GKD - GEBR. KUFFERATH AG

Case studiesAn artistic interpretation of multicultural interactionWith 3.5 million inhabitants, the region surrounding the Twin Cities of Saint Paul and Minneapolis is among the 20 largest metropolitan areas in the United States. The Mississippi separates the capital of Minnesota, Saint Paul, from Cedar-Riverside, which is also known as West Bank. Day by day, tens of thousands of people commute between these three communities to get to work, university or school. The state implemented a comprehensive municipal rail project to bring the 100-year-old infrastructure consisting of buses and congested roads into line with these requirements. A key element of this mammoth project is the so-called Central Corridor Light Rail Transit (CCLRT) with the transport hub West Bank Station. The AECOM firm of architects designed a two-story station at this location. To ensure protection from the sun, the building was provided with large-scale cladding in the form of Omega 1510 and 1550 metal fabrics from GKD – GEBR. KUFFERATH AG. Through etching and the addition of stainless steel birds, the shimmering façade was transformed into an expressive work of art that reflects the eventful immigration history of the region. Scandinavian immigrants sought a new life in the settlement on the upper stretch of the Mississippi in Minnesota, USA, in the middle of the 19th century. These initial settlements grew to become the Twin Cities of Minneapolis and Saint Paul, which are today an important economic and cultural center in the Midwestern United States. As the manufacturing industry went from strength to strength, the region attracted increasing numbers of migrants from all over the world from the beginning of the 20th century onward. Today, the region is viewed as a melting pot of nations, where over 100 different languages are spoken. However, the rapid population growth also took the transport infrastructure of the densely populated area to its limits as early as the 1970s. As a result, planning work on the largest local transport project in the history of Minnesota began in 1981, which also comprised the Central Corridor Light Rail Transit with the METRO Green Line. Today, this connects the centers of the Twin Cities with several of the most populous areas in the conurbation, also crossing the Mississippi.A real eye-catcher: multifunctional solar protectionThe architectural firm AECOM, which was charged with the task of realization, concentrated not only on functionality and aesthetics, but also on public art when designing the stations. For the particularly well-frequented West Bank Station, they chose a solar protection façade made of GKD metallic fabric. The textile skin in front of the extensively glazed station reflects sunlight, thus preventing the two-story building from heating up excessively in summer. At the same time, its transparency grants unhindered views of the outside surroundings and also, through the interior lighting, from the outside in. This visibility conveys a feeling of subjective safety to passengers. Meanwhile, the high light transmission of the woven structure ensures a pleasant atmosphere and lots of natural light. Despite its intricate feel, the robust stainless steel fabric will withstand the adverse weather conditions that often prevail here with wind, rain, snow or frost for many years. The fabric even provides effective protection from the vandalism so often seen at public transport stops. What’s more, the material guarantees the cost-effectiveness required for transport buildings thanks to its durability and freedom from maintenance. The shimmering membrane couples this complex and broad range of functions with an extraordinary visual appearance: as a delicate veil, it follows the stepped architecture of West Bank Station and lends a sense of visual peace to its detailed façade. Spotlights fitted outside create targeted light effects that change according to the position of the viewer and thus give the transparent fabric an unexpectedly opaque appearance.Signs of life: a public work of artThis effect is given an additional dimension thanks to a creative interpretation by Nancy Blum, an artist, critic and art lecturer who is very well-known in the USA. The architects’ concept for three of the city stations for CCLRT included her integrated artworks. The woven stainless steel fabric skin at West Bank Station inspired Nancy Blum to create an artwork visualizing the eventful history of Cedar-Riverside as a transit point for people from many different nations. That’s why the metal fabric panels in front of the stairways were to be decorated with ethnic patterns, with designs reminiscent of the three main regions of origin of the immigrants – Scandinavia, Asia and Eastern Africa. GKD realized this artistic idea by means of etchings on the Omega 1510 fabric. The smooth upper surface and relatively dense structure of this fabric make it particularly well-suited for this procedure, in which the fabric surface is modified slightly. On the basis of the patterns designed by Nancy Blum, GKD produced a screen that covered all surfaces that were not to be altered. The fabric specialist then used a blasting agent to modify the metallic surface precisely according to the artist’s specification. The durable patterns created using this method were instantly resistant to UV and severe weather conditions without the need for any special treatment. Daylight transmittance also remains just as high. Depending on the incidence of light and the viewing angle, the patterns can appear either transparent or opaque. However, they derive their special effect through their seamless integration into the building. Nancy Blum added a third dimension to these etched patterns by having silhouette-style pictures of migratory birds typical of the regions mounted on both treated and untreated woven panels. These large stainless steel motifs link the coming and going of the various migrant groups with that of the migratory birds, which follow them on their journey along the Mississippi. Combined with the ethnic patterns, this creates an almost poetic image of dynamic interaction in a region steeped in such a rich tradition.

Commissioned by 30 member states of the European Union, the European Organisation for the Exploitation of Meteorological Satellites (EUMETSAT) monitors the climate and weather. In light of climate change, the data it collects using complex satellite systems is becoming increasingly important. The growth of the organization associated with this is reflected in the continuous expansion of its HQ in Darmstadt. The construction of a new six-floor office building also includes a canteen for all employees working at the location. This canteen gets its unmistakable face from a lamella-style suspended ceiling made of golden PC-ALU 6010 aluminum mesh from GKD – GEBR. KUFFERATH AG.Modern weather forecasts today have little in common with traditional country weather lore. Satellites make it possible to monitor the climate and weather on a global scale. The data collected is then used to keep authorities, citizens and companies up-to-date with the latest developments at all times. In Europe, EUMETSAT monitors the atmosphere, oceans and earth’s surface around the clock and then transmits the data to the participating EU member states. Established in 1986, the organization opened its headquarters in Darmstadt in 1991. However, ever increasing requirements and staff numbers meant that the operation quickly outgrew its original space. A six-floor office building with 160 workplaces represents the final phase of a whole range of extensions and new buildings. Following a construction period of just 18 months, around 100 employees were able to move out of their temporary container offices and into the new building costing around €10 million, while a further 60 new employees are set to follow. The shape of the new building, designed by Pielok Marquardt Architects from Offenbach, is a mirror image of an existing building. Beside excellent energy efficiency and multifunctionality, the new building is characterized by transparency and modern design. Four office levels offer versatile space with transparent partition walls for any desired arrangement – whether open space, combination offices or classic cubicles.Functional division – exceptional aestheticsThe ground level comprises two separate functional units that can be accessed via separate entrances. Beside a control center for a new satellite program, this is also home to the campus kitchen with connected canteen for the workforce at the location, which has now grown to include around 600 employees. The kitchen has been designed to provide 410 meals a day and the canteen offers 250 seats. The mullion-transom facade also ensures that the room is flooded with light. Carefully chosen furnishings divide its area into various acoustically optimized zones. The white of the desks and chairs is picked up by strips in the glossy flooring and the cladding of the food counter, pillars and supports. In the central zone, bright red benches with high, sound-absorbing backrests offer a vibrant contrast. The color scheme is rounded off by the warm brown of the stone floor and the wooden acoustic cladding. However, the striking element in the room is the suspended ceiling, made from 400 square meters of golden aluminum mesh. Its 120 elements with a blade-type design mimic the appearance of sunshine in the canteen with their discreet shimmer. LED lighting strips further underline this impression. At the same time, the mesh conceals the ventilation technology with incoming air outlets on the element frames. As a result, the accessibility of the woven ceiling elements was among the key requirements for GKD. The planners opted for a particularly open mesh design in the form of the PC-ALU 6010 mesh with various warp and weft wire thicknesses. The function and aesthetics of the ceiling mesh thereby provide the desired high level of comfort in the canteen, while also making the room a unique feast for the eyes.

With 16 research clusters, one of the largest technology-oriented research landscapes in Europe is being created on the RWTH Aachen Campus. The distinguishing feature of the Bio-Medical Engineering Cluster, which can be seen from great distances, is the new CT2 Center for Teaching and Training of the Medical Faculty of the RWTH Aachen University. As the first investor-financed building in this Cluster, it marks another milestone. In a Europe-wide investor selection process, Frauenrath group of companies, Heinsberg, and the architects from slapa oberholz pszczulny | sop architects, Dusseldorf, won the order with their distinctive concept. They designed the building as a standalone construction that is flooded with light and takes on the role of a gateway to the Campus Melaten thanks to its shape and prominent position. Two of the façades are clad with 1,900 square meters of OMEGA 1520 metal mesh from GKD – Gebr. Kufferath AG.As an elite center of learning, RWTH Aachen University is one of the state’s flagship institutions in higher education. Around 44,500 students, 550 professors, and almost ten times as many research associates help secure the reputation of the RWTH as an internationally renowned university – above all for technical and medical degree programs. Founded in 1870, the university’s campuses are spread across the city. With an unprecedented Excellence Initiative, RWTH Aachen University has been expanding its reputation as one of the world’s leading technical universities since 2009. The RWTH Aachen Campus consists of the Campus Central – with the historic main building and the distinctive Super C meeting center in the shadow of the cathedral and city hall –, Campus Melaten and Campus West. The result is a campus that integrates into urban life. On a total area of 800,000 square meters, 16 research clusters are being built successively to answer future questions arising from the challenges of megatrends. Six of these clusters are already in the course of implementation. These include the Bio-Medical Engineering Cluster in the direct vicinity of University Hospital Aachen. This consists of four centers, each of which is dedicated to a specific field. In these operating units, academics from the Faculties of Medicine, Mechanical Engineering, Electrical Engineering, Mathematics and Natural Sciences collaborate with experts from industry on methods and products that are set to revolutionize both diagnosis and therapy.Visually seamless façadeThe CT2 Center for Teaching and Training is the first investor-financed building in the Bio-Medical Engineering Cluster. The seven-storey building was constructed with an investment volume of around €20 million. By networking theory and clinical practice the building offers state-of-the-art training opportunities for students of Medicine, Dentistry, and Biomedical Engineering. It also sets new standards in the further training of physicians and medical personnel, as well as the testing of medical equipment. The aim here was for the CT² to also reflect this function in terms of its architectural design. The architects from sop designed a cube on the slightly sloping terrain that resembles an inverted “U” thanks to its fully glazed upper façades and thereby has the appearance of a gigantic gateway to the campus located behind it. This impression is underlined by the projecting exposed concrete of the side walls which serves to frame the frontal façade. The lateral façades with ribbon windows along their length are spanned by a shimmering skin made of metallic mesh that creates a visually seamless surface. At the same time, the spaces located behind it remain visible thanks to the transparency of the metal fabric. This shell comprises twelve panels of OMEGA 1520 stainless steel mesh – each measuring 29.5 meters long by 5.4 meters wide. There were several reasons behind the decision to go with the woven membrane. These include the fact that the metallic skin underlines the building’s high-tech aspirations and lends the field of biomedical technology both a contemporary and appropriate face. Interacting with the glass façades, it facilitates communication between the interior and exterior. The attachment type is also in keeping with the philosophy of design purism. In line with the patented Fusiomesh NG system, the upper and lower edge of the stainless steel mesh is embedded in a special adhesive between two flat profiles and thereby bonded. Clamping forks ensure that the mesh can be perfectly aligned and handle the requisite static preload based on the anticipated wind and impact loads. The panels are attached to a continuous steel profile in a way that makes them visible at the bottom. At the top edge of the building, on the other hand, the material is bent over backward, so that only a fine edge of the mesh can be seen here. To reduce horizontal movement and the shearing forces at a façade height of 29.5 meters, seven stainless steel tubes run horizontally behind the mesh as intermediate attachment levels. The mesh is then attached to these tubes from the outside with wire clamps that are invisible once fitted. GKD not only manufactured and assembled the mesh for this project, but also took care of the installation.Efficient contribution to sustainabilityBeside the special aesthetics of the metallic membrane, its functional properties were the key reasons for its selection. For example, the stainless steel shell serves as solar protection that reduces the surface temperature of the façade. Yet despite this, the open mesh structure still allows unrestricted natural daylight into the rooms, as well as clear outward views. As such, it not only contributes to improving the building’s energy balance, but also makes it a more pleasant place to spend time and thereby helps boost employee performance. Since stainless steel can be fully recycled at the end of its useful life, the membrane also supports the sophisticated sustainability concept of the new building. The openness and interaction already visible from outside continue consistently into the atrium housed inside the building that is flooded with light. Numerous bridges and wide galleries allow a wide range of visual connections with all floors. The guiding principle of communication and interdisciplinary collaboration then becomes a reality that can be experienced throughout the entire building. Further highlights include a multifunctional auditorium that can house 400 people, as well as a demonstration operating theater equipped with the latest technologies. As and when necessary, these two functional rooms can be combined with the foyer in the basement to create an end-to-end event area which can, for example, be used for symposia. When operated at maximum capacity, the building can then host up to 1,200 guests. Its shimmering stainless steel mesh façade allows the gateway to the future to be seen from great distances.

In China, the name Shenzhen is associated with frenetic pace. The city’s metamorphosis from a fishing village with 30,000 residents into a 15-million strong metropolis took just 30 years. A start-up at this location required only two decades to become the world’s fourth largest industrial enterprise. Tencent, the high-tech concern that started out as an e-mail provider, has already overtaken Facebook in terms of its market value. The new HQ of the high-flying company was designed by NBBJ Architects from New York as a statement of a new era of campus buildings. Two towers made of glass and steel, that shimmer in the sun and unite the copper-colored pedestrian bridges, resemble robots hugging one another. When deciding on the cladding for the gigantic atrium, the company went for a golden metal fabric from GKD – GEBR. KUFFERATH AG, which was recommended by French designer Alain Bony.Shenzhen lies directly on the border with Hong Kong in the Southern Chinese province of Guangdong. Named a special economic zone in 1980, the once sleepy fishing village has developed into a prosperous market economy under state control. Countless skyscrapers today form a skyline that can hold its own in comparisons with Manhattan. One in three smartphones sold in the world is fabricated here. Yet Shenzhen has developed from the world’s workbench into China’s Silicon Valley. The majority of residents are less than 30 years old. Numerous international concerns are based here, and nowhere in China is the per capita income higher. Thanks to massive economic growth, Shenzhen is one of the fastest growing cities in China, making property in the city a geographically restricted commodity. Despite being one of the city’s most famous children, Internet giant Tencent is still not well known outside China. The inventor of the two most popular apps in China – QQ and WeChat – is today also market leader for online games, offers video streaming services, and generates 20 percent of its revenue from advertising alone. The company has been working hard on international expansion for quite some time and has shareholdings in various companies, including Snapchat and Tesla. It has been enjoying constant and fast growth since being founded. Just one year after completion of the first new company building in Shenzhen for 15,000 employees, planning work started on a new global HQ, which offers enough space for a further 12,000 employees. Tencent commissioned the renowned American architecture firm NBBJ, which has already built many award-winning headquarters for high-tech companies such as Amazon, Google, Microsoft, or Samsung, to design the new building. The team around Jonathan Ward fended off six competitors to win the order with a completely new campus concept. Tencent was looking for a classic campus based on the US model. The goal was to create a comfortable central meeting point in a spacious, attractive, natural environment, where people could automatically meet, chat, and find new ideas. However, the plot for the new HQ was located right in the heart of the city at an intersection of the multi-laned city expressways. As such, the only way to secure sufficient space in the small footprint was to design a skyscraper. Yet Tencent was concerned that a building of this type would not allow employees from various teams, departments, corridors, and floors to engage in regular contact with one another. NBBJ therefore merged the benefits of both approaches – inspiring spaciousness and inner city spatial efficiency – to create a completely new concept that re-imagines the campus idea and implements it vertically. To this end, the concept of a skyscraper was divided up into two buildings and then given the qualities of a classic campus. The Tencent Seafront Towers comprise two towers, boasting 50 and 39 floors respectively, which were constructed to give the appearance of being slightly intertwined with one another. The offset height reduces the load of the tropical winds common in the region, while at the same time providing ventilation for the atrium located between the two towers. The towers also provide shade for one another and thereby support the intelligent integrated energy concept.The key to the vertical campus concept, however, are the three skybridges, which cross as horizontal meeting areas. From a visual perspective, the copper-colored walkways give the towers a soul, as they appear to be hugging one another. They are logically referred to as links and make a contribution to movement and networking with topic-specific offers. While the link on the first floor above the lobby with café, exhibition space and auditorium is used for cultural exchange, the central link on the 21st floor is ideal for rest, recovery and health promotion. Staff can relax and unwind here in meditation rooms, a basketball court, a gym, a swimming pool, games rooms and even a running track. The highest of the three links on the 34th floor is dedicated to the topic of knowledge, boasting a library and multiple conference rooms. All of the links have roof terraces containing landscaped gardens. To ensure that they actually cater to their intended function as places of communication, collaboration, and inspiration, the architects at NBBJ designed an elevator system for the HQ, so that all employees can regularly spend time in these meeting areas. Express elevators from the lobby travel only as far as the bridges. The employees then enter local elevators to take them to their floor. From a design perspective, this is the fastest way to reach any office or location in the towers. This makes the links the perfect counterpart to the central square in a traditional campus, where employees automatically meet, even if they work in different buildings. They engage in spontaneous conversations here on their way from the bus station located beneath the towers or the parking areas to their office, in the queue for the juice bar or even on their way to play sports. Thanks to the bridges, these social meeting points are distributed across the entire HQ like in a city. This allows social networks, the key focus of operations for Tencent, to become genuinely accessible and experienceable. This systematically designed and yet organic networking produces precisely the kind of synergies that lead to the collaboration and inspiration Tencent strives for – as a prerequisite for further growth.The conceptual design of the lobby, which is open to the public from two sides, provides for additional hustle and bustle, as well as social meetings. This makes it a much-used route from other parts of the city to the Nanshan high-tech district. Just like the entire building, this central intersection between the inside and outside world was designed by the architects as a conscious statement of networking. When cladding three sides of the atrium, which is located above the lobby, the architects therefore chose metal fabric from GKD. A total of 1,850 square meters of this material is used to create a golden net that encapsulates the three-floor auditorium. Some 28 panels, each measuring four meters wide and 16.5 meters high, were used to create these hanging shrouds. Their sophisticated texture facilitates views into the atrium from the lobby, as well as open views down into the entrance hall. The textile shell also serves as efficient fall guard protection here. Visually, it acts like a delicate veil in harmonizing the effects of the corridors and rooms of the atrium located behind it. GKD was commissioned with developing a new special fabric for the design of the cladding. To create it, golden-anodized aluminum wires and tubes were interwoven in three-wire warp wire groups made of untreated stainless steel at varying intervals. The various diameters of the fabric components – 4 mm thick wires and 12 mm thick tubes – lead to significant differences in tension in the weaving process. These were completely equalized using special weaving techniques, so that the fabric reliably complies with the static requirements of the large-format skin. Installation of the special fabric also required the experts from Germany to demonstrate their decades of expertise. For example, the tubes had to be aligned precisely in the panels to create the appearance of a seemingly endless texture. Definition of the golden color to be used was also a particular requirement of the planners. The homogeneity of this color not only needed to be guaranteed across the entire area, but also meet the high expectations of the designers with regard to the appearance of the fabric when viewed in various light conditions. The subtle luster of the soft golden color ultimately chosen allows the atrium to appear caressed by the sun and lends the lobby a sense of warmth to contrast with its cool gray marble floor, walls, and aluminum screens. In the atrium itself, the selected color scheme also matches the wooden finish of the wall and ceiling cladding. The golden membrane then acts like a fine business card for the HQ, which underlines the image of a truly important concern thanks to its size and aesthetics and combines this with maximum interaction of the environment and employees.

Great emphasis is placed on safety in Pasadena, a suburb of Houston, Texas. As America’s oil stronghold and home to NASA’s legendary Space Center, the region is famous for its particularly dangerous and hazardous working conditions. The Houston Area Safety Council (HASC) was therefore established back in 1990 on the initiative of local industrial operations as a non-profit institution to provide safety training. The objective here was to train workers in order to raise their safety awareness as a way of preventing workplace accidents. Some 25 years later, this idea has developed into a leading international training and occupational safety center that trains over 1,500 people every day. Construction of a dedicated occupational health clinic with emergency care represented another key step on the HASC’s holistic support program. The clinic design by Kirksey Architecture gets its distinctive face from the semicircular main entrance. GKD-USA used a new etching technique for the design of the 100 square meter roof parapet, which is made from semi-transparent Omega 1510 stainless steel mesh from GKD – GEBR. KUFFERATH AG. This led to a silhouette-like panoramic view that reflects the dynamic economic region and the everyday working life of the people that live in it.Oil and gas have been produced in Houston for more than 100 years. However, the region experienced a genuine boom from shale oil drilling and fracking. Today, around one third of all oil produced in the US comes from Texas. With its Mission Control Center, which has enjoyed worldwide fame since the Apollo flights to the moon, the Space Center Houston has been just as important for the development of the city. Space flights are still monitored here to this day and astronauts from across the globe are trained for future missions. The city’s skyline is characterized by massive production plants from the oil, gas, chemical and food industries, as well as research institutes and countless buildings of the supply industry, construction and service sectors. The huge influx of workers resulting from the oil boom led to enormous growth of the city. With 2.3 million residents, Houston is today the fourth largest city in the US – behind New York, Los Angeles and Chicago. Starting in 2009, the new campus of the Houston Area Safety Council was created in three construction stages. It was constructed on a 34 hectare site in Pasadena, just 15 kilometers from Houston, that was acquired one year previously. Local architecture firm Kirksey, which specializes in green buildings for industrial operations, planned the entire project. It designed the campus as a one-stop shop for employee selection, training and development, background screening, workplace and site safety as well as company health and welfare services. The first phase of construction focused on the 6,300 square meter training center with twelve classrooms, a 220-capacity auditorium, computer laboratories with 650 workplaces, various convention and common rooms, as well as a car park for 1,000 vehicles. It was opened in 2013 as the new HQ of the HASC. Just one year later, the campus then opened two further large areas, boasting 2,700 square meters each. Providers of tool and workplace equipment, as well as a training center for practical training, complemented the location’s offer from then on. Construction of a 1,580 square meter occupational health clinic with emergency care marked the third and last major construction phase to date. This meant that within a period of just six years a state-of-the-art campus employing the latest training facilities was established, offering 1,500 practical and computer-based training sessions every day – which represents over a million units per year. To cater to these requirements all buildings were equipped to the latest technical standards. They also set standards in ecological and energy-usage terms and are all LEED-certified.Visualization of identityThe Occupational Health Center of the HASC was also planned with a keen eye for detail. Ceiling-high windows create friendly rooms in the clinic that are flooded with light and whose inviting ambience is underlined by a carefully coordinated interior color concept. The challenge for the planners was to make the atmosphere light and pleasant, yet robust enough to withstand the rough day-to-day operations with heavy footwear or soiled work clothing of the patients. A fully-glazed semicircular entrance area underlines the building’s welcoming effect. Its raised canopy bears the clinic’s name and also creates the stage for one of the rooftop parapets made of stainless steel mesh that follow the semicircular building form. The shimmering texture combines technical aesthetics with a large number of functional performance characteristics. The mesh thereby guarantees efficient solar protection for the recessed windows on the top floor, while granting unrestricted views of the beautifully sculpted green spaces on the campus. Despite its sophisticated appearance, it also offers reliable protection from the hurricanes regularly encountered in the region. Low-maintenance, durable and almost completely recyclable at the end of its useful life, the mesh supports the LEED-certified sustainability of the building. For the architects, however, the decisive impetus for selecting this material came from the specific mesh design, which facilitates imaging by etching. Their design included an illustrated balustrade as an identity-creating element of the clinic that visualizes working life in the region and thereby also the focus of the HASC. The image developed by Kirksey shows the skyline of Houston with skyscrapers, drilling rigs, chimneys and cranes together with the people that work there. This complex perspective was applied to the stainless steel mesh in a silhouette-like form using a special etching process developed in-house by GKD-USA. The smooth surface and relatively tight structure of the Omega mesh provided ideal prerequisites for this. Using blasting abrasives, GKD modified the metallic surface in such a way that the template, which was highly filigree in places, appeared finely contoured. When using etching, all surfaces that are to remain untouched are usually masked off carefully. However, the complexity of the motif specified by the architects at Kirksey presented the mesh specialists with the challenge of designing multiple levels to lend the image the desired spatial depth. Unlike a painting, with etching it is not possible to achieve dimensions, perspective and depth simply by using different colors. In comprehensive tests, GKD therefore developed a process with which the design template could be blasted with the desired level of detail and spatial effect. This led to a visually seamless panoramic view of the hustle and bustle in the region over a total area of 100 square meters, comprising seven panels – each measuring 3.4 x 4.3 meters. Without any further surface treatment, this imagery is both permanently weather-proof and UV-resistant. Depending on the incidence of light and the viewing angle, the images can appear either transparent or opaque. At night, spotlights lend the scenery the appearance of a shadow theater using targeted light accents.

Ikoyi is in a class of its own, not just in the culinary arts but also in interior design. Danish designer David Thulstrup uses Baltic architectural mesh from GKD for the expressive spaces of this 2-Michelin-starred London restaurant.The visionary founders of Michelin-starred restaurant Ikoyi, head chef Jeremy Chan and businessman Iré Hassan-Odukale, moved into the concrete complex “180 The Strand” close to Covent Garden at the end of 2022. The two partners succeeded in getting the renowned Studio David Thulstrup from Copenhagen on board for interior design. Thulstrup’s works include the design of Noma in Copenhagen, which has been crowned the best restaurant in the world no less than five times.For Ikoyi, Thulstrup created rooms that fully live up to the reputation of the landmarked, brutalist architectural character of this former office complex. With its rare combination of warmth and minimalism, the restaurant’s interior acts as a continuation of the food creations by Jeremy Chan.It should be noted here that in Chan’s kitchen, he not only pays attention to top-quality, sustainably sourced ingredients. His cuisine also builds on spices that originate from West Africa. This is not inconsequential in the context of the architecture, as the interior designer wanted to pick up on the character of the cuisine in the dining room of Ikoyi without limiting the design to a specific culture.Copper, stone, stainless steel meshThe result shines in clear and strong architectural forms, while the material palette is refined to copper, stone, stainless steel mesh, leather and oak. The walls are clad in copper panels. Sometimes angular and solid, sometimes rounded and open, the walls shape the character of the room. The stone floor is elegant and cooler, its gentle irregular shimmer evoking images of the tamped earth floors of traditional old buildings. The ceiling covering, which is fully fitted with stainless steel mesh from GKD, creates a similar effect. It harmonizes perfectly with the architectural idea that Thulstrup describes as an interplay of opposites:“A room full of drama and peace. A room that remains true to the place and yet is not anchored in a particular culture.”Curved ceiling characterizes architectureThe character comes through most strongly in the dining room. Fabric panels spanning the room curve down on one side to meet the backs of the benches. The architectural mesh is a striking element in the design of the room. It underpins the intimate and protected atmosphere, while appearing light and flexible. Thulstrup also uses the weave structure to create subdued lighting effects.The ceiling is divided into 13 panels of GKD Baltic mesh, each approximately one meter wide. The length of the panels varies between 6 and 11 meters depending on whether they also serve as a vertical curtain down to the seats or end where they meet the vertical wall cladding. “The fabric diffuses the light as though it were another culinary ingredient,” says Marc Alonso, Architect and Market Manager for Northern Europe and UK at GKD. “Because our stainless steel mesh is completely recyclable, it also fits with the head chef’s sustainable ethos. This is a project in which our fabric is perfectly integrated into the whole by creating harmony and contrasts in juxtaposition with the other materials,” explains Alonso. That’s what the jury of the Wallpaper* Design Award 2023 think too: they awarded Ikoyi best restaurant of the year.

The Kunsthalle Mannheim museum of modern and contemporary art was opened at the end of 2017 by Federal President Frank-Walter Steinmeier. As Germany’s largest new museum building, it is a prime example of both civic commitment and architectural skill. The private patrons initiative – with SAP founder Hans-Werner Hector alone donating EUR 50 million – was what made the bold design at Friedrichsplatz possible. Based on the concept developed by the architects von Gerkan, Marg and Partners, a city within the city was created here, which reinterprets classic museum architecture while honoring Mannheim’s historical city layout. The composition of room-forming cubes is visually connected by a sophisticated façade made of bronze-coloured stainless steel fabric from GKD – GEBR. KUFFERATH AG (GKD). The translucent shell creates a subtle dialog between the inside and outside world. At the same time, the masterfully varying transparency of the fabric translates the scale of the building, creating a balanced sense of near and far.Following a construction period of around two and half years, the museum ensemble comprising the Billing Building from 1907, the connecting Athene Wing, and the new Kunsthalle museum building – named the Hector Building after the main benefactor – presents itself as an inviting whole. The Kunsthalle museum building replaces the rather dilapidated Mitzlaff Building, an extension constructed in 1983. The new building, developed by gmp as the winner of a two-stage architecture competition, respects the art nouveau architecture of the old building through its consciously reduced language. The architects created a monolithic, seamless concrete structure for the prominent location which fits in harmoniously with the development at Friedrichplatz and blends with the historic building. Their concept of transforming the museum into a city within the city comprises 13 cubes of different heights and widths that are offset from one another. As a tribute to Mannheim’s chessboard city layout, sometimes also referred to as the city of squares, a network of open and closed rooms was created with alternating perspectives depending on the location of the viewer. Seven of these cubes are grouped around the heart of the new Kunsthalle Mannheim, the 22-meter-high open atrium that boasts an area of 700 square meters. The cubes are connected to one another via galleries, terraces, and bridges. These guide visitors around the space and then back to their starting point in the atrium. The museum’s visitor experience thereby reflects the dynamics and architecture of a city. A total of three exhibition levels offer new presentation opportunities, including the full-height city window on the first floor, which offers an impressive view of the water tower. The atrium, which is covered by a glass roof and therefore flooded with light, grants fascinating views in all directions. Even without an admission ticket, visitors can enter the building, immerse themselves in its atmosphere, and take a few minutes out to enjoy a coffee. The feeling of wide open space and cosmopolitanism stimulate a sense of curiosity among visitors to explore the other rooms. At the same time, the window-like façade creates a sense of togetherness between the city and the museum, ensuring that everyone feels at ease.Woven work of artThis feeling is underlined by the stainless steel fabric façade cladding. It unites the real urban environment with its artistic counterpart and allows the city and museum visitors to come together and participate in one another’s lives. To this end, the architects went with a significantly higher degree of transparency for the fabric in front of the large-format glazed surfaces than for that cladding the fiber cement panels in front of the cubes. This varying degree of transparency preserves the effect of the architectural concept, regardless of the viewing distance. Despite the colossal dimensions of the building’s structure and façade, the woven skin loses nothing of its textile effect even from a distance. This was made possible by the fabric design developed by GKD especially for this project, which acts like a work of art in its own right. The company wove stainless steel wires and tubes of two different diameters – 3 mm and 25 mm – into four-wire warp wire groups made of untreated stainless steel. The key here was to use weaving techniques to completely balance out the varying stress ratios in the fabric due to the differences in wire thickness, so that the façade would withstand the strict static requirements caused by wind and snow. However, the exceptional fabric design also had to face another challenge: to replicate the precisely stipulated colour tone of the woven skin chosen, itself selected following a lengthy decision-making process. Despite the various metal mesh components employed, including cables, wires, tubes, and tube side closures, its homogeneity needed to be guaranteed across the entire surface. GKD’s many years of experience with coating technologies and their effects on buildings proved invaluable here. For example, the wires were coated in a continuous process, while the tubes were painted together with the closures in a spraying process and all then interwoven with the untreated warp wire groups.A total of 72 panels, each measuring around 20 meters in length and 3.26 meters in width, were used to create the sophisticated skin which lends the Kunsthalle its versatile face. With the discreet brilliance of the warm bronze tone, the finished fabric reflects the colour of the sandstone used in neighboring buildings. The large, stainless steel fabric façade measures over 4,600 square meters and changes its appearance throughout the day, in all weather conditions, from near or far. During daylight hours, it reflects the sunlight and its surroundings with the water tower and urban life. In the evening, it employs an intelligent lighting concept from below which transforms the Kunsthalle into the illuminated focal point of Mannheim’s most elegant square. The transparent façade grants unobstructed views of the city and the water tower from inside the museum. At the same time, it offers passers-by inviting insights into what goes on inside the museum. The metal fabric façade thereby establishes a connection between the city and the museum, which effortlessly succeeds in striking a perfect balance between reduced design language and desired emotionality.

Temples and dream beaches with turquoise-blue water make Thailand a sought-after destination for tourists from all over the world. The capital Bangkok, with a population of some nine million, is a city of contrasts with irresistible magic. In contrast to many other Asian megacities, however, the city has few contemporary architectural highlights. The German architect Ole Scheeren created Bangkok’s new landmark in the form of the 314-meter high MahaNakhon. A gently spiraling, perforated belt of glass balconies and terraces forming a staggered arrangement gives the reflective louvered façade its unmistakable, pixelated face. The MahaNakhon is complemented by the seven-story shopping temple Cube and a fully automated parking garage. For the cladding of the parking garage, the architect chose PC-Sambesi metal mesh from GKD – GEBR. KUFFERATH AG. Alongside the extraordinary aesthetics, its proven low-maintenance solar protection and reliable fall guard protection properties were crucial factors behind this decision.In Bangkok, facets of village and megacity, Buddhism and business are thrown together in a seemingly random way to form a fascinating mix of cosmopolitan flair and centuries-old traditions. The formerly quiet residence city was transformed into a pulsating metropolis that is home to millions of people in just six centuries. Since the 1980s, fully air-conditioned office towers, malls and apartment blocks have been shooting up like mushrooms. Today, the hectic Asian way of life dominates Buddhist tranquility. This contrasting nature is reflected everywhere in the face of the city. Alongside the Grand Palace, more than 400 temples bear witness to the rich culture of the capital, which stand side-by-side with Chinese pagodas, colonial-style buildings, dreary tin huts and gigantic glass malls. Scattered prestige buildings such as the 20-story Robot Building, the Nation Tower, the colors and form of which recall cubism, or the naive-looking Elephant Building complete the city’s chaotic skyline.Tower of superlativesWhen commissioning the MahaNakhon, the building owner, PACE Development Corporation Ltd., desired a building that sets an outstanding architectural highlight while also being integrated in the city as a public place and a worthy addition to Bangkok’s contradictory mix of tradition and modernity. Ole Scheeren took up the exuberant dynamics of the metropolis in his design and created a new urban center across an area of 135,000 square meters. This is also reflected by its name MahaNakhon, which means Big City. The three-part complex consisting of the tower itself, the Cube and a parking tower graces the city’s financial district. Across 77 floors, the tower offers space for 209 luxury apartments with between 125 and 830 square meters, 155 hotel rooms and numerous shops and restaurants. A particular highlight is the 3,500 square meter Skybar, which grants previously unknown views of Bangkok from a height of 300 meters. However, the MahaNakhon’s character as a new icon of the city is due to the staggered glass balconies and terraces, which give the giant the feel of an incomplete building with a vertical twist. From a distance, the fragmented pixel belt resembles a helix – an association that was consciously chosen by the architect as a synonym for genesis and development. At the same time he uses the image of the seemingly randomly arranged pixels to visualize the intricacy and chaotic dynamics of the urban structure. The apparently missing pixels also give the viewer the feeling that they are peering into the interior of the building.The future of parkingThe winding pixelated belt of the tower, which starts at the peak of the tower, ends at the spacious indoor and outdoor terraces in the sales and gastronomic area on the lowest seven floors of the MahaNakhon. Together with the exterior of the neighboring Cube mall, they form an outdoor atrium as a public event location. A parking tower rises behind the Cube, offering space for almost 900 cars over 10,400 square meters with an automated parking and retrieval system. In order to adapt the appearance of this structure to the luxurious overall ambience, the architect chose shimmering PC-Sambesi stainless steel mesh from GKD – GEBR. KUFFERATH AG for the cladding. A total of 464 framed mesh panels, each 2.9 meters high and up to 1.8 meters wide, subtly take up the visual appearance of the louvered façade of the MahaNakhon. As a discreet companion to the reflective surface of the tower, they also reflect the surroundings and the frequently changing sky that is a feature of the country. Some 2,100 square meters of rigid mesh lend the parking garage an elegant look. In addition to the high-quality appearance of the metallic skin, the architect was also convinced by the ease with which the cladding can be maintained. The attractive shell fulfills two functional roles: it serves as reliable fall guard protection on all floors, while also playing a key role in supporting the environmentally friendly overall concept of the MahaNakhon complex. In the tropical climate of Bangkok, the light- and air-permeable membrane proves its worth as an effective solar protection solution, which also enables natural climate control of the parking tower. Because daylight can enter the building freely, less electric lighting is required. In monsoon seasons the mesh also protects the parked vehicles from driving rain. The stainless steel, which is almost 100 percent recyclable at the end of its service life, also improves the ecological footprint of the building complex. The MahaNakhon was opened in August 2016 in the heart of Bangkok following an eight-year planning and construction phase. Today, the country’s tallest building is constantly in dialog with the city and its people. As such, Bangkok’s new landmark links opportunities for identification and participation with the role of an ambassador for a city on the rise.

Starting from Buenos Aires, the tango argentino conquered the world in the 1920s. Today the Argentinian capital is seen as the Paris of the South and is equally famous for its European flair as for its world-class cultural offering. The country’s colonial past has characterised the architecture and atmosphere of the city right up to the present day. And now, with the opening of the Centro Cultural Kirchner in the heart of Buenos Aires, the metropolis boasts the largest cultural centre in Latin America, which few cultural buildings worldwide can measure up to. Although it is officially named after the former President Néstor Kirchner, the building is commonly known as Ballena Azul (Blue Whale). It owes this name to its interior, whale-formed concert hall wing with an area of 2.200 square meters that forms a central element of B4FS arquitectos’ design. Its visually seamless shell made of Escale metallic fabric from GKD – GEBR. KUFFERATH AG reflects the blue paintwork of the skirting and walls. As the new base of the national symphony orchestra, the shimmering ellipsoid really makes the new landmark of Buenos Aires stand out.With a population of around 11.5 million, more than a quarter of all Argentinians live in the Buenos Aires region. Since the city’s building boom in the wake of the economic upturn of the 1990s, glittering skyscrapers, luxury hotels and exclusive loft apartments have been a common sight in the centre of the bustling metropolis. The old docks have been remodelled as high-class promenades that attract tourists and Argentinians alike to their restaurants, boutiques and bars. The historic city centre is home to the former Correo Central, the grand headquarters of the Argentinian postal service opened in 1928. In 2006 the then President Néstor Kirchner decided to renovate the listed palace and turn it into a superlative cultural centre. Following his death in 2010, his wife and successor as President, Christina Fernández de Kirchner, continued to pursue this idea until the project was completed in 2015. The planners from the Argentinian architectural firm B4FS prevailed in an international architectural competition for the renovation of the tradition-steeped main post office. Their design, a mix of architectural avant-garde and faithful restoration, aimed to create a place where culture could be encountered and experienced over 116 000 square meters in a space that is emblematic and people-oriented in equal measure. Thanks to its location on the Parque del Bicentenario between the historical centre with numerous important buildings and the modernised harbour area of Puerto Madero, the cultural centre became a revived, attractive focal point for the whole area.Breathtaking combination of monument and avant-gardeThe purely symmetrical design – both wings of the building are exactly the same – reflects the strict architectural concept of the planners. A sophisticated network of freely accessible areas on the various floors connects the modern function rooms with the historical parts of the building. The architects from B4FS thus combine painstakingly restored furniture, plasterwork, ironwork and woodwork with brave architectural structures and modern construction materials. Behind the faithfully restored façade, the restored elegance of neoclassicism enters into a fascinating union with the expressiveness of the modern. Even when entering the spacious foyer, almost 5 000 restored letterboxes, tables and chairs really bring the tradition-steeped building to life. The main dome of the palace, the slated roof of which was replaced by 496 window panes with an integrated LED lighting system, plays a key part in this effect. This construction lights up the dome in all colours during the evening and at night. For state visits, the lights show the colours of the guests’ respective national flags. As the city’s first public viewing platform, the crowning glass dome on the ninth floor also allows the Porteños (people of the port), as the people of Buenos Aires call themselves, to enjoy previously unknown views. Moreover, with three restaurants and its possible use as a function room it also offers an arena for culinary pleasure and entertainment. Alluding to the traditional chandeliers in theatres, the architects designed two glass rooms, fixed in place by Virendeel girders, that hover two levels above the stage. With an area of 220 square meters, this gigantic, abstract chandelier is planned as a flexibly usable space for art exhibitions of all kinds.Woven metallic dress for three-dimensional structureThe real attraction of the building, the enormous Blue Whale, can be found beneath the chandelier allegory. Its curved stomach contains a concert hall with space for 1 950 spectators in the stalls and on the balconies, as well as a chamber music hall that accommodates 540 listeners. For its construction, the respective building section was gutted behind the original façade and a large steel cage set up as a supporting structure. The colossal construction has a fascinating effect thanks to its shimmering skin, which seamlessly covers the ellipsoidal body and gently reflects the blue of the surrounding walls and skirting. When choosing a flexible material that would completely encase the idiosyncratic structure, the architects opted for Escale 7 x 1 metallic fabric from GKD – GEBR. KUFFERATH AG. This mesh can be formed in three dimensions and has already been tried and tested in a multitude of famous buildings – including Bertelsmann’s “Planet m” pavilion at Expo 2000 in Hanover or the “Children’s Palace” children’s hospital in Guangzhou – impressively demonstrating its ability to provide completely homogeneous cladding. For the shell of the Whale, the architects chose a customised version of the mesh with 70 millimetre-high stainless steel spirals and aluminium rods. For the cladding, which covers a total area of 5.500 square meters, GKD manufactured over 1 200 individual elements that were fixed to the top and bottom of the shape-giving frame structure using fastening hooks without any visible joints or connections. The international network of the world’s leading manufacturer of architectural metallic fabric proved its worth once again in the realisation of this challenging project: even during the detailed planning phase GKD was able to rely on the expertise of planners from form TL from Radolfzell, who specialise in 3D structures and with whom GKD had already successfully collaborated for the projects in Hanover and Guangzhou. The elements were mounted in the former main post building in Buenos Aires by the local GKD representative office in Argentina, Gutmetal. Following the official opening by the Argentinian President Christina Fernández de Kirchner, Buenos Aires now boasts a new landmark in the form of the Centro Cultural, allowing the past, the present and the future to be experienced under one roof.

The Koningin Elisabethzaal in the northern Belgian seaport of Antwerp is unusual in every respect. Located at the heart of an architecturally charming city, structurally merged with a world-famous zoo, and boasting an immensely varied history as a concert hall, it transformed from an acoustic ugly duckling into a gleaming swan of aural experience. At the core of this metamorphosis is the design by the renowned American acoustician Larry Kirkegaard, who completely remodeled the hall acoustically. Golden metal fabric by GKD – GEBR. KUFFERATH AG (GKD) plays a key role in his concept. The woven texture really underlines the one-of-a-kind spatial experience in its use as large-scale cladding for ceiling, walls, and balustrades.One of 65 participants in an international competition to redesign and remodel the Koningin Elisabethzaal, the consortium comprised of SimpsonHaugh Architects (London) and Kirkegaard Associates (Chicago) produced the winning design. Kirkegaard’s ambitious concept, which employed structural and technical agility to aim for nothing less than a world-class standard for the new concert hall, played no small part in this success. The original hall was opened in 1897, served as a hospital ward during the First World War, morphed into a venue for boxing and wrestling matches during the Olympic Games a few years later, and was reopened in 1960 following major destruction in the Second World War. The fan-shaped design of this building, which was not intended to be used purely as a concert hall, contributed greatly to its poor acoustics, which achieved only six out of ten points on the rating scale. Plus, although it provided a stage, there were no rehearsal rooms for the orchestra and soloists. One aim of the new building was therefore to finally offer a home to the Antwerp Symphony Orchestra. The new Koningin Elisabethzaal is the centerpiece of the Elisabeth Center, which was also newly built as an ultramodern 25,000-square-meter conference center. When redesigning the concert hall, the planners decided to reduce its size in order to optimize the acoustics. This resulted in an enormous light-flooded foyer with atrium in the Elisabeth Center. Architect Ian Simpson embedded the new building into the historical complex in such a way that the art nouveau façades that had previously been hidden by the building were revealed once more and the old halls remained largely untouched. One of these halls, the Loos Hall, connects the new 2,000-square-meter concert hall with the historical part and also serves as the foyer of the Elisabeth Center. With its high stuccoed ceilings and rich marble decor, it provides a representative space for exhibitions and receptions. The new four-story building comprises various conference and meeting rooms for up to 1,900 participants, the concert hall with a capacity of 2,000 guests, extensive logistics facilities, VIP and catering areas, administrative offices, and soundproofed rehearsal rooms.An acoustic embrace in a shoe boxThe designers selected a shoe box shape for the concert hall, which classical music lovers deem to be a guarantee of optimum acoustics. This is aided by a perfectly balanced distance between the stage and the wall and an unusual seating arrangement in the parterre and the two galleries. Doing without a permanent apron also prevents a loss of sound. A curved wall means that the largest distance between the stage and audience seats is 30 meters, so that every guest feels part of what is happening on stage and can see and hear equally well from all seats. Movable reflectors clad in metal fabric and suspended from the ceiling as well as frames covered in the same fabric ensure that the sound is able to unfold throughout the entire hall. At the same time, the semitransparent membranes conceal the bare ceiling and the technical installations above. In designing the walls, Kirkegaard Associates chose a wave-shaped oak wainscoting. The cavities were filled with lava sand to prevent vibrations. With this construction, the acousticians drew on the sound experience of earlier concert halls, which employed arm-thick stone walls to reflect low-frequency sound back into the hall. As such, the walls and the rear wall of the stage in the Koningin Elisabethzaal form an acoustic embrace which ensures that the echo is not absorbed but is fully reflected to the stage.Metal fabric for good soundThe same fabric that was used for the ceiling elements also covers the movable reflectors on the back wall of the stage: gold-colored powder-coated Alu 6010. For the ceiling and stage wall, GKD fitted a total of 204 frames, some of them wave-shaped, with 1,600 square meters of this fabric type. Four-meter-long and 2.50-meter-wide panels were fastened to the frames provided by the customer with thin stainless steel wires at intervals of ten centimeters. GKD also incorporated the cutouts for the lights exactly according to the specifications. A first for the weave specialists was that the entire construction consisting of frames and fabric was then coated in the desired shade of gold. This required special pretreatment in order to ensure homogeneous coloring of the components made from different materials – steel and aluminum. Prior to selecting the material, Kirkegaard Associates had carried out extensive tests on the GKD fabrics in order to achieve the best possible sound and space experience. As such, GKD was involved in the planning process with architects and acousticians from a very early stage. The decisive factor in opting for metal fabric was the acoustic neutrality. In addition, the exclusive look, flexibility, and robustness of the GKD fabrics corresponded to the ambitious design concept. That is why the fabric from GKD – Omega 1520 with gold-colored coated weft – was also chosen for the balustrades of the galleries. It fits flexibly to the bidirectionally curved corners of the balustrade and is also resistant to impact thanks to tensioning in the direction of the cable. When fitting the front and rear of the balustrade elements with 400 square meters of this fabric type, the curve needed to be followed exactly. GKD selected a slightly conical panel cut for this purpose in order to realize the radius by tracing a polygon.The clever interaction between the design of the hall shape, ceiling, wall, and balustrade is what gives the new Koningin Elisabethzaal its excellent acoustics: with 9.3 out of 10 points on the rating scale, it is considered almost perfect. At the opening concert, Belgium’s Queen Mathilde personally handed over the hall, which offers a world-class space and sound experience, to the public.