Villa S, near Heidelberg, Baden-Württemberg, Germany
White cast in-situ concrete, slate, steel & glass
Completion date: August 2014
Beton-Balkone
Frankfurt am Main
Two super-sized balcony stuctures - comprising prefabricated concrete columns and platforms - perfectly complement the scale and massing of the late nineteenth century apartment block that they abut.
Frankfurt am Main
The concrete’s etched finish - the result of extensive testing with several 1:1 samples, incorporating various aggregates and pigments - references the use of red sandstone in the door and window trims. And as an elegant counterpoint to the scheme’s over-all solidity, self-supporting stainless steel railings neatly enclose each floor plate.
The spindles in each railing section sit within precisely aligned, 50mm deep countersunk stainless steel bushings, collectively configured as a single unit within the pre-cast concrete mould in order to eliminate any movement. A series of circular steel plate surrounds completes the railing detail, slotting into the bushings and sitting flush with the floor.
Internally, the platforms are calibrated with a 2% fall to allow for drainage. 3cm thick sandstone slabs, positioned on footings, provide a safe and durable surface.
Beton-Balkone
Prefabricated bespoke concrete and stainless steel railings
Frankfurt am Main, 2013
ICH BIN EIN FRANKFURTER
Ian Shaw finds the exacting standards and precision of German design are his perfect fit
‘He’s more German than the Germans’. That’s what they say: colleagues, clients and friends. It’s a little weird, I’m a Mancunian, but it is flattering: German architecture is all about exacting standards and tectonic precision. They call it ‘Baukunst’ – the recognition of building as an art form – and this is what we aspire to in our projects. Ian Shaw Architekten was established in 1998. There are six of us and I am the only Engländer. We are based in Frankfurt, but we receive commissions from all over the country. We have also completed projects in the US, Russia and India.
Before moving to Germany, I spent three years in London, having graduated from Liverpool University in 1989. I worked first with Ken Armstrong – which was quite an experience. Although the firm was small, its architecture was widely published and won numerous awards for design excellence. But after a year I was looking for something more structured. I wanted to hone my detailing skills, and I when I joined Lifschutz Davidson Sandilands this is what I did. LDS also gave me the opportunity to work on some decent design projects – the wing-like canopy roof for south London’s Oxo tower restaurant building on the Thames being one of the most interesting.
Back to Europe
After three years, though, I wanted to get back to Europe – sorry, I mean mainland Europe! I was spoilt having done my internship with the acclaimed Swiss practice arb Architekten in Bern: with such clarity of thought, and its integration of design and construction, the firm does some beautiful work. The master builder ideal – ‘Baumeister’ – is alive and well out there. So when I got the opportunity to work in Germany – which comes a very good second to the Swiss – I had to take it. I had learnt German during my time in Bern. Actually, I had learnt Swiss German, but while I knew it was different, I didn’t appreciate how different. Big mistake. It must have taken me a good six months to adjust to High German (Hoch Deutsch). My colleagues wanted to speak English, but I insisted on German. They were very patient with me.
The company that I joined, and subsequently worked with for two years, was Braun and Voight, a highly respected practice in Frankfurt am Main. Within six months I was promoted to project director. This did feel a little odd because I was the youngest architect in my own team. One of my colleagues was in his early 60s. He was a site supervisor. His knowledge of construction was incredible; he gave me such an insight into the building culture over here: it’s about ‘making’ architecture, creating a sense of permanence, and being part of a tectonic tradition. I need to stress that I’m not suggesting such attitudes don’t exist in Britain. But it just feels more pronounced in Germany. Everything is taken to the nth degree. Building regulations are incredibly exacting, but it makes you sharper, more disciplined and more demanding. In Germany we just assume the very highest standards. You don’t have to apologise over here if measurements are out by a couple of millimetres – it’s done again until it’s right. And this applies to all areas of construction.
Super sustainable
Another issue that is central to building design in Germany, and has been for some time, is the environment. The country’s green credentials are second to none. The first Passivhaus dwellings, I believe, were built in Darmstadt as early as 1991. In fact, we are working with one of Germany’s leading environment engineers, Professor Tichelman, at Darmstadt University of Technology – developing our own version of the plus energy house concept. And within this work process it’s the architect who controls the costings. We don’t have quantity surveyors in Germany. Not surprisingly, this helps us appreciate how much things actually cost. Moreover, along with environmental issues, it informs how we design and how we build. This methodology applies to all our projects, both here and abroad. And yes, of course, we would love to build in the UK.
My architectural education – along with my three years of professional experience in London – taught me design theory, but the Germans taught me how to make buildings work. I still miss English humour, though. No one does irony like the Brits.
This article first appeared in the July edition of the RIBA Journal
Ian Shaw finds the exacting standards and precision of German design are his perfect fit
‘He’s more German than the Germans’. That’s what they say: colleagues, clients and friends. It’s a little weird, I’m a Mancunian, but it is flattering: German architecture is all about exacting standards and tectonic precision. They call it ‘Baukunst’ – the recognition of building as an art form – and this is what we aspire to in our projects. Ian Shaw Architekten was established in 1998. There are six of us and I am the only Engländer. We are based in Frankfurt, but we receive commissions from all over the country. We have also completed projects in the US, Russia and India.
Before moving to Germany, I spent three years in London, having graduated from Liverpool University in 1989. I worked first with Ken Armstrong – which was quite an experience. Although the firm was small, its architecture was widely published and won numerous awards for design excellence. But after a year I was looking for something more structured. I wanted to hone my detailing skills, and I when I joined Lifschutz Davidson Sandilands this is what I did. LDS also gave me the opportunity to work on some decent design projects – the wing-like canopy roof for south London’s Oxo tower restaurant building on the Thames being one of the most interesting.
Back to Europe
After three years, though, I wanted to get back to Europe – sorry, I mean mainland Europe! I was spoilt having done my internship with the acclaimed Swiss practice arb Architekten in Bern: with such clarity of thought, and its integration of design and construction, the firm does some beautiful work. The master builder ideal – ‘Baumeister’ – is alive and well out there. So when I got the opportunity to work in Germany – which comes a very good second to the Swiss – I had to take it. I had learnt German during my time in Bern. Actually, I had learnt Swiss German, but while I knew it was different, I didn’t appreciate how different. Big mistake. It must have taken me a good six months to adjust to High German (Hoch Deutsch). My colleagues wanted to speak English, but I insisted on German. They were very patient with me.
The company that I joined, and subsequently worked with for two years, was Braun and Voight, a highly respected practice in Frankfurt am Main. Within six months I was promoted to project director. This did feel a little odd because I was the youngest architect in my own team. One of my colleagues was in his early 60s. He was a site supervisor. His knowledge of construction was incredible; he gave me such an insight into the building culture over here: it’s about ‘making’ architecture, creating a sense of permanence, and being part of a tectonic tradition. I need to stress that I’m not suggesting such attitudes don’t exist in Britain. But it just feels more pronounced in Germany. Everything is taken to the nth degree. Building regulations are incredibly exacting, but it makes you sharper, more disciplined and more demanding. In Germany we just assume the very highest standards. You don’t have to apologise over here if measurements are out by a couple of millimetres – it’s done again until it’s right. And this applies to all areas of construction.
Super sustainable
Another issue that is central to building design in Germany, and has been for some time, is the environment. The country’s green credentials are second to none. The first Passivhaus dwellings, I believe, were built in Darmstadt as early as 1991. In fact, we are working with one of Germany’s leading environment engineers, Professor Tichelman, at Darmstadt University of Technology – developing our own version of the plus energy house concept. And within this work process it’s the architect who controls the costings. We don’t have quantity surveyors in Germany. Not surprisingly, this helps us appreciate how much things actually cost. Moreover, along with environmental issues, it informs how we design and how we build. This methodology applies to all our projects, both here and abroad. And yes, of course, we would love to build in the UK.
My architectural education – along with my three years of professional experience in London – taught me design theory, but the Germans taught me how to make buildings work. I still miss English humour, though. No one does irony like the Brits.
This article first appeared in the July edition of the RIBA Journal
This generous loft conversion is awash with natural light.
The wet room's glazed roof exploits the building’s south-facing aspect, as do the skylights above the adjoining stairwell, resulting in both volumes enjoying a dynamic interplay of light and shadow.
By contrast the extension's fully glazed north elevation, which delivers stunning views of the surrounding Wetterau region, provides consistent levels of indirect light throughout the day.
Natural ventilation is via two slender, full height louvre panels. These sit flush in the side walls, symmetrically sited directly in front of the north elevation.
Kantine
Herkules Maschinenfabrik
Meuselwitz
Three identical lightwells generate an arresting source of natural light, transforming what was once a dreary, non-descript common room into an atmospheric, versatile space.
From a logistical standpoint, the prefabrication of the light-wells ensured minimal disruption to the company's work schedule: just one working day to replace the old roof with the new structure, incorporating not only the new lighting but also a concealed air conditioning unit. Fresh air enters the space via an elegant linear channel inscribed into the ceiling; warm stale air is extracted via a series of small vents evenly spaced around the top edge of each of the light-wells.
Herkules Maschinenfabrik
Meuselwitz
Three identical lightwells generate an arresting source of natural light, transforming what was once a dreary, non-descript common room into an atmospheric, versatile space.
From a logistical standpoint, the prefabrication of the light-wells ensured minimal disruption to the company's work schedule: just one working day to replace the old roof with the new structure, incorporating not only the new lighting but also a concealed air conditioning unit. Fresh air enters the space via an elegant linear channel inscribed into the ceiling; warm stale air is extracted via a series of small vents evenly spaced around the top edge of each of the light-wells.
The lighting theme continues in the entrance hall, with a stainless steel canopy set within the glazed frontage. During the day, the reflectivity of the canopy animates the ambient light conditions. At night, its underside is bathed in the company’s corporate blue, courtesy of the LED lighting recessed in the floor plinth.
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