckhard Matthäus, Augsburg

Black-and-white photos introducing main sections:

p. 9: Montessori College Oost in Amsterdamarchitects: Architectuurstudio Herman Hertzberger, Amsterdam

p. 27: University for Applied Design in Wiesbadenarchitects: Mahler Günster Fuchs, Stuttgart

p. 143: House C Park village in Munich-Unterföhringarchitects: Lauber Architects, Munich

p. 168: M-Preis Grocery in Stuhlfeldenarchitects: Holzbox Tyrol, Innsbruck

175

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