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THURSDAY 18 JANUARY 2018

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NEWS IN PICTURES

The escalator rises to the occasion

Lead News

thyssenkrupp 

thyssenkrupp celebrates the escalator’s 125th birthday

Imagine a world where dreams of being transported upwards via a moving staircase was simply that, a dream. Urban mobility would look significantly different today, and be far more complicated, had it not been for a man who, while attempting to create New York City’s first double-decker subway, created something even more important. Over one hundred and twenty-five years ago, Jesse Reno invented the first working escalator, which was patented on March 15, 1892. The first escalator, then known as an incline elevator, was installed at the Old Iron Pier at Coney Island in New York City on January 16, 1893. The moving stairway elevated passengers on a conveyor belt at a 25-degree angle and traveled only seven feet. The escalator ran for two weeks at Old Iron Pier before moving to the Brooklyn Bridge. It is estimated that it carried 75,000 passengers during its two weeks at the Old I

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BuckleyGrayYeoman completes Herbal House refurb

BuckleyGrayYeoman completes Herbal House refurb

This comprehensive refurbishment celebrates the historic industrial character of a former printworks, adding two storeys to create a contemporary flagship creative space for Clerkenwell in London

The adaptive reuse of former industrial buildings continues to create unique working spaces in London and further afield. Another example of this trend can be seen with BuckleyGrayYeoman’s extensive refurbishment of Herbal House, a former print works in Clerkenwell, owned by Ærium and managed by Allied London. Arranged over ten floors, Herbal House provides 115,000sq ft of flexible office space and high-quality apartments in the heart of Clerkenwell, close to Farringdon station in London. Commenting on the project Matt Yeoman, Director of BuckleyGrayYeoman said: “Herbal House is an exciting development for the heart of London’s creative district. Clerkenwell is one of Central London’s most exciting districts, a mature creative district ideally placed for access to the knowledge quarter in Kings Cross, the tech cluster at Old Street and the emerging cultural hub in Farringdon.  The size of this former print works has offered us the scope to create a lively and characterful focal point for the working life of the area, which is being transformed by the imminent arrival of the Elizabeth Line.” Constructed in 1928 as a printworks for the Daily Mirror, Herbal House later became part of the academic campus of Central St Martins College of Art and the London College of Printing. The building sits within the Hatton Garden Conservation Area. BuckleyGrayYeoman’s design is a radical reinvention which has celebrated and breathed new life into an iconic example of London’s industrial architecture. Celebrating the heritage and character of the building, the architects have stripped features back to their original materials, re-introducing the industrial character of the building and bringing the space up to contemporary standards of accommodation. Features such as the original brickwork and stone detailing have been repaired and refurbished, whilst the original Crittal windows have been replaced with visually-similar modern equivalents. The building has been extended upwards by two storeys with a steel-clad rooftop extension, the extension houses office space, roof terraces, and six duplex apartments with private access via refurbished cores on Back Hill and Herbal Hill. An existing loading bay on Back Hill has been converted to create a dramatic triple-height space, extending upwards from the basement and linking to the upper ground floor. A new circulation core has been introduced, connecting the new extension and residential space with the office floors below, as well as creating the option to split the office floorplate for multiple occupiers. A new vertical lightwell has also been introduced, welcoming natural light down through the centre of the building right through to the lower levels.  Commenting on the project Robin Carr, Co-chief Investment Officer at Ærium, said: “Herbal House is located in the heart of London’s best-established hub for digital, design and creative business, and also benefits from excellent public transport links including the forthcoming Elizabeth line, which will launch in 2018. We look forward to welcoming businesses to experience this exclusive and imaginative office space in Clerkenwell.” Nick Myall News editor

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Focusing on science in Oslo

Focusing on science in Oslo

Schmidt Hammer Lassen Architects to design new 30,000 sq m campus complex for the Norwegian Geotechnical Institute

NGI - Norwegian Geotechnical Institute, Norway's largest geotechnical specialist community and a leading centre of research and consultancy in engineering-related geosciences, selected Schmidt Hammer Lassen Architects to design a new, contemporary campus. The new complex will not only create a knowledge axis in northern Oslo, but also introduce indoor and outdoor spaces for the public in an area that will see increased pedestrian and bicycle traffic in the coming years. The campus complex will comprise two new buildings linked by a common entrance area across two levels, and will make room for up to 300 employees. The new NGI campus aims to create sustainable and flexible frameworks for staff, partners and clients, and attract start-up companies both inside and outside of the geoscience industry. The new buildings will serve as an open, dynamic meeting place for visitors and residents. "The campus is designed with a modern expression and a strong identity with respect to its context," said Kim Holst Jensen, senior partner at Schmidt Hammer Lassen. "The campus buildings will stand prominently in the local skyline and will reciprocate the voluminous Ullevål Stadion, Norway's national football stadium located directly across the street." A changing corner in Oslo With approximately 20 percent of the campus open to the public, this project is about more than expanding Oslo's science community. Its cafes, shops and meeting spaces on the ground floor, as well as a new public green space, will integrate NGI with the neighbourhood. In addition, NGI sits on the corner of Ringveien and Sognsveien, a busy intersection that will also see the addition of a new cycling and pedestrian bridge in 2019. The largest of the two buildings has a central, panoptic space that creates visual connection and social interaction between people across floors. It will be possible to look into the advanced laboratories where NGI's vital activities unfold. The building's facade and its framed openings create great transparency, inviting sights from the outside and optimizing the intake of daylight. Roof terraces, solar panel systems and green roofs make up the building's horizontal surfaces. In addition to the advanced laboratories, the building also includes a central canteen and dining area, offices, meeting rooms, atriums, courtyards, and basement parking. The entire complex will be sustainable and viable in accord with Breeam NOR environmental certifications that are setting new standards for sustainability. As an important parameter, construction will be carried out while the existing NGI remains in operation. For more information about the Norwegian Geotechnical Institute, visit www.ngi.no/eng. Nick Myall News editor

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White Oak strikes a chord in Houston

White Oak strikes a chord in Houston

A new Houston music venue designed by SCHAUM/SHIEH will open its final stage in early 2018

Houston and New York-based architects, have designed a dynamic cluster of music venues in Houston consisting of The White Oak Music Hall, The Lawn, and Raven Tower Pavilion. The project is a seven-acre assemblage of new and adapted buildings, open-air structures, landscaped areas, and paved and decked surfaces along the Little White Oak Bayou. Pieced together from one large main site and a collection of smaller lots, the project is a unique example of urban infill, feathered into the fabric of the neighbourhood on both sides of the bayou floodway and offering views of the Houston skyline. Owned and operated by a diverse and local group of live music fans and professionals, the venues offer a new state-of-the-art, transit-oriented cultural hub for the Near Northside neighbourhood and for the city.   White Oak Music Hall (WOMH) is the anchor of the project. Completed in 2017, the building houses two performance halls: WOMH Downstairs and WOMH Upstairs. With a 1200-person capacity, WOMH Downstairs is the main hall and the heart of the building, containing two levels lined with cedar slats that are spaced to acoustically tune the room and provide pockets for ambient lighting. WOMH Upstairs' 200-person capacity provides a more intimate setting for up-and-coming acts. Windows behind the stage allow audience members to peek at the skyline while watching a show. Throughout the building, the material palette is matter-of-fact and elemental: steel bar, concrete bar, wood bar. The aesthetic is deliberately direct: the circulation is painted in immersive bright colours that pop in contrast to the dark performance and tech rooms and mark the different zones of the building. Like the industrial buildings that have traditionally housed rock and roll venues, the building is built for vigorous use; the materials selected and detailed to sturdily meet and wear with the rough handling expected.  The White Oak Lawn is a 3,800 capacity amphitheatre that was sculpted to frame the landscape around the bayou and the skyline. Prevailing winds keep concertgoers cool even on hot summer nights. Balconies and a roof deck add a vertical orientation to the venue, and support an intimate audience experience.  Lastly, an existing metal warehouse and unique landmark steel tower were converted into the Raven Tower Pavilion, slated to re-open as a bar and small performance space in late February / early March 2018. Large arched openings were surgically sliced into the steel building to open it to natural ventilation and views. The existing 20-ton steel crane became the proscenium to a small performance area. A decked patio along the bayou conceals a water detention pond, extending and integrating the performance space back into the laid-back landscape.  Architect Troy Schaum elaborated on the new venues: "We designed the performance spaces to be tough in character and a little compressed in proportion. The rawness of the materials invites people to touch, to kick, and rub up against them. They are meant to used and to wear their use over time.” The architects emphasized the nesting scales within the project, from the intimacy of WOMH Upstairs to the modest grandeur of WOMH Downstairs, the main hall, culminating in The Lawn as an outdoor, urban living room for the city. Of the amphitheatre, architect Rosalyne Shieh said: “When The Lawn is teeming during an outdoor show, the gray form of the Main Venue emerges from the banks of the bayou, hulking behind the crowd like a geologic object, facing, across the distance, the skyline of downtown Houston.”  Beyond contributing to the cultural life of Houston in an exceptional way, this cluster of venues keys into the expanded light rail at Quitman Street as well as the latest extension of the Houston Bayou Hike and Bike trail network. In a city defined by automobiles, White Oak Music Hall builds upon and encourages the use of public transit and bicycles.   Nick Myall News editor

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IN BRIEF

Darling Associates expands leadership

Following the studio’s continued strong performance, Darling Ass

Woods Bagot Announces New China Head

Stephen Jones has been appointed Regional Executive Chair, China, for

University of Bristol appoints Schmidt Hammer Lassen Architects, Hawkins\Brown, and BuroHappold for new University Library

A new £80 million library development is to be built at the hear

EVENTS

22.02.2018 

Annual Architecture & Design Film Festival 
Annual Architecture & Design Film Festival Washington D.C. from February 2 

05.04.2018 

Dwell on Design 
The Largest Design Fair on the West Coast of the USA at the Los Angeles Con 

WOHA hits the heights in Taipei

WOHA hits the heights in Taipei

The Huaku Sky Garden features earthquake and typhoon-proof elements set off by a striking facade

Designed by WOHA Architects, Huaku Sky Garden is located at the base of the foothills of the Yang Ming mountain range, in the Tianmu district of northern Taipei. Taiwan’s apartment architecture has been heavily influenced by Japanese colonial and 1980s post-modernism, resulting in heavy, solid blocks. This project breaks away from that influence and is the only high-rise residential tower in its neighbourhood.  The architecture addresses a very scenic view with rolling mountains as the backdrop and vibrant cities in the foreground. The building is expressed as twin towers in a symmetrical, interlinked form with thick columns. Earthquake and typhoon-proof requirements demanded a strong and symmetrical structural frame, which led to the architectural solution of a Chinese-inspired screen in multiple scales, from the oversized structural frame to the delicate metal filigree.  The façade adapts the rectangular asymmetry of traditional Chinese joinery and screen designs and possesses a delightful abstraction. It is enhanced by the depth of the recessed gardens on the double-volume terraces of each apartment. To ensure privacy between the apartments and to embellish the Yang Ming panorama, the slender east and west elevations are veiled with ornamental screens. The permutation and repetition of simple modules in the ornamental screens of this 38-storey tower not only express the beauty of the building, providing a landmark for the area, but also acts as a sun shade in the hot summer months. As the load is borne by the external walls, the interiors are column-free, spacious and uncluttered – a release from the congested city below. The interlocking section is designed with three objectives in mind: The first is dual frontage apartments with views of the city and the mountains. The second is natural cross-ventilation, and the third is spatial excitement. The interlocking allows a double-height terrace and entryway despite being a single-level apartment. The double-volume terraces create an outdoor garden quality, underlining the ‘villa on the mountain’ concept and giving the apartments a grand view of the mountains. In keeping with WOHA’s interest in sociable architecture, the ground level design provides continuity of the street blocks and an appropriate scale in view of the adjacent buildings and surrounding neighbourhood, with gardens, green walls and retail shops that interact with the streetscape.  Nick Myall News editor

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Heatherwick Studio follows the curve in New York

Heatherwick Studio follows the curve in New York

Thomas Heatherwick will use faceted barrel-shaped glazing on a new luxury hotel that will straddle the New York High Line

Designed by Heatherwick Studio, 515 West 18th Street in New York offers a distinctive reinvention of the Chelsea warehouse architectural style, featuring a modern interpretation of the bay window and a custom masonry façade. The 21-storey building comprises a collection of approximately 180 one, two, three and four bedroom residences, many of which bestow uninterrupted cityscape and Hudson River views, and promise to provide residents a totally integrated lifestyle destination. 515 West 18th Street is part of a two-tower development that links underneath the High Line. The development is in the heart of the art gallery district, within a short walk to sprawling parks, acclaimed restaurants, storied nightlife and several of Manhattan’s finest schools.  Thomas Heatherwick, Founder of Heatherwick Studio, said: “With a site crossing both sides of the High Line there was a unique opportunity to celebrate the urban texture of the elevated park and the distinct character of the Chelsea neighbourhood. The studio wanted to create a new kind of panoramic visual connection for the building’s residents and re-conceived the residential bay window as a three-dimensional sculpted piece of glazing that provides light-filled interiors as well as exciting internal moments. At the smallest scale the raw brick exterior, influenced by Chelsea’s heritage of industrial brick buildings, will give a handmade feel and micro texture to the facade. At the largest scale, the use of the three-dimensional windows will add another distinctive layer of textural character to the fabric of the city.” Heatherwick used similar faceted barrel-shaped glazing on his luxury hotel inside a former grain silo in Cape Town, which sits above the Zeitz MOCAA art museum. The windows are tapered inward, in a similar way to a traditional bay window, to create the distinctive curved shape. One of the towers will be 21 storeys high with a stepped shape and the other will rise 10 storeys with both being topped with vegetation. Heatherwick Studio, was founded by the British designer Thomas Heatherwick in 1994. Hailed for a number of significant projects in the UK, including the award-winning UK Pavilion at the Shanghai World Expo 2010, the studio’s work also includes Vessel at Hudson Yards and Lincoln Center in Manhattan, a new campus for Google in Silicon Valley (with BIG) as well as Zeitz MOCAA, in Cape Town, South Africa that makes use of a disused grain silo. Nick Myall News editor

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Pointing to the heavens

Pointing to the heavens

This chapel is dedicated to Our Lady of Fatima and is inspired by the outdoor life that is central to the Scout movement

From the architects... The construction of this building came from the desire to have a chapel at the National Scout's Activities Camp (CNAE), in the municipality of Idanhaa Nova, central region of Portugal, for the XXIII National Jamboree of Portuguese Catholic Scouts, which involved about 22,000 participants, and to join the other definitive buildings that this scouting centre has. The chosen location is a plateau area, central in the CNAE, surrounded by a rural environment, with an extraordinary panoramic view .The spacial experience begins with the access route to the chapel, a gradual passage to a more introspective environment. This space is delimited by a wood fence, composed of spaced poles, sufficient to delimit the space, but purposely open, showing a chapel available to all who pass by. Crowning the entrance there is a bell, acclaimer of Christian life, and allusive to the catholic Scout association of Portugal and to the XXIII National Camping. The chapel is dedicated to Our Lady of Fatima and is inspired by the scouting experience: outdoor life, camping, the tent, and by the sobriety and simplicity of buildings and lifestyle. The pointed edges of the building allude to the scout’s scarf, the symbol of vow and commitment of this movement. The chapel was thought out as a large tent,with open doors to everyone, at all times:a constant welcoming point for shelter, contemplation and introspection. It ?s very simple form, asa classical tent, is formed by a gable roof,adapted to receive all visitors. The structure approaches people in the entrance area, where the volume is lower and narrower, closer to the human scale, and stretches forward and upward, elevating the user to something higher, facing a dazzling landscape in background, that amplifies these sensations.  The east / west orientation of the chapel enables the sunrise to illuminate its interior space, and the sunset to fill the place with an immensity of colours, tones and ambiences, that arouse the eye and sustain the architectural arrangement. In fall and winter, the light emphasizes the tranquility of the place, and the unadorned symbiosis between building and landscape.The entrance point, where the building resembles the scouts scarf, and the way it rests on the neck, is also marked by the presence of water, that is “born” here. Here emerges a watercourse, that invites to visit the chapel and the Mystery that it celebrates. This course evokes the long and rich biblical and liturgical symbology.The water crosses the whole space of the chapel, on a path that develops into the altar -the central place of any Christian celebratory space -and then into the landscape, directing the user to the cross, which is outside the chapel, in the same alignment. The cross points out the landscape and consolidates the feeling of amplitude and projection to the Divine. The large cross, implanted at the landscape, with its imposing and yet delicate form, tapers as it gains height, and testifies the solemnity of the place. The alignment of these liturgical elements is arranged along a path that is covered by the architectural form, which while protecting, also projects the user upwards and towards the landscape, unifying the purposes of the formal and conceptual design of the building. The wood and zinc structure give a simple and protective external aspect to the temple, and creates a cozy interior ambience. Inside, the covering is supported by 12 wooden beams (an allusion to the Apostles)revealing the constructive simplicity and truth.With a total length of 12m, the structure reaches its highest point at 9m, after the Altar, where the raising of the main beam increases the space depth, and highlights this sacral point. The chosen materials integrate the building in the surroundings, the scout practice, and in the architectural concept. Wood is a material widely used by scouts in their constructions. It is a natural and traditional material, which provides solidity and comfort. Zinc, also a traditional material, here chosen not only for its excellent qualities of tightness, but also for the feeling of protection it confers. The altar, the fountain and the path of water are permanent elements of the building,and are made of stone,a natural and noble material. The chair, the ambo, the support of the ceremonial candle, the base of the figure of Our Lady of Fátima and the benches of the assembly are movable. These elements are made of solid wood, worked in a simple, almost crude form, cleared of additional elements, letting function overlap decoration. Light, an important theme in architecture and religious expression, was designed to highlight the expressiveness of all interior and exterior space. Due to its location, in a rural environment, the chosen artificial lighting is discreet and harmoniously distributed. At night the illumination highlight ?sand frames the building with the surrounding nature and stars above. The light comes from underneath,and projects itself in the edified set, and in the great cross, enriching the dimensions of the architecture, and giving it ethereal dimensions. A single point of light stands out from the rest of the illumination, and falls from the top of the structure's shaft, over the altar, consecrating the reverence of this element. The chapel serves the scout community and hosts celebrations for a greater number of people. In these cases the assembly can be in the large exterior space, leaving the celebrant facing the landscape, which transforms the whole chapel into an altar. This is a spiritual place, a simple, sacred existence. It invites reflection and an encounter with faith, while looking forward, to a higher horizon.

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UK construction giant Carillion goes into liquidation

UK construction giant Carillion goes into liquidation

The UK's second biggest construction company has collapsed

Talks between UK-based construction firm Carillion, its lenders and the UK government, aimed at saving the firm from collapse, have failed to reach a deal. Carillion has run up huge debts on large contracts which means the UK government will have to step in to provide funding if critical public services run by Carillion are to continue. The company has 43,000 staff worldwide - 20,000 in the UK. It is not clear yet how those staff will be affected. The firm has debts of £1.5bn and a £587m pensions shortfall.  It is heavily involved with public sector projects in the UK as part of the UK government’s often criticised policy of privatising public sector services. Hundreds of smaller firms that are in the supply chain on Carillion led projects will also be affected. A large number of architects will be affected by Carillion's liquidation. Bennetts Associates recently won work with Carillion on a £6m sports hall near King’s Cross in London, while FaulknerBrowns Architects won planning for a large regeneration scheme in Durham backed by a consortium including Carillion’s property development arm. Concerns also remain about when Carillion’s much-delayed £335 million Royal Liverpool University Hospital, designed by NBBJ and HKS, will open.  According to the BBC, Rehana Azam, national officer of the GMB union, said: "What's happening with Carillion yet again shows the perils of allowing privatisation to run rampant in our schools, our hospitals and our prisons." Carillion is involved in major projects such as the HS2 high-speed rail line, as well as managing schools and prisons. It is the second biggest supplier of maintenance services to Network Rail, and it maintains 50,000 homes for the Ministry of Defence. Carillion chairman Philip Green said it was a "very sad day" for the company's workers, suppliers and customers. The Government must learn from Carillion’s demise and assess its over-reliance on major contractors, according to the Federation of Master Builders (FMB). Commenting on the announcement that Carillion is to enter compulsory liquidation, Brian Berry, Chief Executive of the FMB, said: “Carillion’s liquidation is terrible news for all those who work for the company and it will have serious knock-on effects for the many smaller firms in its supply chain, some of which will be in serious financial danger as a result of Carillion’s demise.” Berry concluded: “Carillion’s liquidation raises serious questions for the Government, not least about its over-reliance on major contractors. The Government needs to open up public sector construction contracts to small and micro firms by breaking larger contracts down into smaller lots. That way, it can spread its risk while also reaping the benefits that come from procuring a greater proportion of its work from a broad range of small companies. Construction SMEs train two-thirds of all apprentices and are a sure-fire way of spreading economic growth more evenly throughout the UK.” Some of the on-going large scale UK contracts that Carillion operate include: HS2 Building part of the high-speed rail line between London, Birmingham, Leeds and Manchester MoD homes Maintains 50,000 homes for the Ministry of Defence Schools Manages nearly 900 buildings nationwide Network Rail Second largest supplier of maintenance services Prisons Holds £200m in prison contracts Labour, the opposition political party in the UK, have called for a full investigation into the government's dealings with Carillion. They have highlighted three profit warnings issued by Carillion in the last six months . Despite these profit warnings the UK government has continued to grant contracts to Carillion. Carillion has worked on the £400m Battersea power station revamp in London, the £335m Royal Liverpool University hospital, Birmingham’s flagship library and the expansion of Liverpool Football Club’s main stand at Anfield. Some of the major construction projects that Carillion are involved with that are still in progress include: HS2’s North Portal Chiltern Tunnels to Brackley; and the Brackley to Long Itchington Wood Green Tunnel South Portal (C2 and C3) packages, worth together £1.3bn The first phase of the £335m M6 junction 13-15 improvements and the M20 junction 3-5 scheme worth around £92m due to start in March Improvement and extension works at hospitals in Liverpool and Birmingham £115m East Leeds Orbital Route £75m Angel Gardens build to rent scheme for Moda and the first phase of £75m student halls for Manchester University at its Fallowfield Campus £60m One Chamberlain Square, Birmingham Paraduse Circus £62m Midland Mainline improvement programme. Corby to London £60m Lincoln Eastern Bypass FARRS phase 2 link road to Doncaster Sheffield Airport £10m Heltwate school and £7m Jack Hunt school in Peterborough 21-storey Salford Central scheme flats £16m Salford New Bailey build to rent scheme London £91m Barts Square development London Strand £25m flats contract at Arundel Court, Strand £37m National Grid powerlines upgrade Canterbury £38m overhead transmission line upgrade in Reading area £23m Waverley station upgrade in Edinburgh Nick Myall News editor

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Milan University goes green

Milan University goes green

The new complex of the international faculty of Medicine, Nursing and Physiotherapy at the Humanitas Research Hospital is designed by architect Filippo Taidelli

The official opening of the new Humanitas University Campus -International faculty of Medicine, Nursing and Physiotherapy at the Humanitas Research Hospital – has taken place in Milan. The complex of buildings and greenery designed by the Italian Architect Filippo Taidelli of the FTA Studio is an articulated university campus consisting of three new buildings covering 25.000 sq m. The complex has been designed to accommodate 1,200 students from 31 different countries, teachers, researchers, a 2,000 sq m Simulation Lab - one of the most technologically advanced and largest in Europe, high-tech classrooms, a digital library and a student residence. The total investment was about 100 million euros. The architecture, simple and essential, promotes functionality and the fading of borders between the didactic center, the research pole and the multifunctional hub: placed in a sort of "Triangle of knowledge" starting from the clinical aspect and ending through didactics with the lab which is the foundation of the Humanitas mission. The project consists in three volumes: a multifunctional building with canteen, library and common functions; a didactic center with classrooms, offices and the Simulation Center; the research labs, organized around a square opening on a green internal courtyard. Large windows make the space fluid, characterized by double and triple heights and wide terraces, which can be also used as outdoor classrooms. SUSTAINABILITY The spaces have been conceived according to the most modern standards in technology and in comfort. The application of these climatic strategies co-operating with active systems such as groundwater heat pumps, low temperature radiant panels heating and installation of photovoltaic panels in the roof, have obtained the top energy class CENED A3. The green campus is not limited to landscaping but is the demonstration of a special attention to environmental issues that makes possible a significant reduction in energy consumption and an increase in users comfort. Nick Myall News editor

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Stanton Williams extends Cambridge Judge Business School

Stanton Williams extends Cambridge Judge Business School

A major centre for business education has been created in Cambridge as existing much-loved University buildings have been extended

Stirling Prize-winning architect Stanton Williams has completed a £21.5 million expansion for Cambridge Judge Business School at the University of Cambridge in the UK, demonstrating the practice’s expertise in unlocking the potential of complex sites, and creating a versatile hub for postgraduate and executive business education. The Simon Sainsbury Centre is built adjoining the Business School’s Grade II listed, John Outram-redesigned Addenbrooke’s building. This wonderful new space brings together all parts of the Cambridge Judge Business School community: pre-experience and post-experience students; EMBA participants; Executive Education clients; faculty; staff and external partners, enabling the Cambridge Judge Business School community to continue solving real-world problems with greater diversity and creativity. The new four storey 5,000 sq m building replaces two former nurses’ hostels on Tennis Court Road along the eastern boundary of the site. It has been designed to complement rather than compete with the Outram building, which was completed in 1995 as a remodelling of the 18th and 19th Century hospital buildings. As well as providing flexible education spaces for the School’s Executive Education programme, the Centre contains additional teaching, conferencing, office breakout and dining spaces for the school, reflecting the evolving culture of the University and the changing requirements of learning environments. Through the physical juxtaposition of old, new and the more recent past, the project demonstrates a complex layering of history which embodies the identity of the School whilst expressing its contemporary needs. Stanton Williams’s design is conceived as an extension to the original hospital, drawing inspiration from the historic masonry façade designed by Matthew Digby Wyatt. This rhythm of brick buttresses and fine stone columns sets the structural and material tone of the new building. The height of the hospital wards within the existing building establishes principal floor levels and room heights across the site, while the massing reinstates the scale of the original hospital campus, helping to anchor the school in its urban setting. Use of strong colour and refined materials, juxtaposed with exposed structural concrete, references the bold colour, rich materials and exposed structure of both the 19th Century building and the 1990s Outram transformation. The resulting campus creates a unified identity that transcends individual period styles. Internal spaces have been designed to promote interaction between students, delegates and staff through the provision of generous foyer and circulation spaces. This engaging environment provides a sequence of spaces of different scales and characters, all with a strong sense of materiality and access to views. The Centre is on track to achieve a BREEAM Excellent rating for sustainability. It utilises an innovative strategy of distributed ventilation with the incorporation of 60 small heat recovery units within the building envelope to create a ‘breathing façade’. This use of the Trox system is the first of its type in the UK. “The new building will bring together all parts of our community under one roof while maintaining our position at the heart of the Cambridge Cluster. In doing so, it will enable us to continue solving real-world problems in even more diverse and creative ways,” says Christoph Loch, Dean of Cambridge Judge Business School. “The Simon Sainsbury Centre embodies the identity of the School whilst fulfilling its contemporary needs, adding a further layer to the progressive transformation of this historic site,” says Gavin Henderson, Director at Stanton Williams. Nick Myall News editor

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