Head Office
Architect: Darryl Sang
Auckland, NZ
2008
Digitally printed with ceramic inks on toughened glass in double-glazed units.
Considerations:
Hansells has its factory and office in industrial Penrose, Auckland producing an array of traditional comfort foods and gourmet products.
This design needed to be timeless, tie in with modern architecture and be meaningful and enjoyable in the context of the occupants.
Pohutukawa trees are long lasting, traditional, healthy in a city environment. These much loved, enduring native trees are an appropriate symbol for this client.
The window:
From the outside it appears a reflection of trees, but there are no trees to reflect. Clouds move behind these silhouettes. Other days, in other weather, the outside appearance changes completely.
Since the trees are printed on two layers in a double-glazed unit, in different light conditions the black trees on the left side appear and disappear. The outside is always subtle and ever changing.
From the inside, it is more graphic. The 20mm space in the double-glazing gives parallax, and one has the sense of a tree in front of another.
The graphic branches and the coloured panel cast shadows and reflections on the floor, walls and balustrades. The contrast between the black and grey of the trees viewed from inside varies depending on direct or indirect sunlight.
The coloured panel is on the reception floor. It consists of coloured stripes of hand-blown glass bonded to clear float glass which is fixed to the inside mullions.
Everyone who works in the building has a sense of nature in a stark industrial area.
150 m2
Three canopies of glass over 3 entries
Architects: Ministry of Works and Development
Auckland, New Zealand
1987
Considerations:
A design that:
-interconnects visually one entry to the next
-compliments the shape of the canopy structure.
-reflects patterns within the building
A work appropriate to the building and its operation:
-dignity, sense of purpose
-stability, humanity, quality and
calm
-hope
-approachability
The triangles:
-Triangular motif equals stability
-Variety of sizes and positions of triangles within a structured design suggests protocol and heirarchy within the structure of the judicial system.
-Many detailed variations within the triangles give a sense of individuality, expression and hope to that system.
-Children’s Court Entry is given
a livelier palette.
Should represent the multi-cultural make up of the city.
-The triangle pattern alludes to the taniko weaving pattern known as “aramoana”. -Also it is a pattern that is common to many cultures.
Corner of Kingston and Albert Streets
Special coloured glass that is visible from exterior as well as interior.
45m2
Main Entry and Stairwell Window
Architects: de Lisle, Fraser, Smith and Pickering
Hamilton, New Zealand
1985
Considerations:
Visual impact:
The central window motif is in the most visible position upon entering the lobby.
The area benefits from the drama of a colourful, dynamic and magnetic center, being a passage through to other parts of the building.
A secondary focal point is below and to the left of the stairs, a hidden treasure.
A third is visible as you ascend the stairs.
Full impact is reached from above, looking down.
Visual impediments: Behind the central window outside are a number of distracting features. The design screens off these views in some areas and in others the strong motif and colour is the focus, not what lies behind.
Arts and Commerce Building
Architects: JASMAD
Auckland, New Zealand
1984
Considerations:
Three different areas in one building.
Obvious visual connections from outside, not inside.
A strong vertical element in two of the sites, 4 stories and 3 stories.
Strong architectural elements in the building detailing.
A requirement by the architects that students be able to look through the windows to the courtyard below.
A need for glass that is visible from outside as well as effective from the inside.
A need for each window design to read individually on each level from the interior, but to read as a whole down the face of the building from the exterior.
A design that was totally open to interpretation to the students and faculty using the building.
50 sq/m
Auckland City Architects
Department of Works
Auckland, New Zealand
1989
(The glass wall was removed and stored in 1992 due to restructuring the use of space. A solution is presently being sought to reutilise the panels in a new and contemporary way.)
Original Considerations:
The importance of the wall’s impact upon entering the foyer both at night and day for an interesting, ever-changing effect.
A reflection of New Zealand in the form of dark midnight skies and gold starry night and a celebration of the human and cultural activities of the city with billowing banners, hints of weaving, theatrical allusions and reflective illusions.
A need for special coloured and reflective glass which can be appreciated with little direct natural light and which changes day and night with the movement of people in front and behind it.
The view of the screen is interrupted by the folding of the framework around the space. Utilising this to entice the design to “unfold” and react to each change in angle.
