Archetech Issue 30 2017 - Page 26

Architect: TP Bennett, London Student accomodation, Isledon Road (London / UK) Comprehensive facade planning Form as expression of emotionality With his striking buildings, the internationally renowned architect Hadi Teherani characterizes cityscapes in Germany and abroad. His comprehensive design approach also becomes apparent in the context of facades. According to Teherani, a “perfect“ facade is not only functional but also emotionally attractive - and thus is far more than just the shell of a building. On the occasion of the BAU 2017 trade fair at Munich, he and his company Hadi Teherani Design created an impressive presentation setting for the building material of ceramics in general and ceramics for facades in particular in the central area of the stand of AGROB BUCHTAL. That is why an interview was realized with him about modern building shells and the possibilities off ered by ceramics in this fi eld of application. 1. The shell of a building decisively contributes to the formation of its identity. What is essential for a “perfect facade“ in your opinion? The image of the building in the streetscape manifests the content of the architecture and the demands made on it. Thus, the facade not only provides the necessary structural-physical protection but also expresses the complex architectural objective in combination with the shape and the openings of the building. A passer-by which has no opportunity to see the interior of the building can get an impression of what is going on behind the facade. The quality in the interior becomes visible and perceptible by the outward appearance. Thus, the demands made on the facade comprise the entire, comprehensive spectrum of architecture. 2. Can you explain on the basis of one of your projects which part the facade design plays in your work? There is no logical separation between the diff erent design and planning phases. Already at the time of the very fi rst ideas, the facade is also involved, just as fi rst visions concerning spatial confi guration and interior design. Like in a musical composition, individual passages cannot be temporarily excluded for dealing with them later. The only thing that varies in the diff erent project phases is the intensity of dealing with them. In the case of “Tanzende Türme” at Hamburg, the facade had to refl ect the dynamism of the building as if it had been exclusively made for that. In the case of “Kranhäuser” at Cologne, the task was right from the start to visualize the diff erent typologies of the multi- storey buildings, but also the overall eff ect of the three-part ensemble. 3. Your w ork is based on a comprehensive approach including the architecture, the details as well as individual design products which you are developing on the basis of the respective architecture. How do you plan a facade in your offi ce? With the fi rst conceptual idea, it is clear from the beginning in which direction we want to develop the facade. The concept is derived from the interior design and the urbanistic context. Especially the materials used on the facade must refl ect the existing environment. This does not mean that adaptation is the only right solution. Variation and contrast are further appropriate possibilities, provided that the concept off ers the conditions for that on the basis of the task defi nition. 4. As regards the choice and the use of materials at the facade design - whether classic, traditional materials or modern, unusual solutions - there is an immense variety of alternatives today. In which materials and functions are you particularly interested at the facade planning? New materials are always interesting. The progress in the development of the materials opens up new creative scope at the design. Every architect and designer is fascinated by that. Glass, whose transparency is adjustable, reduces the heat input to a minimum. Corian permits a new kind of discreet aesthetics and a subtle illumination. In the case of ceramics, I am fascinated by its three-dimensional structures, surfaces, colours and textures. This material off ers undreamed-of possibilities for designing the portion of closed facade surfaces, which necessarily is the greater one for reasons of energy effi ciency. 5. Which premise does apply in connection with facades in your opinion? “Form follows Function“ or “Function follows Form“? Or in other words: do you primarily focus on