WAN Awards 2018

MONDAY 18 JUNE 2018

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A façade for all seasons

Lead News

MVRDV 

Golden light shines through this façade to create a marble-veined effect that changes with the light conditions

Bulgari’s flagship store in Kuala Lumpur has opened with a new façade that imagines the luxury brand’s heritage, and experiments with traditional materials. The storefront is the first in a series of MVRDV façade designs for the luxury brand. This concrete and resin facade is permeated by gold light to create a marble-veined façade. For over a century, Bulgari has set the pace for Italian style with a forward-looking, creative spirit that draws inspiration from the timeless beauty of Roman art, while giving it a distinctive contemporary touch. MVRDV’s design draws on inspiration from the luxury brand’s heritage. The cornice of via Condotti is a set element used asymmetrically in different locations over the world, and its iconic marble façade now reinvented and reinterpreted by material experiments. In Kuala Lumpur, a façade wh

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IMBE 2018

 Creating a spin at The Old Vinyl Factory

Creating a spin at The Old Vinyl Factory

The Boiler House, an innovative 54-home cross-laminated timber building designed by Studio Egret West in The Old Vinyl Factory regeneration project in Hayes, UK, has completed

Designed by Studio Egret West and built by Henry Construction, The Boiler House provides 54 stylish studio, one- and two-bed for-sale homes, with floor-to-ceiling windows, sleek kitchens and spacious balconies. The building’s distinctive stainless-steel shingle façade and bright orange staircase cover a cross-laminated timber structure – this provides a range of environmental and thermal benefits, as well as enabling an ultra-efficient construction process. The Boiler House also offers roof top allotments for residents to grow their own vegetables and plants. Two ground floor retail units are placed on either side of the bright and colorful entrance lobbies.     With prices starting from £270,000, many of the units at The Boiler House have been available through London Help to Buy. Located a short walk from the new Hayes & Harlington Elizabeth Line station, which will provide 20 minute journeys into central London, the homes have proven very popular with buyers, with over 80% sold prior to completion and only a handful now remaining. HUB and Bridges are jointly developing a number of lower-cost housing developments across Greater London, in line with Bridges’ focus on investing in emerging locations. Altogether the separate projects could deliver over 1,500 homes with a combined value of over £500m. The Boiler House is the first of these projects to reach completion. Steve Sanham, Managing Director at HUB said: “We’re really excited to complete this unique scheme in Hayes – a rapidly evolving and well-connected part of west London, and a great location to live and work. As the first for-sales homes to complete as part of the Old Vinyl Factory, this is also a real milestone for the wider regeneration site. The Boiler House is exactly what we aim to deliver with all of our schemes: environmentally responsible, attainable homes for local people, designed and finished to a high specification.”  Simon Ringer, Partner and Head of Property Funds at Bridges Fund Management, said: “London desperately needs more high-quality, lower-cost housing to meet the needs of its ever-growing population. The projects we are developing with HUB in underserved areas of London draw on the latest sustainable design and construction techniques. It is great to see the first of these innovative projects reach completion, and we look forward to welcoming the first residents into The Boiler House.” Lucas Lawrence, Director at Studio Egret West, said: “The Boiler House reflects the unusual form of the steam chimney that once served the EMI Factory, the birthplace of so much influential music. The cluster of tapered volumes use a metal cladding that is inspired by the original industrial structures along with a sustainable cross laminated timber structure that has broken new ground for this type of construction. We are delighted that this first residential building of the new neighbourhood is being so well received by the residents and thank HUB for their commitment to delivering such a high quality and distinctive building.” Led by U+I, the £250 million Old Vinyl Factory masterplan is a mixed-use regeneration project on the 17-acre former EMI site, which made records for a variety of big names in British Rock n’ Roll until the late 1970s. Once completed, the redevelopment will include up to 642 homes, 550,000 sq. ft. of commercial space, leisure facilities and extensive new public realm. The Old Vinyl Factory will also be home to HUB and Bridges’ Material Store – 189 PRS apartments for rent managed by Fizzy Living – which is due to be completed next month. The Modern House is the agent for The Boiler House. Nick Myall News editor

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 Let the games commence!

Let the games commence!

The centrepiece of the Russian World Cup has been lovingly restored and brought up to date

The 2018 World Cup is upon us, with the opening ceremony, several key matches and the final taking place at the Luzhniki Stadium in Moscow. The magnificent building has been refurbished by SPEECH architectural office and Mosinzhproekt. Luzhniki Stadium was designed and built in 1955-1956 under the supervision of architect Alexander Vlasov. In 1980 Luzhniki was the main arena for the Olympics. It has been closed for reconstruction since 2013. The key objectives of the reconstruction project made by SPEECH architectural office (Moscow) has been to preserve the stadium’s external appearance (the stadium’s historical wall and roof) as an icon of Russian sport and to fulfil all FIFA’s requirements with regard to floor areas and capacity. The task facing the planners and designers was to fit all the required functions into the existing geometry. The renewed Large Sports Arena now has a maximum capacity of 81 000, which is 3000 more than previously. Furthermore, prior to reconstruction, approximately 10% of seats in the stadium were in a zone where there were limited views of play. The stands have for this reason been replaced with two tiers raked at a steeper angle; additionally, there is a third tier consisting of 100 skyboxes. These changes mean that football fans now have a great view of the pitch from any point in the stands (including the bottom and top rows). There are also new comfortable VIP boxes with capacity for 1950 spectators. The stadium’s external appearance has also been lovingly preserved, including the colonnade girdling the stadium, the inside wall, and the shape and sculptural form of the roof. Behind the historical wall an internal street has been created; its main feature is eye-catching cascades of staircases, which serve as the main channel for spectators to get move around the stadium. The only new element on the façade is a frieze in the form of a broad metal strip on which images of symbols of various types of sport have been created using perforations. A 23-metre-high viewing platform is situated at the very top of the stands and will be open to all.  Nick Myall News editor

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Morpheus opens its doors

Morpheus opens its doors

A new flagship hotel designed by Zaha Hadid Architects for the City of Dreams resort in Macau, opens Friday 15 June

Asia’s most popular entertainment destination, Macau welcomed more than 32 million tourists in 2017, with visitor numbers increasing every year. Located in Cotai, Macau, City of Dreams is a leading integrated resort including casino, two theatres, shopping district, 20 restaurants and four hotels. Informed by the fluid forms within China’s rich traditions of jade carving, the Morpheus’ design combines dramatic public spaces and generous guest rooms with innovative engineering and formal cohesion. Conceived as a vertical extrusion of its rectangular footprint, a series of voids is carved through its centre to create an urban window connecting the hotel’s interior communal spaces with the city and generating the sculptural forms that define the hotel’s public spaces. Linked at ground level with the surrounding three-storey podium of the City of Dreams resort, the Morpheus houses 770 guest rooms, suites and sky villas, and includes civic spaces, meeting and event facilities, gaming rooms, lobby atrium, restaurants, spa and rooftop pool, as well as extensive back-of-house areas and ancillary facilities. The design resolves the hotel’s many complex programmes within a single cohesive envelope.  Zaha Hadid Architects (ZHA) was commissioned to build the hotel in 2012. At that time, foundations were already in place of a condominium tower that did not progress. ZHA designed the Morpheus as a simple extrusion of the existing abandoned foundations; using this rectangular footprint to define a 40-storey building of two internal vertical circulation cores connected at podium and roof levels where the many guest amenities were required. This extrusion generated a monolithic block making best use its development envelope that is restricted to a 160m height by local planning codes. This block was then ‘carved’ with voids. The underlying diagram of the hotel’s design is a pair of towers connected at ground and roof levels. The central atrium in-between these towers runs the height of the hotel and is traversed by external voids that connect the north and south facades. These voids create the urban window that links the hotel’s interior communal spaces with the city. Three horizontal vortices generate the voids through the building and define the hotel’s dramatic internal public spaces; creating unique corner suites with spectacular views of both the atrium and the city. This arrangement maximises the number of hotel rooms with external views and guarantees an equal room distribution on either side of the building. In-between the free-form voids that traverse the atrium, a series of bridges create unique spaces for the hotel’s restaurants, bars and guest lounges by renowned chefs including Alain Ducasse and Pierre Hermé. The atrium's twelve glass elevators provide guests with remarkable views of the hotel’s interior and exterior as they travel between the voids of the building. As one of the world's leading hotels, the Morpheus' interior spaces necessitated a high degree of adaptability to accommodate the many varying requirements of its guest amenities. The building’s exoskeleton optimizes the interiors by creating spaces that are uninterrupted by supporting walls or columns. The world’s first free-form high-rise exoskeleton, its rich pattern of structural members at lower levels progresses upwards to a less dense grid of lighter members at its summit. Morpheus draws on a ZHA’s 40 years of research into the integration of interior and exterior, civic and private, solid and void, Cartesian and Einsteinian. Space is woven within structure to tie disparate programmes together and constantly make connections. Viviana Muscettola, ZHA's project director explains, "Morpheus combines its optimal arrangement with structural integrity and sculptural form. The design is intriguing as it makes no reference to traditional architectural typologies. "Macau’s buildings have previously referenced architecture styles from around the world. Morpheus has evolved from its unique environment and site conditions as a new architecture expressly of this city. "The expertise of all members of the Morpheus team has created new possibilities for architecture," continued Muscettola. "The comprehensive parametric model combined all of the hotel's aesthetic, structural and fabrication requirements and will radically change how our built environment is planned and constructed.” Lawrence Ho, chairman and CEO of Melco Resorts said, “From the very beginning, we shared ZHA’s vision and determination to push boundaries. Morpheus offers a journey of the imagination. From the curved exterior to the dramatic interior spaces, it pleases the eye and excites the senses: a contemporary masterpiece to be enjoyed by many generations to come.” Nick Myall News editor

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IN BRIEF

Right to Build Task Force announces five free days of support for organisations working to deliver new community-led housing

The Right to Build Task Force is offering five organisations up to fiv

Darling Associates expands northwards with the acquisition of specialist practice Architect-CT

Darling Associates, the multi award winning architectural studio, cele

Will Alsop 1947- 2018

Sad news today as we learn of Will Alsop’s death, one of archite

EVENTS

26.05.2018 

Collateral event of 16th International Architecture Exhibition - La Biennale di Venezia 
La Biennale di Venezia - Hong Kong Exhibition 6 May – 25 November, 2018 

29.06.2018 

Immersive Technology in the Built Environment 
Immersive Technology in the Built Environment is a brand new conference loo 

Unveiling the ‘micro vertical city’

Unveiling the ‘micro vertical city’

This tower radically transforms the soulless skyscraper into a highly livable and sustainable environment

Against the backdrop of China’s homogenous urban development and the ubiquitous rise of post-modernist skyscrapers, Vanke Yun City boldly presents an alternative office tower typology. It responds to the sub-tropical climate in Shenzhen, promotes urban integration, facilitates social interaction, and proposes an exciting programmatic mix that radically transforms the soulless skyscraper into a highly livable, humane and sustainable micro vertical city. The building is shaped as a laid down Chinese character “?” with three tower blocks attached to a central T-shape core. On the ground, the entire building foot-print and the reception lobby are lifted, returning the previous land to the public as a sheltered and porous activity space. Green and water features are integrated with open or shaded plazas to create a series of accessible and functional urban space. In the air, twelve 7-storey high “knolls” with their silhouette outlined by greenery extrude out and float on the three sides of the building. Drawing inspiration from the natural landscape and mountain parks in Shenzhen, these “knolls” will introduce rich amenities and landscape into the skyscraper, celebrating human scale and nature in the high-rise. The top level of each knoll is where the refuge floor and public lift lobby are situated. It serves as an open community space where rich program and lush landscapes are integrated. Cascading down the sides of the knoll are pockets of semi-public sky gardens that further ameliorate the working environment. The inside of these knolls are planted valleys and gullies that further reinforce the garden working environment. These sessions of micro-climate create alluring ambiance with natural light and fresh air inside the office building. The three tower blocks split from each other and vary in sizes, stimulating an elegant rhythmic proportion and maximizing natural daylighting, natural ventilation and views into the office space. The 217.8m tall West block has a standard floor plate of 28.4m x 37.4m. The North-East block and the South-East block have the same footprint of 23.2m x 28.4m and are capped at 246.6m. Curtain wall system with extruded vertical mullions further emphasize the verticality of the blocks and endows the building with a sleek iconic image. At night, the mullions on the top portion of three blocks will become glowing highlights that outline the elegant figure of this landmark architecture.  A total of 10,490 m² of public space and 7835 m² of sky gardens, planter terraces, green walls and water features are provided to the 150,000 m² of office space. Given a site area of 8,087 m², the design is able to achieve a 130% “community plot ratio” and almost 100% “green plot ratio” which contribute to its typological breakthrough. The WAN Residential Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com Nick Myall News editor

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Woods Bagot takes to the skies

Woods Bagot takes to the skies

Designs for San Francisco International Airport’s new Terminal One aims to ‘bring back the romance and excitement of air travel’

New images revealing the scale and quality of the redevelopment of Terminal 1, Boarding Area B at San Francisco International Airport (SFO) have been unveiled. The release of the designs by international architecture practice Woods Bagot, in joint venture with HKS Architects, comes as construction starts on the 4750m project, which is expected to complete in 4 phases between 2019 and 2022. Working closely with shell and core architects HKS, the interior designs by Woods Bagot highlight SFO’s commitment to customer hospitability, including a spacious concourse that integrates art, restaurants, and retail showcasing the best in Bay Area fare and integrated technology to facilitate the passenger journey. Carsten Voecker, Woods Bagot Director in San Francisco, explains: “The new terminal has been designed with passengers’ comfort and enjoyment in mind, with experts from Woods Bagot’s retail, transport and hospitality teams working together with SFO’s stakeholders to create the ideal airport terminal that will bring back the romance and excitement of air travel”. The concept for the design is ‘Bay Area Naturalism’: a celebration of the environment of Northern California. It includes a variety of curated spaces that encourage either speed and efficiency or quietude and relaxation, depending on their function. A variety of natural materials including wood and stone will be deployed, with contrasting hard and soft edges juxtaposed to reflect the diverse social ethos of the Bay Area community. The new terminal will include a series of character areas, including a sophisticated, cosmopolitan ‘marketplace’ and a ‘park’ area designed to have an outdoor feel and encourage play. James Berry, global transport leader at Woods Bagot, said: “Now that construction has started on the redevelopment of terminal one, I am delighted to provide a more detailed insight into this exciting project. I hope that Bay Area residents and visitors alike will be excited by the huge changes that are on their way – when complete, SFO will rank among the very best airports in the world. Woods Bagot is tremendously proud to be part of the project and showcase its customer centric approach to design. I look forward to sharing further details of future phases soon.” The WAN Future Projects Transport Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com    

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Diller Scofido + Renfro and Woods Bagot win Adelaide design competition

Diller Scofido + Renfro and Woods Bagot win Adelaide design competition

Acclaimed New York architects with leading Adelaidean practice convince jury with concept design to create a dynamic new art space on Adelaide’s celebrated North Terrace

Arts South Australia and competition organisers Malcolm Reading Consultants has announced that the team led by Diller Scofidio + Renfro (US) with Woods Bagot (Australia) has won the Adelaide Contemporary International Design Competition. The winning team’s concept design reconciled the brief for a dynamic people-friendly new place with a skilfully-organised gallery, while also incorporating a performance lab, a dramatic ‘Super Lobby’, floating top-floor sky galleries and a suspended rooftop garden. The garden, inspired by ‘Minkunthi’, the Kaurna word ‘to relax’, would display the planting of a pre-colonised South Australian landscape, linking the idea of the contemporary to Kaurna ecological and cultural history. The building was described by the team in their presentation as a charismatic soft beacon on North Terrace that would reflect the sky by day and, at night, glow with galleries – allowing visitors to glimpse the art collection as they passed the building outside formal opening hours and, in this sense, ‘giving the art back to the city’. The nine-strong international jury, chaired by Michael Lynch AO CBE, found the concept design to be resonant to Adelaide, and its famous festival culture, promising to create spectacle and attract new audiences with dynamic, multipurpose spaces while also displaying a sound understanding of current art practice and offering a flexible but distinctive gallery configuration on a nine-square model. The decision follows a seven-month global search for an outstanding team to design a new cultural destination on part of the former Royal Adelaide Hospital (oRAH) site. The competition attracted submissions from 107 teams made up of circa 525 individual firms from five continents. The new gallery and public sculpture park is envisaged as one of the most significant new arts initiatives of 21st-century Australia, providing a national focal point for Aboriginal and Torres Strait Islander art and cultures as well as new spaces for major exhibitions, and the opportunity to unlock the hidden treasures of South Australia’s State collections. Peter Louca, Executive Director of Arts South Australia, said: “I’d like to join the jury in thanking all six finalist teams for their high calibre presentations and congratulate Diller Scofidio + Renfro and Woods Bagot on their inspired design. The overwhelming global attention this process has invited from design, creative and infrastructure leaders and the world’s media has put the creation of Adelaide’s next great cultural destination on the international map. This was reflected in the high calibre of teams and proposals which challenged the international jury.” Michael Lynch AO CBE, chair of the jury and the Art Gallery of South Australia Board’s Special Advisor, said: “The winning team’s concept design responds to this once-in-a-generation opportunity for a landmark building in the heart of the city, positioned on the edge of the Botanic Garden. In a city famous for its festivals, the design creates a new place that embraces art in all of its forms and appeals to a broad audience, both local and international. The design foregrounds South Australia’s exceptional collections and capitalises on the momentum of the Art Gallery of South Australia’s recent successes in celebrating Aboriginal and Torres Strait Islander art and culture. The jury was impressed by the winning team’s assured understanding of the future of art, performance and 21st-century programming, as well as its flair for placemaking. It was an inspired insight by the winning team to conceive the building stepping down along the topography of the site and so creating a genuine connection to site and Country, respectful to the Kaurna people as well as integrating the Botanic Garden into the design.” Malcolm Reading, Competition Director, said: “The competition centred on healing Adelaide’s civic realm: the former hospital created a physical disconnect between the cultural boulevard and the Botanic Gardens – what better way to connect the two than by using art? The winning scheme is tightly-engineered, works the site hard, but is also a lot of fun. It has the potential to speak to new generations who are developing their own cultural identity, and offer a new focus for the city, much needed as Adelaide continues to grow and flourish. We would like to thank everyone who followed and entered the competition, and especially the five runners-up. There has been huge international interest – this is a moment for Adelaide.” New York-based Diller Scofidio + Renfro (DS+R) is consistently ranked as one of the world’s leading practices, famous for its role in creating the High Line in New York; the Broad contemporary art museum in Los Angeles; The Shed, New York’s first multi-arts centre; and the renovation and expansion of the Museum of Modern Art (MoMA) in New York. The Adelaide win follows DS+R’s success last month in an international competition for the design of a new V&A collection and research centre to be located in the Queen Elizabeth Olympic Park in East London. Woods Bagot, a leading Australian design firm, founded in Adelaide, has attracted global attention with its innovative SAHMRI building in Adelaide, and has developed its international profile by delivering projects for Apple and Google. The winning concept design can be viewed on the competition website at competitions.malcolmreading.com/adelaidecontemporary/shortlist The runner-up teams were (in alphabetical order): Adjaye Associates (London, UK) and BVN (Sydney, Australia); BIG – Bjarke Ingels Group (Copenhagen, Denmark) and JPE Design Studio (Adelaide, Australia); David Chipperfield Architects (London, UK) and SJB Architects (Sydney, Australia); HASSELL (Melbourne, Australia) and SO-IL (New York, USA); and Khai Liew (Adelaide, Australia), Office of Ryue Nishizawa (Tokyo, Japan) and Durbach Block Jaggers (Sydney, Australia). Adelaide is located on the traditional lands of the Kaurna people and the project site, close to the Art Gallery of South Australia and part of the former Royal Adelaide Hospital site, is rich in Kaurna heritage. All the finalist schemes went on show to the public on 12 May in an exhibition at the Art Gallery of South Australia that runs until 10 June; they are also available to view online through the competition website. The website received more than 242,000 page views from users in 148 countries during the process. The competition was run by independent organisers, Malcolm Reading Consultants, in accordance with the procurement and major project requirements of the Government of South Australia; the Conditions for the second stage of the competition were formally endorsed by the Australian Institute of Architects. The WAN Future Projects Civic Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com Nick Myall News editor

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Rethinking the elevator

Rethinking the elevator

PLP Architecture has revealed the latest design for its SkyPod elevator featuring an innovative propulsion system based on Maglev technology

Despite many advances in technology, the elevator has not changed in over 150 years: a single cab hoisted up and down in an otherwise empty shaft. This shaft is one of the most expensive, underused and inefficient pieces of real estate in the world. At street level and below ground, as soon as a taxi cab or underground train passes, the next follows on its tail. These are looped transportation systems -- multi-directional, adaptable and super-efficient. Why shouldn’t elevators behave the same way? SkyPod is a research project that achieves this. With the advent of autonomous vehicles, a transport revolution is poised to radically transform the way we move within our cities. SkyPod leverages these advances and extends them vertically to achieve a three-dimensional urban mobility protocol that is on-demand, ultra-responsive and point-to-point. Imagine a fully-integrated digital and physical infrastructure in which your journey begins at home, pauses at your favourite cafe and ends directly on your 55th floor office. Throughout this journey, privacy and experience are paramount: catch up on your book or immerse yourself in the panoramic views of the city around you. SkyPod relies on a very physical and venerable piece of infrastructure – a track. The SkyPod track, however, can also tip, turn and twist to climb on the outer surface of buildings. Unlike the rigid up and down movement of an elevator, the SkyPod works like a gyroscope. It rotates so that its floor is always horizontal, using the same dynamic digital stabilisation systems of high-speed trains. Its movement is always gentle and your ears never pop. Propelling this is a linear induction motor system similar to that used by roller coasters and Maglev trains. Liberating vertical transport from the central core to the exterior of the building opens up opportunities for unprecedented architectural forms. If current skyscrapers often feel monolithic, self-contained and sometimes indifferent to their context, SkyPod will allow for new types of buildings that, despite their height, are holistically integrated with the grain of the city around them. The elevator has been a primary influence on the shape and appearance of the modern city to date. We believe that it’s inevitable demise will be the catalyst for the next chapter in the life of the city. The WAN Residential Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com Nick Myall News editor

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SHL win in Belgium

SHL win in Belgium

Schmidt Hammer Lassen Architects wins international competition to design the new sustainable headquarters for global chemical company, Solvay

Solvay, an advanced materials and chemical company, has selected Danish architectural firm Schmidt Hammer Lassen Architects to design its new headquarters in Brussels. The winning team, also comprised of local firm Modulo Architects and VK Engineers, was chosen after an international competition that included European firms OMA, Valode & Pistre, Wilmotte & Associés, and Henning Larsen. The new campus signals a shift for Solvay towards a more open, sustainable culture amidst a recent radical transformation of its business portfolio. The new building, located on the 22-hectare site that has housed many of Solvay's activities since 1953, will not be a typical corporate office, but rather a fluid, collaborative space where teams and partners can co-create and interact. "In the earliest stages, it became clear that one compact building with one common entrance into a sweeping atrium would allow everyone who passes through the headquarters to share the same unique experience of the building, and create a strong sense of belonging" said Tiago Pereira, Partner at Schmidt Hammer Lassen. "We translated Solvay's desire for a welcoming, innovative, sustainable headquarters into an architecturally bold statement that reflects its core values and creates a new identity." One company. One campus. One building. Sustainability and resiliency are two key drivers in the design of the new Solvay headquarters. The company's dedication to its green ambitions are evident throughout the design of the zero carbon footprint, near zero energy building and green campus. Upon arriving on the new campus, employees and visitors will feel the spirit of the place. The Esplanade is the "urban carpet" that welcomes people to the premises and has a more formal, urban character than its surroundings, featuring planters with benches, solitary trees, and small reflective pools. The new large green roof, designed as a geometric garden, offers unobstructed views of the surroundings. It also features skylights and large sunken gardens that provide the workshop areas beneath with access to the outdoors. The existing park on the west side of the entrance will become a dedicated forest, and will reintroduce the 18th century old water stream linked to the Senne. Rainwater across the campus will be harvested and reused as much as possible, and the stream will amplify the natural rainwater ponds to boost biodiversity while creating microclimates. An open-air amphitheatre in the Yard on the north side of the campus will connect the headquarters with the new restaurant. Careful attention has been given to the existing trees when shaping this space in order to take advantage of the sloping landscape and the historic value of the existing species. The green spaces and the large plaza will guide staff and visitors to the glazed, open and inviting main entrance lobby, flanked by the café and the Solvay Experience Centre. Inside the building, an impressive atrium, bathed in natural light, will offer social and visual connectivity between floors and departments. The first two floors house the laboratories and workshops, while the offices occupy the upper four floors. In between these, the Meeting Centre allows employees to gather, relax and communicate, while taking in the campus's green views through large 360° terraces. Informal workspaces, such as the large social staircase that lines the atrium and the peaceful green patio that serves as a backdrop, will welcome new ways of working, communicating and collaborating. "The building makes a dynamic impression thanks to the shift in levels and the terraces," said Kim Holst Jensen, Partner at Schmidt Hammer Lassen. "The extensive digital applications will contribute to the building's smart use of energy, and the open, transparent design will act as a lighthouse on the campus." A sustainable statement Solvay has ambitious sustainable development objectives, and is committed to minimizing its industrial waste and the impact of its manufacturing processes on air, water and soil quality. Schmidt Hammer Lassen's winning design, which is expected to be certified BREEAM Excellent, will be carbon neutral, using geothermal energy, solar cells and natural ventilation, all set on a rolling green campus. "Over the past six years, Solvay has gone through one of the most profound business transformations in its 155-year history. This project embodies the start of a new era for the group's long-term growth, fostering closer connections and creativity between colleagues, customers and the business," said Jean-Pierre Clamadieu, CEO of Solvay.  The WAN Commercial Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com Nick Myall News editor

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Darling Associates get the green light in Moorgate

Darling Associates get the green light in Moorgate

Planning consent has been secured for Darling Associates’ revitalisation of 120 Moorgate in London

Planning consent has been secured from the City of London Corporation for the extensive refurbishment of 120 Moorgate. Award-winning architecture practice Darling Associates is appointed by Vengrove to design its revitalisation which will become the latest workspace for WeWork. 120 Moorgate is a 133,494 sq ft mixed-use, predominantly office building located on the corner of Moorgate and South Place, on the northern boundary of the City of London, bordering the London Borough of Islington. Darling Associates has been appointed to revitalise the existing building, through a robust architectural composition that unifies historic and contemporary design themes, maintaining each floor plate and without extending the overall massing. The proposed development will help to enhance 120 Moorgate and the contribution it makes to the surrounding Finsbury Circus area, delivering a building appropriate for this location and conservation area. To meet the demands of a cutting edge contemporary workspace and to vastly improve the thermal and acoustic properties, the existing building will be stripped of its current facade and re-clad with an aesthetic contextual of its surroundings. Inside, existing office space to the upper floors will be refurbished, with gym facilities and a bicycle store added to the basement levels. On the seventh floor, a roof terrace will benefit from views across the city and a much higher level of sunlight, with planting kept to the perimeter edge to maximise usable space. The proposals will also offer the opportunity to boost the street frontage at the site, through improvements to the office entrance and to the retail frontages, thereby providing a more attractive and engaging experience for pedestrians passing the building. The basement levels will be reconfigured to accommodate more sustainable means of transport, by replacing the underground car park with a bike store, as well as a gym, aimed at improving the mental and physical wellbeing of the users of the building. Damion Burrows, Director, Darling Associates, comments: “As the Moorgate area is transformed in the lead up to the launch of Crossrail, 120 Moorgate represents a symbol of this important regeneration in the City of London. We are delighted to be working with Vengrove and WeWork to deliver this dynamic office development and the rejuvenation of this building will see this prime site transformed to be more in tune with its evolving surroundings.” Darling Associates will work with client Vengrove, planning consultant Gerald Eve, structural engineer Mason Navarro Pledge, and services consultant Sweco Ltd to deliver the project. The WAN Commercial Award 2018 is open for entries  Click here for more details or email wanawards@haymarket.com Nick Myall New editor

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