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CONTACT USEDITOR & PUBLISHERTony Neilson – tony@timberdesignmag.comSUB-EDITORMichael SmithADVERTISING ENQUIRIESAustraliaTony Neilson – tony@neilsonpromotions.comMob: 0408 166 543New ZealandDon Wilson – don_wilson@xtra.co.nzTel: 09 535 7275DESIGNEffigy CreativePRINTERSentra PrintSUBSCRIPTIONSinfo@timberdesignmag.comtimberDESIGN is an independent magazine publishedquarterly by Neilson Promotions Pty Ltd, targeting designand build professionals throughout Australia andNew Zealand. Available by subscription or special delivery.All rights reserved. No part of this publication may bereproduced, stored in a retrieval system or transmittedin any form or by any means, electronic, mechanical,photocopying, recording, internet or otherwise without theprior written permission of the publishers.While every effort has been made to ensure the accuracyof the information contained in this publication,the publishers accept no responsibility or liability for anyerrors, omissions or resultant consequences, includingany loss or damage, from reliance on information in thispublication. Opinions expressed in timberDESIGN arethose of the contributors and not necessarily those ofthe publisher. All letters or other material forwarded tothe magazine are assumed to be intended for publicationunless clearly marked ‘not for publication’.ISSN-1178-881XNeilson Promotions Pty LtdAustralia address:PO Box 7611 East Brisbane, QLD 4169Mob: 0408 166 543New Zealand address:PO Box 17124 Greenlane, Auckland 1546Ph: +64 9 269 4531Fax: +64 9 520 3487Email: info@timberdesignmag.comWOOL ANALOGIES AND ECUADORI confess to raising a cynical eyebrowwhen a media release claiming “livingin a solid wood house is comparableto wearing merino wool” came acrossmy desk. So I ‘filed’ it for furtherconsideration; the spin (pardon the pun)was just too slick not to go unchallenged.Putting aside the inevitable sheep jokes(yes, the Kiwis are behind this project)in favour of more puns, there definitelyseems to be a fibre of truth in this one;maybe a skein of it.Everybody knows that wood is agreat insulator, but Lincoln University(Christchurch) research engineers LarryBellamy and Don MacKensie have beenlooking at it’s thermal properties andability to absorb moisture from theenvironment – concluding that housesbuilt from solid wood demonstrate similar‘breathing’ properties to wool, withattendant comfort and health benefits.While that might be good news for loghome and Lockwood-style builders,I asked Dr Bellamy how the ‘merino-effect’can be achieved cost-efficiently andwithout consuming vast quantitiesof timber?“The humidity buffering effect of solidwood works best when there is asignificant surface area exposed to theindoor air. [Our] research focused onhumidity buffering that might be achievedwith 60 mm thick solid wood internal andexternal walls. But we expect significantbuffering can be achieved with thinnerwood walls and/or ceilings.”The Lincoln scientists’ work also seemsto hit for six the theory that brick andconcrete have superior insulation andpassive solar heating properties.Pound-for-pound it appears solid woodactually has 2.5 times the thermal mass ofconcrete. If you want to know more aboutthis work, try: bellamy@clear.net.nzHere’s a blast from the past: we nowhave a subscriber in Quito! For thegeographically-challenged, it is the capitalof Ecuador – full name San Francisco deQuito. I was lucky enough to be there afew years ago on my way to the GalapagosIslands and it literally took my breathaway. Never run for a taxi at 2850 m abovesea level until you’ve acclimatised.Muchas gracias, Jose from Moldec(solidwood and mouldings). Maybe youcan tell me why they paint white ringsaround the cedars in the city parks?Nobody else can.Which reminds me, it is time we thankedthe people who help us with theincreasingly outrageous cost of postingtimberDESIGN to thousands of architectsand specifiers each quarter. In Australia,our major help comes from Forest &Wood Products Australia, VicForests andTimber Queensland, and in New Zealandit is the American Hardwood ExportCouncil (yep, that’s right) and the TimberDesign Society. Our common interest issustainable timber design.Watch out for the new website and otherproducts in the next quarter.For comment or information about any aspect of this edition,please email us at: info@timberdesignmag.comCONTRIBUTORSPeter Harington – page 20Peter is a director of New Zealand wood marketing companyWoodmetrics and a lecturer, professional presenter and writer inhis spare time. He is a regular contributor to our sister publication,in-wood.peter@peterharington.comColin MacKenzie – page 42Colin works for Timber Queensland and is a widely respected woodtechnology expert, researcher and author. His flooring series(in conjunction with the ATFA) continues in this issue.colin@timberqueensland.com.auGREGORY NOLAN – page 39Greg is Associate Professor at the University of Tasmania where he isdirector of the Centre for Sustainable Architecture (CSAW) and writesregularly for timberDESIGN.gnolan@utas.edu.auTracy Wakefield – page 34Dr Wakefield is a Canadian-born materials science engineer andrecently completed a Masters in Fire Safety Engineering. She runs herown heavy timber structures company and has some good advice for‘bush building’. wakefieldp@bigpond.com

24PROJECTS4 IN THE BEST LIGHTIt looks like a wooden jetty – seeminglyincongruous in its landlocked setting –and that is not all that makes KielderObservatory a unique structure.8 CONVERSION THAT WASN’TA story of a ‘conversion’ that became a newbuild project by accident, and finished upwinning a best-private-house award.14 PUBLIC SCULPTUREIn the concrete-dominated zoo of Canberra’smajor institutional architecture sit two newkiosks that bring welcome relief – in moreways than one.16 PODS OF PINEA 1930s Auckland substation now doubles asa swanky and innovative ‘aspirational’ centrefor a major New Zealand business.18 WARMING REDSIt stood, robustly, on the edge of Lake BurleyGriffin for nearly a century – now it makes amajor contribution to Canberra’s reputation asa glass arts centre.22 FIT FOR PURPOSEAn unassuming timber-built ticket office atthe base of a medieval English castle wasjudged ‘best small project’ at the latest UKWood Awards.24 GRAPHIC ERUPTIONThey say it is the ‘Holy Grail for institutionalfacilities’. Go to the centre spread and judgefor yourself.27 CONNECTED TO THE LANDSCAPEIt was a sawmill site, now a sewer andwastewater management system,and winner of the 2008 Wood WORKS! greenbuilding award.ACKNOWLEDGEMENTSWe gratefully acknowledge the special assistance of the following organisations with the distribution of timberDESIGN to leading designand build professionals throughout Australia and New Zealand:American Hardwood Export Council – representing producers of lumber species from sustainable American hardwood forests.Forest & Wood Products Australia – a not-for-profit company increasing awareness of the many advantages of wood.New Zealand Timber Design Society – fostering the designed use of timber.Timber Queensland – commercially-minded not-for-profit industry association.VicForests – the leading native forest timber harvesting & sales business in Victoria.

S P R I N G 2 0 0 9 $ 1 0 . 9 5CASE STUDY3048243418123642162214FEATURES & INTERVIEWS12 AMERICA’S BEST-KEPT SECRETContinuing our series profiling importantcommercial timber species – this time it isAmerican red oak.20 HIGHER ASPIRATIONSWood is beating at the door of a traditionalconcrete and steel stronghold in multi-storeyconstruction, and the ‘intruder’ is LVL.30 LIFE CYCLE PARALYSISThe Green Star rating system continues tochallenge logic and justice, and marginalisegood wood.31 NEW LVL FOR DOMESTIC FRAMINGClaims of greater stability and straightnessaccompany the release in Australia and NewZealand of a new LVL framing product.32 A SENSE OF LIFETimber is enjoying something of a renaissancein Japan – particularly preservative-treatedlocal species.34 BEATING THE FLAME ZONEA special report from fire safety engineeringexpert Dr Tracy Wakefield contains good newsfor wood in bushfire-prone areas.37 TOUCHING THE SOULDave Jones knows more than most aboutAustralia’s mineral riches – but there isanother, greater natural treasure.39 CLASS STRUCTURESThe ‘fundamentals’ seem right to considergreater use of timber in educational buildings.42 TIMBER FLOORINGAchieving a great result with wood and whatyou should know about timber types andfinishes.46 WOOD GUIDEOur new wood products and servicesreference for specifiers.IBC SUBSCRIPTIONSTake this opportunity to order your own copyof timberDESIGN and get FREE access to backcopies and the e-magazine.timberdesigna u s t r a l a s i aADVERTISERS’ INDEXAmerican Hardwood Export Council IFC & 12, Australian Forestry Standard Ltd 30, Arch Wood Protection 32 & 33, Hyne OBC,Juken New Zealand Ltd 11 & 31, Nelson Pine 7, Wespine 41.Wood Guide: AHEC, Craftbuilt Industries, Dave Jones Furniture, Hyne, Kennedys Aged Timbers, Lindsay & Dixon, Nelson Pine,New Zealand Douglas Fir Association, Outdoor Structures Australia, Resene, Rosenfeld Kidson, Southern Lumber Company,Timberbond Industries, Watsons Ironbark Timber Products, Wood, Naturally Better.sustainablEbuilding solutionsCOVER: Kielder Observatory, UK – the timber choice enabled a sizeable structure at minimum environmental cost.PHOTOGRAPH: Courtesy Charles Barclaywww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 3

PUBLIC ACCESS“The original design competitionrequired a building with exemplary ‘eco’credentials, and the architects say usingtimber enabled the construction of a sizeablestructure at minimal environmental cost,with carbon locked up in the material itself.”6www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

PUBLIC ACCESSwhitewood for the enclosed frame elements.Spruce and birch plywoods were used for thewall linings and stressed skin elements.The timber has been allowed to weathernaturally but was pre-treated with fire retardantNon-Com by Arch Timber Protection to give thebuilding some protection against fire.Detailing includes a broad handrail thatserves as a datum for the structure, like a giantspirit level in the landscape. The cladding aboveit is vertical board-on-board, with horizontalshiplap below, emphasising the continuoushorizontal line for the building’s 42 m length.The original design competition required abuilding with exemplary ‘eco’ credentials, andthe architects say using timber enabled theconstruction of a sizeable structure at minimalenvironmental cost, with carbon locked up inthe material itself.The observatory building is entirely selfpowered,with a battery system run off a2.5 kW wind turbine and photovoltaic cells.There is a composting toilet, a wood-burningstove provides heat in a ‘warm room’ andastronomers bring their own water and campingstoves to brew up in the kitchen (water cannotbe stored on site because of the sub-zerowinter temperatures).Global warming has brought increasedhigh level cloud that obscures the night sky,so minimising the carbon footprint of theobservatory was a priority for the astronomers.Rotating architectureThe traditional domed form of telescopeenclosures was rejected in favour of utilisingthe self-transforming possibilities of rotatingarchitecture. The turrets sit square to thebuilding when not in use. When closed thebuilding is not obviously an observatory, butresembles an austere, modernist pavilionor belvedere. However, when in use theobservatory becomes expressive, with theturrets rotated and shutters open, alive withstrange geometries and altered orientations.The turrets are built off steel octagons witheight wheels that bear on a circular track, itselfsupported on a stationary steel octagon built ontimber framing below. The turning mechanismis a rack-and- pinion, hand-operated by a largestainless steel wheel and handle, with a gearboxto move the six-tonne turrets. The telescopeshave concrete-filled tubular steel columnmounts – entirely separate from the timberstructure to ensure they are vibration-free.Computer-controlled electro-hydraulic servoscontrol the opening and closing sequences of theobservatory shutters.The windy site’s normal power needs are metby the 2.5 kW wind turbine. In calm conditions,10 130 pW photovoltaic panels keep the 24 deepcellbatteries powered up. There is a dual whiteand red lighting system, with the red light usedduring observation to preserve night vision.OPPOSITE TOP The observatory’s 20-inch split-ringequatorial telescope is accessed via a circularnon-slip timber rampOPPOSITE BOTTOM The building serves as a belvederefor viewing the unique landscape during the dayOPPOSITE RIGHT Douglas fir frame and larch claddingare reminders of surrounding Kielder Forest, andtimber structures of a past local mining industryPROJECT Kielder ObservatoryCLIENT Kielder Water and Forest Park,Northumberland, UKARCHITECT Charles Barclay ArchitectsSTRUCTURAL ENGINEERS Michael HadiAssociatesASTRONOMY ADVISER Charles Barclay(Blackett Observatory)WOOD PRODUCTS Siberian larch, AmericanDouglas fir, European whitewood, spruceand birch plywoodPHOTOGRAPHY Charles BarclayAWARDS UK Wood Awards 08 (commercial& public access h/c), RIBA 2009 and TheCivic Trust (recognised), inaugural WorldArchitectural Festivalwww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 7

UK AWARDS“The original scheme was to retain the basic footprint of Winter’s house, but in removing the faultyroof structure, an overenthusiastic demolition contractor knocked all the existing walls off plumb…””12 3 12 3 14 44 14551174441097 84109 1 Coutyard 111182 Garage3 Utility4 Bedroom5 Kitchen/Dining6 Study7 Living8 Conservatory9 Pond10 Bridge11 Garden1 Coutyard2 Garage3 Utility4 Bedroom5 Kitchen/Dining6 Study7 Living8 Conservatory9 Pond10 Bridge11 Garden66660 2.0m0 2.0mTHE CONVERSIONTHAT WASN’TThis is the story of a ‘conversion’ project that became a new build project by ‘accident’ andfinished up winning the best private house award at the 2008 British Wood Awards.Britain’s first Christian martyr was beheaded at St Albans. Now theHertfordshire city is a sought-after dormitory town in the Londoncommuter belt.Marshalls Drive, a long and typically suburban St Albans road, is linedwith large detached houses, all of traditional design and pitched roofs.The site at number 65 is 15 m wide and 80 m deep and was part of amuch larger adjacent plot – sold off with a covenant that any new houseshould be single storey and flat roofed.In the 1960s, young architect John Winter was commissioned to designa small but ‘modern’ house. The result was a simple, single storey,two bedroom, brick and glass pavilion, with a small courtyard garden tothe south to provide a buffer to the road frontage.But time had done the house few favours, because of a complete lackof maintenance, poor original build quality and virtually non-existentthermal standards.New owners with an interest in contemporary design engagedSimon Condor to expand the house, adding a kitchen/dining room, large livingroom, conservatory, two studies, four bedrooms, utility room and garage.They wanted a simple, durable, light and airy house with the mainspaces having direct access to external spaces. They also required privacyand all for around £300,000.Design solutionThe scale of the new accommodation, site width and the limitations ofsingle-storey development led to a simple courtyard layout. At the front ofthe property they are a buffer to the public realm, while the central partof the house opens up to provide light, ventilation and external spaces torooms that would otherwise be entirely internal.The height of the two main living spaces was increased to create amore generous sense of space, with clearstorey glazing to catch themorning and evening sun.8www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

UK AWARDSwww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 9

UK AWARDSThe fabric of the new building was a simple cost-driven combination ofblock walls and European redwood joisted roof structure. External wallswere finished in a white insulated render. Internally the walls were plasteredand the floor was power floated concrete. Fixed double-glazed units weresimply silicone bonded on to the softwood glazing frames and naturalventilation was achieved by a series of panels formed from solid core doorblanks. The roof finish is a single-ply membrane.The car parking area on the road frontage is screened from the front ofthe house by a high iroko (African hardwood) trellis structure, which intime will become a ‘green wall’.The purpose-designed kitchen units and extensive built-in storage unitswere constructed in birch ply and finished externally in white Formica.The original scheme was to retain the basic footprint of Winter’s house,but in removing the faulty roof structure, an overenthusiastic demolitioncontractor knocked all the existing walls off plumb, resulting in the fulldemolition of the original house.PREVIOUS TOP A simple cost-driven combination of block walls and redwoodjoisted roof structurePREVIOUS BOTTOM Height restriction led to simple courtyard layoutTOP LEFT Contemporary flat roof surrounded by ‘pitched and detached’BOTTOM LEFT Height of main living spaces increased to create a more generoussense of spaceABOVE Iroko hardwood trellis screening will become a ‘green wall’LOCATION St Albans, Hertfordshire, EnglandARCHITECT Simon Conder AssociatesBUILDER / MAIN CONTRACTOR Dunworth BuildersSTRUCTURAL ENGINEERS BuiltWOOD PRODUCTS European redwood (Scandinavia), iroko fencing anddecking, birch plywoodPHOTOGRAPHY Stephen Ambrose/Simon Conder Associates/Christobel PalmaAWARDS Best private house 2008 UK Wood Awards10www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

STRAIGHT,STRONG& TRUEThe new framingtimber that has it all.J-Frame is an engineered structural LVLframing timber manufactured by JukenNew Zealand Ltd from 100% renewableplantation forest resources.A reliable, straight and durable product.J-Frame can be used across a wide rangeof applications, including residential andcommercial framing and truss systems.Juken WOOD New FOR Zealand LIFELtdAvailable inNew Zealandand Australia.J-FRAMEFor further information contact:Juken New Zealand Ltd, Wairarapa Mill, PO Box 535, Masterton 5840, New ZealandPhone: +64 6 370 0650 | Email: sales@jnl-ms.co.nz"Better by Design"J-FRAME is a gpurpose Structu

SPECIES PROFILEAMERICA’SBEST-KEPTSECRETRed oak – a warm anddistinctive performerWe continue our seriesprofiling important commercialtimber species availablein Australasia.“In flooring, its distinctive grainpattern is less likely to show wearand tear than many other speciesused today.”There is much discussion about the originsof the name American red oak. Some say it isbecause the leaves turn red in the autumn,others contend that there is a reddish tinge tothe otherwise dominant brown.William A. Lincoln* says it ranges from“biscuit coloured to pink”.Whatever, red oak is well suited to a wholerange of applications from flooring to furnitureand cabinets; and every type of joinery fromdoors to decorative panels.White oak is the leading US hardwoodimported into Australia – probably becauseimporters have, in the past, been unable tointerest furniture makers and interior joinerymanufacturers in what is now regarded asone of the world’s most sustainable of alltemperate hardwoods.American red oak is a true Quercus – mainlyQuercus rubra (Northern red oak) and Quercusfalcata (Southern red oak) but there are manyothers subspecies such as Spanish oak,cherrybark oak and shummard oak. They allexhibit much the same technical and workingproperties but, as with most US hardwoods,can vary in colour and grain from region toregion. Red oak is native only to North America,although it has mainly been planted as anurban or garden tree outside America.There is a relatively large percentage ofheartwood in red oak, particularly in northerngrownmaterial. So, as usual when specifyingAmerican hardwoods, it is best to find outabout your source, especially if reducedsapwood and physical properties are moreimportant than aesthetics. Most Australianspecialist hardwood importers know thedifferent characteristics accordingto provenance.Red oak represents about 35% of the totalAmerican hardwood forest – hence its sustainedpromotion by the American Hardwood ExportCouncil (AHEC), now active in Australia atexhibitions like DesignEx.The wood is particularly easy to slice andpeel for veneer and plywood, and is readilyavailable. As a result it is widely used for doorsand panelling, where its individual characteroffers decorative options for interiors todesigners and architects. The tree grows largeand tall, giving much better specifications thanmost other types of oak.12www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

AMENITIES“A ‘singular’ quality is created by using spotted gum claddingon all surfaces, and in avoiding any predominant grids orsub-geometries that would diminish the ‘monumental’ effect.”PUBLIC SCULPTURETimber ‘boxes’ break the Canberra mouldFrom a distance it is almost invisible, but in the concrete-dominated architectural zoo ofCanberra’s major institutional buildings, the Commonwealth Place Kiosks are a welcome relief– in more ways than one.Australia’s Parliament House and adjacentmajor public buildings present as an imposing,robust and earnest collection in concrete.So when architects Terroir were commissionedby the National Capital Authority (NCA) to build apublic toilet and ice-cream kiosk in the immediateforeground on the edge of Lake Burley Griffin,it seemed time for an alternative material.The new amenity buildings would besmall (less than 50m 2 ) and of ‘prosaic’ usewhen compared with the presumably loftieraspirations of those using adjacent structures.So, how does one install a toilet and kiosk justmetres from the central axis connecting theParliament and lake?The NCA’s decision to locate a publicamenity in the context of so much architecturalmuscle was a positive gesture intended toincrease daily use of the Parliamentary Zone.To soften the structure’s impact on its augustand conservative surroundings, the architectsdesigned the kiosks as a ‘public sculpture’:blank timber boxes installed within this largestof sculptured parks.“The design is an essay in a sort of hyperformality,responding to nuances in Griffin’sgeometry at an urban scale, yet realised ina taut, blunt form,” Terroir associate TamaraDonnellan told timberDESIGN.Wood was chosen to separate the kiosksfrom the surrounding national institutions,and because of their proximity to a timber jetty.A ‘singular’ quality is created by using spottedgum cladding on all surfaces, and in avoidingany predominant grids or sub-geometries thatwould diminish the ‘monumental’ effect.“That is why the movement joints betweentimber elements were arranged in an informalmanner, so as not to subdivide the blockforms into smaller pieces. Instead, the effectis of a single form with a series of randomlines that do not suggest further subdivision,”says Donnellan.To achieve the desired degree of ‘invisibility’in the larger context, a grey finish was chosen,which unifies the kiosks with the surroundingconcrete paving and makes them all butdisappear when viewed from a distance.Spotted gum was selected because it waslocal and for its natural properties of hardnessand durability, lower tannin than other eucalyptsand termite resistance. Because the structurewas being build for a public authority, the greyeffect was required from day one, and Cabot’shacienda grey decking stain was chosen.A key detailing consideration was thedecision to increase the number of movementjoints – to improve cladding longevity andto achieve a random pattern of joints, usingblack silicone. But the biggest challenge wasin the corner detailing where the desire for thebuildings to read as a single block required allcorner junctions to be mitred.Donnellan says Canberra’s ‘variable’climate is often used as a reason to avoidtimber. “But the equally variable Scandinavianclimate has not prohibited a continual andsubstantial use of timber on many public andcommercial projects.“Timber was chosen very much to satisfyan urban design aim and not for reasons ofthe material’s inherent qualities. Also, theexpectations for a public building in Canberrademand an extreme formality and, thus,the client did not want a ‘relaxed’ approachto timber expression and detailing.“That iswhy the detailing and finishing of the timber‘dematerialises’ it to some extent – as opposed toa celebration of timber and its inherent figuring,colour, texture and so on. We are, however,using this approach on a house underconstruction where timber is being used onnearly all surfaces inside and out, and where itsinherent characteristics are brought to the fore.“Like a giant piece of timber furniture, thishouse will be remembered for the look, feel andsmell of the material – in complete oppositionto our approach with the Canberra kiosks,”says Donnellan.TOP The timber finish links and merges with theimmediate surroundingsMIDDLE LEFT Extra movement joints were added toimprove cladding longevity and achieve a randompatternMIDDLE RIGHT Hidden system of coloured lightfilteringtubes represent autumn the tonal rangeBOTTOM Spotted gum-clad toilet and the ice creamkiosks flank Canberra’s architectural heavyweightsPROJECT Commonwealth Place Kiosks,CanberraCLIENT National Capital AuthorityARCHITECTS Terroir Pty LtdFACILITATORS Steenson Varming (Australia)STRUCTURAL ENGINEERS Hughes TruemanBUILDER Manteena Pty LtdWOOD PRODUCTS Spotted gum claddingAWARDS 2008 Dulux Colour Awards(winner: commercial exterior); 2008 RAIA(ACT Chapter) (commendation: urban design)PHOTOGRAPHY Brett Boardman14www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

AMENITIESwww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 15

FIT-OUT“The warmth of the beautifullyfinished, low-formaldehydehoop pine is a nice contrastwith the concrete and steelsubstation space.”PODS OF PINESubstation becomes innovation centreA 1930s substation building through which a third of Auckland’spower still runs now doubles as a very swanky and innovativefacility uniting the aspirations of the businesses of one of NewZealand’s biggest infrastructure providers.16www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

FIT-OUTKnown as The Substation and createdfor Vector Ltd, it was conceived as a placeto explore, integrate and display newtechnology, and to encourage the developmentof sustainable business models and theirexpedition to market.The resulting multifunctional and modularsolution is based on four bespoke timber pods,inserted into a raw industrial environment.“Drawing their formal language from ideasof circuitry, they delineate a series of spaces inwhich innovation, experimentation and displayare integrated into a cohesive yet adaptableexperience,” says architect Matthew Waterfall.Vector is a major player in fibre optics,renewable energy resources, gas, meteringand traditional electricity supply, and each podis supposed to represent four different uses:Connect, Manage, Use and Understand.“But they are primarily a mechanism to allowthe client to use the spaces flexibly,” Waterfalltold timberDESIGN. “We needed spaces thatcould be understood and easily adapted andused by the sub-companies.“The first pod [Connect] is a kitchen-type spacewith all the necessary management controls forthe home of the future, including computers,metering, internal gas power and microgeneration.The second pod [Manage] was set out as ahome office with access to experimental energymanagement systems. The third is a small loungetypearea but is primarily focused outwardstowards the main exhibition and [communications]area, and the fourth pod [Understand] is aconference and presentation area.”Space behind the pods is deliberately moreindustrial, allowing for easy adaptability to newtechnology, experimentation and metering ofinstalled technologies.The roof space is occupied by two windturbines – generating electricity for the pods –and a solar array using photovoltaics and hotwater technology.New Zealand pine was used for the mainstructural elements and plantation-grownhoop pine from Australia was chosen for thepod cladding. “The warmth of the beautifullyfinished, low-formaldehyde hoop pine is a nicecontrast with the concrete and steel substationspace,” says Waterfall.Unusually severe dryness within the buildingcaused considerable movement of framingtimber. “At one point the internal moisturelevels of the framing were down to 4 percentand was constantly planed and re-fixed toachieve a suitable quality level for finishing.”The hoop ply sheets were butt joined andsecured with concealed fixings. “Initially,we looked at mitred corners, but with the lowmoisture and high thermal gain of the existingstructure in summer, we decided to do smalltimber fillets on the corners to accommodatesome movement,” he says.OPPOSITE Space behind the pods is more industrialbut easily adaptable to new technologyBELOW Low moisture levels presented finishing anddetailing challengesPROJECT The Substation, Auckland,New ZealandCLIENT Vector LtdARCHITECT Matthew WaterfallWOOD PRODUCTS Hoop pine ply, radiata pinestructuralAWARDS NZ Timber Design 2008,sustainability (joint) and fit-out(highly commended)PHOTOGRAPHY Greg Brookeswww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 17

CONVERSIONWARMINGHardwoods bring colour and contrastto glassworksREDSThe Kingston Powerhouse has stood, robustly,on the south-eastern edge of Lake Burley Griffinin Canberra for some 94 years – but it wasn’tsupposed to.The federal capital’s first permanent public building – the powerhouse,designed by John Smith Murdoch to provide coal-generated electricityto the burgeoning new community from 1915 – was originally intendedto be a temporary structure. But its final sturdy proportions ensuredgreater longevity.In 2004, after 15 years of lobbying by Canberra’s glass artists, the ACTGovernment announced funding to convert the disused powerhouse into aglass centre – a landmark project, building on the international success ofthe Glass Workshop at the Canberra School of Art.“It was to reflect the synergies between the creative art glass industryand the history of energy supply in Canberra,” says Jocelyn Jackson ofproject-winning Tanner Architects.The resulting design is an innovative solution that meets the functionalrequirements of an accessible glass centre, respects the existing structureand heritage significance, and allows the public to appreciate thebuilding’s various uses.Jackson says the project brief and the building were an excellentmatch. “The interior surfaces and finishes [unpainted and painted offformconcrete] were rough, irregular and with details suited to its originalindustrial use. The requirements for the glassworks could be seen as anew contemporary industrial use, well suited to the fabric condition of theold powerhouse,” she told timberDESIGN.Repairs and reinstatement of some historic fabric was required(e.g. steel-framed windows) but a full restoration and reconstructionwere not part of the brief.The end result minimises intervention, with much of the historic fabricand space retained and given fresh life. New materials of glass, timber andsteel marry with the old. For the interior finish, recycled ‘red’ hardwoodswere specified ¬– providing colour and warmth, and visual synergy next tothe rusting red steel of the riveted columns and coal hoppers.The same hardwood is used for the lift shaft lining, the circular screenaround the foyer retail shop, public viewing seats and handrails,flooring to the smokestack installation space and on the new stairs.The lift shaft lining battens are 32 x 19 mm, evenly spaced with5 mm gaps and secret nail-fixed over black fabric/screen to steel furringchannels on the concrete block lift shaft.The circular vertical timber screen in the foyer uses recycled karri.Alternating battens are 41 x 41 mm (1400 mm long) and 41 x 115 mm (2700mm long), spaced 15 mm apart and secret nailed from the internal faceto a curved steel framework of steel studs. The wood was selected tominimise colour differences and is clear finished.Seats in the mezzanine viewing area are Oregon planks that servedas walkways above the old condensing pits (not reused for rainwaterstorage), salvaged and reworked in lengths up to 8.5 metres.18www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

CONVERSION“For the interior finish, recycled‘red’ hardwoods were specified –providing colour and warmth, anda visual synergy next to the rustingred steel of the riveted columns andcoal hoppers.”OPPOSITERecycled karri battens – colour matched and clearfinishedABOVE LEFTRed hardwoods provide colour and warmth next tothe riveted columnsLEFT MIDDLENew lease on life for the Kingston PowerhouseLEFTAlthough not used widely in the original building,timber adds warmth and colour throughout theconversionPROJECT Canberra GlassworksCLIENT ACT GovernmentARCHITECT Tanner ArchitectsSTRUCTURAL ENGINEER NorthropESD CundallARCHAEOLOGIST Navin OfficerWOOD PRODUCTS Recycled red hardwoods(including karri), Oregon (salvaged)PHOTOGRAPHY Tyrone Branigan PhotographyAWARDS 2008 ACT Heritage ArchitectureAwardwww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 19

RESEARCH“This is about big-span structures so it is not limiting woodto just domestic buildings and opens up opportunitiesworldwide into the commercial sector.”HIGHER ASPIRATIONSMulti-storey LVL system a world firstWood is about to start beating at the door of a traditional cement and steel stronghold –the multi-storey building. And the irony is that the core technology on which this exciting newdevelopment is based comes from the concrete industry.Researchers at the University of Canterburyin New Zealand have recently designed andconstructed the world's first large-scalepre-stressed timber test building – withinternationally significant results.The two-storey patented Pres-Lam buildingsystem has been constructed in a laboratoryat the university and consists of a skeleton ofpost-tensioned frames in one direction andpost-tensioned coupled structural walls inthe other, with a timber-concrete compositefloor system.The research is being funded as part of afive-year Australasian programme to developnew forms of multi-storey timber buildings.Professor of Timber Design and projectleader Dr Andy Buchanan says the latestconstruction techniques using pre-stressedtimber technology are being used and the LVLbeams, columns and walls are all held to eachother with steel tendons, as in modern prestressedconcrete structures.When timberDESIGN spoke to Buchanan,a two-thirds scale building had been erectedin the structural engineering laboratory andwas being subjected to a range of earthquakeloadings in various conditions.The Pres-Lam system is expected to offerarchitects and structural engineers the chanceto design large, open-plan, multi-storeybuildings with great flexibility for changesof use. Long-span post-tensioned timberbeams will offer more attractive and desirableworkplaces because they require fewerinternal columns and walls – including crosslaminatedtimber (CLT).Buchanan says another benefit of posttensioningis that a large number of strong butductile moment-resisting connections can bemade in one stressing operation at each level ofeach frame, avoiding the need for hundreds ofnails or screws in traditional timber connections.In frames, the full-length horizontal tendonspass through ducts along the beams andthrough holes in the columns, providingmoment-resistance at each beam columnconnection. In timber walls, the tendons orthreaded bars are placed vertically from thefoundation to an anchor plate at the top ofthe multi-storey wall panels. Vertical posttensioningin columns is also possible to20www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

RESEARCHimprove the overall system re-centring capacityand to act as hold-down systems.Because wood is lighter than othermaterials, cranes can lift longer beams orlarger prefabricated components than othermaterials, significantly reducing on-site costsand speeding up construction time.The research team is also looking at therelative carbon footprint of wood-basedbuildings, plus fire resistance, thermalperformance and durability.A possible outcome for the Pres-Lamsystem is prefabricated kitset multi-storeybuildings for export. Early indications are thatstructures built this way will be competitivewith concrete, and have earthquake andenvironmental advantages.“For earthquake areas, we know this systemwill have a big edge with its lower seismicmass,” says Nelson Pine LVL product engineerAndy van Houtte, “but we are hoping it willthen spread to all areas because of itsother advantages.”The company provided product for theresearch project and van Houtte says they arelearning more about the advantages of thesetimber structures all the time. “They are highstrength,lightweight, easily machined, gluedand adapted.”New Zealand Timber Design Society (TDS)president and University of Auckland lecturerHugh Morris believes this is the most significantstructural research project in the industry forsome time. “It is of world scale interest andthose behind it should be proud of it. This isabout big-span structures so it is notlimiting wood to just domestic buildings andopens up opportunities worldwide into thecommercial sector.”The research is funded by the StructuralTimber Innovation Company (STIC) –a consortium of Australian and New Zealandcompanies and universities, and the NewZealand Government.PETER HARINGTONABOVE The world's first large-scale pre-stressedtimber test buildingwww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 21

UK AWARDSFIT FORPURPOSEA medieval castle’s new ticket hutFor centuries Lindisfarne Castle on the Northumberland coast ofEngland has withstood the ravages of time, North Sea weatherand Norse and Scottish raiders. Nowadays, the romantic 16thcentury fort is more likely to be overrun by tourists.A new timber-built ticket hut completed forthe National Trust property on the highest pointof Holy Island – reachable from the mainlandonly at low tides by a mile-long causeway –was judged ‘best small project’ in the 2008UK Wood Awards.Although medieval in origin, the castle wassubstantially remodelled by Sir Edwin Lutyensin the early 20th century and now attracts amultitude of visitors every year.Admissions were originally dealt with inthe castle entrance hall, accessed via a longexternal ramp and staircase. To better managethe ever-increasing visitor numbers andaccommodate some modest interpretationdisplays, the National Trust commissionedarchitects Simpson & Brown to design apurpose-built ticket hut and reception building.It sits on a very sensitive and exposedsite adjacent to much-photographed andrecognisable storage sheds built from three‘sawn-off’ and upturned boat hulls.22 www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

UK AWARDSWhile the design deliberately eschewsthe opportunity to build a fourth upturnedhull, it does attempt to respond to its uniquesetting between the tall, harsh, angular stonerevetments of the castle and the low, softlycurved profiles of the sheds.The result is a wedge-shaped building witha sculptural black ‘crinkly tin’ roof that dipstowards the rear as the plan form widens.French oak was chosen as the main materialfor internal and external detailing because ofits durability and long life, and the cohesiveaesthetic it brings to the different designelements.The building is framed in timber and cladwith untreated, graduated oak boards,which unfurl to create louvred screens over thewindows. The large outer door swivels on acentral pivot. When closed it provides securityand shelter to the exposed lobby area. Whenopen it engages with the distinctive riven oakfencing, inviting visitors into the hut on oneside as they approach, and directing themtowards the castle on the other side once theyhave purchased their tickets.The pivot door is designed with spacingsto allow the coastal winds to pass throughthe graduated oak boards, facilitating openingin the exposed island location. Glazing abovethe pivot door stops swallows returning infollowing years and taking up home in thelobby roof purlins.The oak wall claddings and fittings provide alow-maintenance interior – simple, workmanlikeand unpretentious. Roof purlins are leftexposed, showing the scarf jointing requiredbecause of a scarcity of bigger oak sizes.And the sweeping oak ticket desk and storagecupboards maximise the space and provide aninformation point for tourists.(Footnote: in 2005, two of Lutyens’ originalherring buss sheds were destroyed by arson.They were replaced in 2006 and a third has beenrenovated. Spanish architect Enric Miralles laterused Lutyens’ idea as inspiration for his design ofthe Scottish Parliament Building in Edinburgh.)OPPOSITE LEFTUntreated French oak chosen for durability andcohesive aestheticOPPOSITE RIGHTLindisfarne Castle on Holy Island was built in 1550and much-altered by Lutyens in the early 1900s(Photo: Wikimedia)LEFTGraduated oak boards unfurl to create louvredscreens over the windowsABOVEThe ticket office’s swivel door ‘engages’ with thesplit oak fencingCLIENT The National TrustARCHITECT Simpson & Brown Architects,EdinburghSTRUCTURAL ENGINEER Patrick Parsons,Newcastle-Upon-TyneCONTRACTOR Historic Property RestorationLtd, North ShieldsWOOD SPECIES French oakAWARDS UK Wood Awards, Best SmallProject 2008www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 23

EDUCATIONGRAPHICERUPTIONColour and style on the Deakin campusThe designers describe it as the “Holy Grailfor institutional facilities” – a trifle immodestperhaps, but there is no denying the newInternational Centre and Business Building(ICBB) at Deakin University’s Melbourne campusis an aesthetic icon.The first buildings at the university’s Elgar Road site in Burwood, theICBB consists of parallel, low-rise, large floor plate buildings joined bya bridge and accessed from a central pedestrian ‘street’. Cafes, lecturetheatre, foyers and reception areas create a dynamic street environmentwith universal access at the ground plane.The brief required practical and flexible accommodation of Deakin’simmediate and future needs, and the result is a distinctive andcontemporary curved form.The design incorporates a strong environmental commitment, withsheltered atriums enlivened by textured recycled brick walls and lightcourts edged with graduated ‘seasonal’-coloured timber-panelled walls –providing the sustainable lungs for fresh air to the complex.A relatively ‘hard-faced’ prefabricated patterned aluminium skin overprecast concrete panels is offset by the natural qualities of substantialtimber louvres, timber panelling and bricks recovered from sitedemolition works. All of the materials have a deliberate relationshipwith the landscape.24www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

EDUCATION“Use of cedar… communicates that the buildingis different from other institutional buildings andmay represent a more responsive characteristicfor education delivery.”www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 25

EDUCATIONAn important external feature is the panelledcedar-finned western facade, extending tothe main building entrance – designed with afully accessible service gap to improve passiveshading and allow maintenance access to theenclosed glass facade.Creating something of a graphic eruption,the timber elements also succeed in softeningthe hard-edged facade materials and‘de-institutionalise’ the most important publicface of the buildings. The exterior fins alsoscreen end-located glazed stairs and link thestructure with its creek-edge location.“Use of western red cedar on these importantand highly visible facades also communicatesthat the building is different from otherinstitutional buildings and may represent amore responsive characteristic for educationdelivery,” the architects say.They add that manufacturing the timber panelmodules off-site made for faster assembly and,better construction quality, minimising waste andmaintenance.Inside, ‘light courts’ slash through the centreof both buildings – functioning as conduits forair, light and occupant movement. Victorian ashveneered plywood feature walls, stained andsealed in vibrant feature colours, face stackedbalconies and their cedar balustrades.The International Building interior issheathed in yellow and red tones to reflect thesummer and autumn seasons and the BusinessBuilding sports blue and green summer/winterhues. The feature panels also harmonise withthe recycled brick.This project won the best use of decorativeveneer and best use of western red cedar awardsat the 2008 Australian Timber Design Awards.PREVIOUS PAGE TOP LEFTCedar louvres allow for maintenance accessto glass behindPREVIOUS PAGE TOP RIGHTPrefabricated patterned aluminium skin overprecast concrete, softened with timber featuresPREVIOUS PAGE BOTTOMTimber screen softens and ‘de-institutionalises’the main building entranceTHIS PAGE TOPRed and yellow stained Victorian ash panels reflectsummer and autumn coloursTHIS PAGE BOTTOMLight courts edged with graduated colour representsustainable ‘lungs’PROJECT Deakin University ICBBARCHITECT/INTERIOR DESIGN H2o Architects,Collingwood VICDESIGN & PROJECT MANAGEMENT DeakinUniversity FMSDSTRUCTURAL ENGINEERS Deakin FMSDWOOD PRODUCTS Victorian ash veneer onplantation ply, panelled western red cedarlouvresPHOTOGRAPHY Trevor Mein26www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

CANADIAN AWARDSCONNECTED TOTHE LANDSCAPEOld sawmill ‘lives’ againThe operations buildings for a sewer andwasterwater management project built onan old sawmill site in New Westminster,British Columbia was the winner of the 2008Wood WORKS! BC green building award.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 27

CANADIAN AWARDS“The material is flexible and reliable for exploring design and structural ideas, and for meeting budget realities.We work with several soft and hardwood species, depending on the given design situation.”The Combined Sewer Overflow (CSO) operations building locatedon the north bank of the giant Fraser River was a partnership projectbetween the city fathers and Metro Vancouver. It was commissioned tominimise untreated storm water overflows into the Fraser, which, at nearly1400 km, is the province’s longest.As a public park facility, community interaction and environmentalawareness were also to be encouraged. (Phase 2 of the project includesdevelopment of Poplar Landing Park and the continuation of the city'swaterfront esplanade. A housing site is also anticipated to offset totalproject costs.)The operations building is a single-storey, 250 m 2 structure that containsliquid, air and electrical equipment necessary to run the complex facility,and provides direct access to a huge underground storage tank. Publicwashrooms and a covered plaza for educational displays are also provided.To minimise its environmental impact, the building relies heavily onmaterials reclaimed from a local deconstructed sawmill, with minimal useof new materials.Wood products used on the project include:• reclaimed Douglas fir heavy timber trusses,posts and beams for the mechanical room’s structural frame• reclaimed glulam beams supporting the green roof/plaza and thecurved control room roof• tongue and groove Douglas fir horizontal siding used to clad themechanical room• tongue and groove Douglas fir timber roof decking for all roofs(80% reclaimed)• re-sawn Douglas fir veneer plywood with cedar batten cladding• wood stud heavy timber infill walls.Unlike typical infrastructure projects, aesthetics were an integralcomponent of client objectives to ensure a facility that integrates withthe public and its surroundings. The mixture of materials, textures andbuilding forms helps mitigate the imposition of a large operating municipalfacility on the public outdoor space. And, the warmth and scale of woodencourages the use of a public space that is inviting, and informative.As part of a larger sewer management system, the building reducesupgrade and maintenance requirements on all downstream infrastructure.Designed to improve the quality of future overflows, a unique flushingsystem cleans the tank automatically, using very little power when inoperation and incurring virtually no costs while off-line. The facility isdesigned to reduce noise and incorporates a unique, cost-effective andenergy-efficient odour control system.Environmental performance is enhanced by highly reflective, energyefficientmetal roofing, reclaimed steel components, high-volume fly-ashconcrete, and landscaped green roof.The wood connectionWhen asked why they specified wood, the designers specified woodbecause it is “embedded” in Canadian culture and identity – both nativeand European. “Building with wood connects us to our landscape and thecycles of nature. It is an accessible material available everywhere.“The material is flexible and reliable for exploring design and structuralideas, and for meeting budget realities. We work with several soft andhardwood species depending on the given design situation. Western redcedar is durable for exteriors; Douglas fir is very strong for framing; birchand maple have attractive grain for cabinetry and millwork. Plywood andother remanufactured products provide other opportunities for use ofwood in architecture.”28 www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

CANADIAN AWARDSMany Northwest Pacific architects say wood is more conducive toexploring contemporary aesthetic ideas in architecture than masonryor steel. “Perhaps it’s the quality of light, our tempered [often grey]climate, closeness of the ocean and forest, and our ‘young’ history,but our buildings tend to be more open and expressive; engaging thelandscape and new ideas wherever possible. We are less committed tothe traditional architectural elements found in older cities.OPPOSITE PAGE LEFTThe operations building provides direct access to a huge underground storagetank (see perspective)OPPOSITE PAGE RIGHTThe design makes substantial use of materials reclaimed from a localdeconstructed sawmillTOP RIGHTEnvironmental performance is enhanced by reclaimed steel components,high-volume fly-ash concrete and landscaped green roofBOTTOM RIGHTThe structural frame trusses, posts and beams are reclaimed Douglas firARCHITECTS Eric Pattison Architect, BCENGINEER Associated EngineeringBUILDER Westport Construction GroupWOOD PRODUCTS Reclaimed Douglas fir trusses, horizontal siding,roof decking (80% reclaimed), resawn veneer plywood, reclaimedglulam beams, cedar battens, wood stud infill walls.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 29

COMMENTLIFE CYCLE PARALYSISThe Green Star rating system for buildings continues to challenge logic and justice, yet seems tobe sweeping the globe at a similar pace to swine flu.How can a sustainable building certificationsystem that rewards a bike rack with the samenumber of credits as can be earned for usingcertified, carbon-storing wood throughouthave any credibility with thinking architects,politicians or the public at large?Well, it does. And as things stand, there isnothing to indicate that such absurdly skewedproduct evaluation criteria will result in the GreenBuilding Council succumbing to logic or equity.The Green Building phenomenon has takenoff in Australia like nowhere else outside theUS, with New Zealand not far behind. Architectsand politicians everywhere seem captivatedby the feel-good factors associated with theaccumulation of Green Star ratings.But for the wood industry, the system isjust as widely seen as a rort: wood mustprove its sustainability, when most competingbuilding materials do not; the GBCA and NZGBConly recognise FSC-certified wood for GreenStar rating points; lifecycle analysis and itsembodied carbon-storage data are dismissedas ‘too hard’; and attempts to redress thesituation are in the grip of inertia.Timber interests and the AustralianCompetition & Consumer Commission (ACCC)have complained that it is anti-competitive forthe GBCA to unconditionally accredit only oneforest products certification system.After a year’s deliberation by a ‘timber expert’reference panel the GBCA released a new ‘draftframework’ review of the timber credit at theend of June, with the promise that new criteriawould be announced by the end of July. (By theend of August there was still no news.)For currently marginalised forest certificationand chain-of-custody (CoC) schemes like theAustralian Forestry Standard (AFS) and PEFC(the world’s biggest CoC certifier), the review ispotentially good news. Or is it?Speaking at an AFSL forum in Brisbane in lateJuly, GBCA Queensland and Northern TerritoryGreen Star rating tool manager Andrew Aitkensignalled that AFS/PEFC and FSC would achieve‘best practice’ recognition. However, there isnervousness that the GBC’s global enchantmentwith FSC will still see the scheme emerge withthe upper hand.The nub of the problem is the GBCA’s desireto be the final arbiter on what constitutes afull-points-earning timber certification process– requiring the world’s leading independentforestry and CoC certification schemes to‘prove’ themselves to an organisation with littleor no expertise in the matter.“PEFC and FSC are the most recognised globalcertification schemes; rigorously reviewed andwith impeccable credentials. And for the GBCAto want to change the benchmarks and put themthrough the hoops again is ridiculous,” saysAFSL chief executive Kayt Watts.Under the proposed new criteria, timbercertification schemes will have to re-accredit withthe GBCA, and if approved, they will be rewardedwith one Green Star point. But to get the secondpoint, the schemes will have to be separatelyticked off by the GBCA’s board of directors!Now there’s a detail-devil if ever there was one.While Aitken says the GBCA only wants tokeep illegal timber out of buildings – not woodper se, he concedes that as things stand, it ispossible to use illegal timber or shunned PVCand still get a 6-star rating.TONY NEILSON – EditorMAKE A DIFFERENCE TODAY!SOURCE ONLY CERTIFIED WOOD AND WOOD PRODUCTSSetting the standard for sustainable forest management in AustraliaAustrAliAn Forest CertiFiCAtion sCheme (AFCs)www.forestrystandard.org.au Phone: +61 (0) 2 6232 5356 Email: info@forestrystandard.org.au30www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

SPECIAL FEATURENEW LVL FRAMINGImproved stability and straightnessWhen we report on a new product in timberDESIGN it is usually the manufacturer who approachesus. But in this case, we heard about J-Frame from a builder enthusiastically telling his neighbour(one of our team, as it happened) about this wonderful new building product he had “found”.“I loved it on the job we have just finished and have specified it for ournext two jobs,” Wok Stehr (co-owner, Stehr Brothers builders in Auckland)told us later. “What we love most about J-Frame is that it doesn’t move,everything is straight and plumb at the end of the job.”Stehr Brothers builds houses in the upper end of the market (their nexttwo are NZ$1 million and NZ$3 million jobs) – clients who won’t toleratewalls that are not straight.J-Frame costs slightly more than conventional pine framing, but Stehrsays he easily recovers the extra with reduced labour costs. “On the jobwe just finished it cost the equivalent of a couple of man-days extra touse the J-Frame. But we probably saved at least a week’s labour. Forinstance, the cabinetry fitted straight in without having to straightenanything.” Supplier for the Stehr job was Smith Timber ITM.J-Frame is made at the Masterton (lower North Island) factory of JukenNew Zealand Ltd (JNL). It is an LVL framing product made for standarddomestic building applications.JNL assistant mill manager Paul Jordan says they had planned J-Frameas an engineered wood solution for applications where straightness andstability were critical and sawn timber was loosing market share tonon-wood competitors.“We are confident J-Frame will compete head-on with steel framingonce people realise every stick is guaranteed fit-for-purpose. It is alsowood and, therefore, naturally better.”The product is available in fixed lengths from 2.4 to 6 m and in a seriesof cut-to-length standard stud sizes to 0.5 mm tolerance so they can beused as studs without re-cutting. Offering accurately pre-cut studs alsoreduces waste generated at the frame plants.Every piece is machine stress graded to MSG8 or MSG10 to ensure aguaranteed consistent stiffness.Juken has overcome traditional problems with LVL, like nail-splittingalong the glue lines. No problems either with the product drying whenwet. In Auckland’s wet winter, Stehr says the LVL actually seemed toresist water and stayed dryer (than solid pine framing), with no delays tolining the house.Jordan says lessons learned over 18 years supplying the highlydiscerning Japanese market are behind this product break-through.“We have done a lot of work with the bonding material and controllingmoisture content. Both are critical to preventing splitting.“The product leaves the factory between 14 and 18% moisture contentand is plastic-wrapped to maintain that level. Combine that with goodbuilding practices and you don’t have problems”JNL has also improved LVL uptake of preservative treatments byrefining its boron and CCA schedules to ensure the frames exceededthe standards. Treatment is to either H1.2 or H3.2 in accordance withASNZS1604.4 and NZ3604 standards and is AsureQuality certified.The emphasis at JNL is on producing both high quality andenvironmentally sustainable products. J-Frame is made entirely of FSCcertifiedtimber grown in JNL’s own forests in the Masterton area, closeto the mill.TOP LEFT Every piece of J-Frame is machine stress graded to MSG8 or MSG10,ensuring consistent stiffnessTOp RIGHT Wok Stehr says J-Frame simply doesn’t movewww.timberdesignmag.com timberDesign AUSTRALASIA SPRING 200931

SPECIAL FEATUREA SENSEOF LIFERenaissance for outdoortimber in Japan"Wooden structures areassociated with the sense oflife and death lying in the heartof the Japanese."ABOVE Replication of a centuries-old candle-powered lighthouse – typical of timber’s traditional importance in JapanOPPOSITE TOP Sugi and other treated timbers are popular for ‘rest houses’ in the countrysideOPPOSITE BOTTOM Tokyo park pedestrian bridge in treated hinoki – end-grain protection is made into a feature (Feature photography courtesy Xyence Corporation)32www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

SPECIAL FEATUREThe words (opposite page) of Professor UEDA Atshushi of Kyoto SeikaUniversity are reflective of the rich traditions and history associatedwith the use of wood in Japanese society where it is much more than abuilding material; highly valued for its association with nature and for itscolour and texture.Although images of concrete and steel appear to dominate the crowdedand busy spaces that typify modern Japan, timber is quietly making acomeback – particularly outdoors.Treated timber, traditionally reserved for the dodai (sill plate) in domestichousing, is gaining wider acceptance as government agencies, keen toutilise vast domestic plantation resources, promote wood as a sustainableconstruction material.Historically, the use of indigenous Japanese timbers has been restricted,but with the new drive to use native sugi (a cypress) rather than importedtimbers such as American hemlock and Douglas fir, new opportunities arebeing created.Sugi is the national timber of Japan and as such is often seen aroundtemples. But it is much more abundant in the countryside where thereare some 4.5 million ha in plantations. The wood is reddish pink, scented,lightweight, strong, water and decay-resistant.Preservative treated sugi is gaining wide acceptance for its versatility anddecay and insect resistance in indoor and outdoor situations, particularly insouthern regions of Japan where termites were inadvertently introduced afterWorld War II during the reconstruction process.Because modern wood preservatives such as Tanalith CY (Copper Azol),ACQ, DDAC and oil-borne products for house framing are recognised as saferthan some earlier formulations, treated timber is being specified across awider spectrum of the building industry. This is helped by the high standardof Japanese carpentry, where careful attention is paid to detailing such asend-grain protection and natural water shedding to avoid creating decayspots. In weather-exposed situations (particularly near the sea) Japanesebuilders also use corrosion-resistant fasteners such as stainless steel.To illustrate something of the renaissance of outdoor timber use in Japan,we have featured three recently completed projects, each with the assistanceof Xyence Corporation.Park bridgeThis contemporary interpretation of Japanese bridging in a Tokyo parkwas designed by Xyence Corporation and build with Tanalith CY-treatedhinoki. Bevelled and copper-capped posts assist with natural water sheddingand extend the life of the timber.Rest houseThis style of shelter is commonly seen on walking tracks in the Japanesecountryside and the design is reflective of old-style housing. The use of woodin Japan today directly reflects centuries of wood-based building and a highstandard of design and carpentry are typified by attention to detail.LighthouseAt 670 square km, lake Biwa is the biggest in Japan and it is dotted withnumerous shoreline parks for visitors to enjoy fishing, camping, walking andwater sports. Each park will typically have its own wooden facilities, includingstructures like the ‘lighthouse’ (opposite), made with preservative-treatedsugi and replicating the real candle-powered version from the Edo shogunera (circa 1603 – 1868).This feature is supported by Arch Wood Protection to highlightanother environmentally responsible project using preservativetreatedwood products.For further information about the featured projects or woodtreatment in Japan, please contact our Japan Manager, Ken Yahara:kyahara@archchemicals.comFor more general inquiries, please contact Arch Wood Protection at:Australia +61 2 9954 5433New Zealand +64 9 276 3646Asia +60 3 7981 4002www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 33

BUSH BUILDINGBEATING THEFLAME ZONEWood breaks through in bushfire-prone areasUntil recently timber buildings were not considered suitablefor the Flame Zone category of bushfire risk, and fire-retardantcoatings could not be used as a means to gain compliance.But as fire safety engineering expert and log home builderDr Tracy Wakefield writes, that has all changed.For many years now, my company(Appalachian Log Homes) has been buildingsolid timber homes in bushfire-prone areasaround Australia, and has struggled toovercome the misconception that timberbuildings cannot perform in such areas.But the good news is that heavy timbercan perform as an excellent wall system forbushfire-prone areas – either in a solid wallsystem or through the use of heavy claddingproducts without specific treatments.Timber is one of the most renewable,sustainable and lowest carbon-emitting buildingmaterials we can use to address greenhousegas emissions in residential construction. It isalso a combustible material and much malignedby people with limited understanding of how itburns, especially in the Flame Zone category ofbushfire risk.But with the introduction of Australian testingstandards in 2007 to provide performancesolutions for building in bushfire-prone areas,we have finally been able to prove timber’s34www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

BUSH BUILDINGsustainability as a building material, even in theFlame Zone.Removing carbon from the atmosphere,rather than simply reducing our additions, isthe ultimate way of addressing climate change.Growing trees is the obvious answer, which iswhy timber is considered carbon positive,as the carbon taken from the atmosphere isstored in wood and in long-life constructions.The Building Code focuses on operationalenergy of buildings, but as they become moreenergy-efficient, the embodied or lifecycleenergy of materials used in construction takeson more meaning. For example, using solidtimber (logs) or timber cladding on timberframes instead of conventional buildingmaterials can result in an 88% reduction ingreenhouse gas emissions. The differencein GHG emissions between constructing aresidential home in timber as opposed to brickand steel-frame is the equivalent of running acar for 17 years, or heating and lighting a homefor 25 years.New opportunitiesIn 1991 the first Australian Standard 3959 -Construction in Bushfire Prone Areas (AS3959)was published, and life in timber buildingbecame quite complicated, especially with themajority of our building projects located in theBlue Mountains west of Sydney. Updated in1999 and 2009, AS3959 has evolved to becomea more performance-based standard, whichis opening up opportunities for engineeredsolutions in timber.Two new testing standards – AS1530.8.1-2007 (up to BAL-40) and AS1530.8.2-2007 (forBAL-FZ) – provide performance solutions forbuilding in bushfire-prone areas. This meansthe excellent fire properties of heavy (thermallythick) timber can finally be demonstrated in atrue performance scenario.Solid timber construction refers to a singleskin of 90 mm thick tongue and groove‘logs’ stacked to form a wall without the useof framing. Conventional construction ofweatherboard fixed to timber stud framing canbe used in higher levels of bushfire attack(but not Flame Zone) if the cladding is a“fire-retardant treated” timber. AS3959-1999defines fire-retardant treated as tested toAS3837 with specific performance criteriafollowing an accelerated weathering process.Hardwoods such as spotted gum, merbau(kwila), blackbutt, silver top ash, red ironbark orred river gum comply with this definition withoutneeding special treatments. There is also anopaque paint process known as Ceasefire FR,which complies with the required testing and canbe used to coat weatherboards or solid timber torender it “fire-retardant treated”.Performance testsThe pyrolysis (thermal degradation) processcreates a char layer on the timber surface,which has a low thermal conductivity that helpsinsulate unburnt timber from heat, therebyslowing the combustion process.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 35

BUSH BUILDINGThis phenomenon is well understood in the commercial world of fireresistance testing, and charring rates of timber are used to calculate thefire resistance level (FRL) of heavy timber members.Testing to Australian Standard 1530.8.2 - Methods for fire tests onbuilding materials, components and structures - Tests on elements ofconstruction for buildings exposed to simulated bushfire attack -Large flaming sources is essentially a fire resistance (enclosure fire) testof 30 minutes with specific performance criteria regarding integrity andinsulation following the heating regime.Because enclosure fires have a much longer duration of fire attack andradiant heat flux than a bushfire, such tests are considered extremelyconservative. For instance, in an enclosure the power output of burningcontents is contained by the ceiling; creating a furnace effect, which aseparating element must resist. In the case of bushfires, the fire frontmoves through very quickly (within minutes) and in an extremely chaoticmanner because of the high winds and non-homogeneous nature of theforest. The radiant heat from a bushfire will fluctuate significantly, asopposed to the 30-minute constant heat flux of the testing regime.Cypress under fireA 3 m x 3 m test panel was recently constructed using 90 mm thickT&G Australian white cypress logs mortised into a heavy cypress postand-beamstructure. The panel was tested to AS1530.8.2 at BodycoteWarringtonfire Laboratory in Dandenong (NATA accredited to performthis test) in April this year. It showed that a solid timber wall system canachieve BAL-FZ and can be used in the most extreme level of bushfireattack referred to as ‘Flame Zone’ in the recently published AS3959-2009.After 30 minutes of the standard heating regime, with less than a20K increase in temperature on the non-fire side, the insulation criterionwas achieved. At the end of the heating cycle the panel was pulled awayfrom the furnace, with intense flaming. Within eight seconds – with thepanel still subjected to radiant heat from the furnace before being pulledcompletely away – there was a significant reduction in flaming (top right).After 54 seconds the radiant heat shield was in place and flaming to over90% of the panel had self-extinguished (bottom right). After 2 minutesand 50 seconds the panel was essentially extinguished with the exceptionof some glowing combustion.Measurements from the fire side were taken after 15 minutes,with less than 1 kW radiant heat flux 250 mm from the burnt surface.Several observers then monitored the panel for a full hour – where even tinyflames from spitting char were considered to be flaming (the tiny jets of flameas char blows off and air gets to the glowing combustion under the char).Charring measurements have not been confirmed, but less than a thirdof the through-thickness was charred, and mainly in the corner formed bythe post and wall timbers. The steel flashing used to protect the sill platedid not stop the timber from igniting under the flashing.Testing showed the wall system could not sustain flaming without ahigh imposed radiant heat flux, and within a few minutes the panel wassafe to walk near with exceptionally low radiant heat flux from the fireside of the panel (below 1 kW/m2 after 15 minutes).In the unlikely event that the wall was subjected to these extremesof imposed radiant heat for a long enough period to ignite, it wouldself-extinguish without intervention, and would be safe to evacuate withinminutes. The insulation properties of timber also make it an excellentradiant heat shield to shelter behind during the passage of a fire front.Because timber is a sustainable, carbon-positive material,the construction industry is making a safe and environmentally friendlychoice by using it in bushfire-prone areas.PRevious page left The ‘Flame Zone’ is the most extreme level of bushfire attackmentioned in the new AS3959-2009. (Photo: VAFI)Previous page right New tests support the performance of heavy timber in extremefire conditions (Photo: Eric Sierens, Max Dupain Studios)TOP RIGHT The cypress log wall 8 seconds after removal from the test furnaceRIGHT Nearly a minute later, flaming to over 90% of the panel had self-extinguished36www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

FURNITURETOUCHINGTHE SOULThe man who ‘saw’ himself working with woodJones desk with river she-oak top,blackwood, silver ash and ebonyelementsAs a former mining engineer, furniture designer/maker Dave Jones (pictured over page) knowsmore than most about the richness of Australia’s mineral resources. But for him there is anothernatural “treasure” that outshines them all.A good surf on his Square Onion was oncethe nearest thing to heaven for the muchtravelledone-time hippie and sandal-maker.But for the past couple of decades there hasbeen another celestial buzz – wood!“Every tree and every piece of wood isdifferent, and as you dress it and prepare itmore and more finely, the quality of the treasurebecomes richer,” says the man who credits agenuine out-of-body experience for helping himunderstand what he was put on this earth to do.“Given my background, I guess it’s nosurprise that I should see timber as analogousto diamonds, or perhaps an opal: among allthe other ‘pebbles’ it is rather nondescript, butwhen a log is cut open, in certain species thereis an absolute gem inside.”When timberDESIGN interviewed him at hisworkshop and showroom exactly 4.5 km off thePacific Highway at Yarrahapinni north-east ofKempsey, Jones had just returned “spirituallyrefreshed” from a week in the south-westwilderness of Tasmania. “I love being immersedin forests and seeing them for all that they are.I don’t see them as timber or a resource, butas something wholesome. This is nature – theblossoms and insects, the soil, the fungus andthe smells. I tell you, it touches my soul.“Bushwalking has a bearing on my work, andwhen I don’t attend to that passion I get stale.It’s like surfing – that touches my soul as well.You’re at the beach, walking along the rocksand when you jump in and first hit that wateryou go ‘ahhhhh, gee that’s good’. It might onlyhave been a few days since the last surf but it isa true feeling of oneness with nature.”The 60-year-old’s backpacking usually takeshim “off the edge” for several days, followingold fire trails and then diving into the thick bushlooking for specific tree species to see whatthey are like in their natural state. “To go to aforest that has never been touched and see theblue gums, red cedars, rosewoods and brushbox in their natural and often massive state isvery special.”Self-taught but with an innate sense ofbalance and proportion, the resourceful andunquestionably intelligent ex-miner says hisdestiny as a furniture designer/maker wasdetermined when he “saw” himself workingwith wood.A freakish sequence of events had led Jonesand his textile artist wife Pam to buy what isnow their rural home north-west of Kempsey.“It was very rundown and I had set up a coupleof sawhorses and an old door under a fig treewhere I was making fire bellows and leatherthings to get a bit of money coming in.“One day as I stood back from my makeshiftbench I literally saw myself under a muchbigger tree – the one I was under at the time,but many times larger – working with my handsand making things out of wood!”Shortly after, a customer who had boughta small wood-framed hand mirror from himpersuaded Jones to make her a coffee table.“And that was when the passion started.”With no money but plenty of time, in theearly years he would strap a chainsaw to hisback and head into the coastal bush with a craftwood licence, cutting up windfall and carryingthe boards out one at a time.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 37

FURNITURE“One day as I stood back from my makeshiftbench I literally saw myself under a muchbigger tree – the one I was under at the time,but many times larger – working with my hands andmaking things out of wood!”“Just a box on legs” – silver ash case, Lombardy poplar door panels,stained blackwood legs, old ebony piano keys for door pullsNow, with up to 40 commissions a year, Jones is able to buy the woodhe needs. “I get good money for my furniture and I believe the peoplewho cut up and sell the wood should also get a good price.” Small bushmills salvaging from farmers, storm damage and road-forming activitiesare his primary source. He will often buy a whole log and wait at the millwhile it is cut to his specifications.His all-round favourite is blackwood (locally ‘sally wattle’; Acaciamelanoxylon), which occurs extensively in Tasmania and also on theEastern seaboard. “It is a ‘pioneer’ species that grows very rapidlyin disturbed ground. It is beautiful in every sense, with great figure,workability and general stability.”Jones built his house out of recycled red mahogany (Eucalyptusresinifera; E. pellita) and although “tool-wrecking hard”, he says it isjust as pretty as jarrah and makes beautiful furniture. He also likes toincorporate unsealed aromatic timbers in drawer bottoms and backs ofcabinets. And for those purposes he likes incense cedar, cigar box cedar,camphor laurel, juniper, garden cypress and rosewood.The other “gem” that causes him to wax lyrical is the she-oak(Casuarinaceae). We’ve all seen it with its hair-like needles blowing in thebreeze along foreshores and riverbanks; thriving where the going is tootough for most other species. Jones suspects he was one of the first touse East Coast river she-oak for furniture. “We had a major flood comethrough and I started using some salvage, and the qualities it revealedwere absolutely amazing.“When you look at a piece of correctly milled and finished she-oakit is like you are viewing a series of transparent layers, each seeminglycontaining another dimension. And then there are the medullary raysthat run right through it. This truly is a gem, but since it was found to bea major food source for the black cockatoo it has been protected andusually only becomes available after storms.”Finishing is the other major consideration with wooden furniture.Jones generally uses an oil/varnish – tongue oil-base with somepolyurethane. “People can have an unrealistic attitude to timber furniture.Yes, it will mark, but the timber was a living, breathing thing and now weare using it. Live with it realistically; care for it and be sensible.“And if you want something that doesn’t mark, get tungsten carbide.”TONY NEILSON38www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

OPINIONCLASSSTRUCTURESFresh opportunities in educational buildingAgainst a favourable politicalbackground and the popularityof television shows such asGrand Designs, Universityof Tasmania School ofArchitecture associateprofessor Gregory Nolanthinks the time could beright to consider greateruse of timber in educationalbuildings.The Australian Federal Government’s‘Building the Education Revolution’ stimuluspackage is priming the design and constructionindustries; and in New Zealand the Governmentactually has a policy to encourage thespecification of timber design options forpublic structures.It is timely therefore to review recentprojects that demonstrate timber’s potentialand limitations in educational buildings.This first article looks at one group ofbuildings: the University of Tasmania’s (UTAS)School of Architecture and Design building,finished in early 2007, and its extension forthe Australian School of Fine Furniture (ASFF),completed in early 2009.The School of Architecture building design isbased around a three-storey timber insertioninside a heritage-listed 1950s industrialstructure, the former diesel workshop buildingat Inveresk in Launceston.Designed by architects Six Degrees PtyLtd – in collaboration with consulting firmSustainable Built Environments – the buildingbrings together the school’s teaching facilities,www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 39

OPINION“Simplicity was the key, withthe palette of materials expressedin their natural forms with minimalapplied finishes.”PREVIOUS PAGE TOP The School of Architecture building design is based around a three-storey timber insertioninside a heritage-listed 1950s industrial structurePREVIOUS PAGE BOTTOM For the ASFF, glulam columns and primary beams spring off a new slab base tosupport the timber joist floors and purlin-framed roofBELOW The final school design evoked renewable and low-impact materials (Photo: Patrick Rodriguez)timber workshops and offices, and provides 4,500 m 2 of space toaccommodate up to 350 students and 40 staff.Several factors drove the solution:• the school and the architects established a strong environmentallysustainable design (ESD) imperative in the brief• the constrained budget meant the architects had to balanceeconomy with functional space provision and key ESD inclusions• the existing building structure had to be respected from a heritageand structural perspective.All three considerations favoured a timber solution. The eventualdesign involved renewable and low-impact materials with wood as themajor structural and finishing medium. Plantation timbers were used inthe structure and lining, with native forest hardwoods for doorframesand trims.The design is sympathetic to the industrial heritage of the building andprecinct. The intention was to maximise the use of the existing buildingand continue the industrial architectural language through the building byrevealing structure. Simplicity was the key, with the palette of materialsexpressed in their natural forms with minimal applied finishes.Working within the existing diesel workshop presented opportunitiesand difficulties. The existing form’s heavy concrete frame, massive gantrycranes, exposed trusses and sawtooth roof, provided a strong designcanvas. But situated on the flood plain of the North Esk River,site conditions under the building are very poor.Engineered solutionIn the final design, the west side was largely left clear to maintain thesense of scale and space of the original building, and two predominantlytimber-framed floor plates were inserted between the original concreteframe on the building’s east side. They were conceived as a grillage ofplywood box beams, but to reduce costs, sets of LVL and softwoodnail-plate trusses replaced each box beam.The truss sets were then plywood-clad on-site to provide the necessaryfire protection. Intermediate blocking trusses were inserted to brace themain beams and continuous-span LVL floor joists spanned between thetrusses to support a hardwood ply floor. In the finished building,the nail-plate trusses are invisible and the floor plate is perceived as abox beam grillage.This pragmatic engineered timber solution reduced costs and simplifiedconstruction. Expensive internal piling was eliminated and structuralelements were largely prefabricated off-site before being positioned usinglight cranes. Wet trades were minimised and assembly and cladding wasachieved using hand-tools and accepted fastening techniques.Spanning the existing lines of columns, the floor system alsoprovides a flexible architectural solution that can be easily varied.The internal partition walls throughout are non-load bearing and can bereconfigured economically.When timber is considered for school and other educational buildingsit can be difficult to comply with the Building Code of Australia’s40 www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

OPINION“The aim [of the ASFF] was to express a senseof craft and modernity, using timber in unusual andunexpected ways.”requirement for fire in Class 9 buildings. However, most new educationalbuildings have sprinkler systems, leading to a performance-basedsolution. In this three-storey Class 9 building, compliance was achievedwith sprinklers, other fire management techniques and enhanced egress.Furniture schoolWhen the ASFF joined the School of Architecture, the Inveresk buildinghad to be extended and architects Six Degrees faced similar requirementsto the original larger renovation – a constrained budget, poor groundconditions and a strong environmental agenda – but without the need tobuild within an existing structure.As the ASFF specialises in fine, hand-finished timber object making, itwas a natural decision to employ another timber solution.The architects quickly developed a scheme based on a robust andinternally expressed structural timber frame, contrasting against a lightand ephemeral external fibreglass skin. The aim was to express a sense ofcraft and modernity, using timber in unusual and unexpected ways.The internal spaces were intended to be calm, long lasting andnaturally well lit. Major ESD inclusions that complemented the structure’srenewable materials were a solar air heating wall on the north face,rainwater collection for toilet flushing, low-emission internal materialsand a very high level of internal natural daylight.In the completed design, glue-laminated hardwood columns andprimary beams were established as rectilinear frames springing off a newslab base to support the timber joist floors and purlin-framed roof of anopen and explicitly rugged two-storey pavilion.Again, internal partitions are non-loading and easily changed. Only partof the upper floor was needed to satisfy the brief’s area requirements butthe frames were developed so the whole upper floor could be installedover time. Machine rooms and assembly areas were located on the slabfloor with teaching and office spaces above. Ancillary services, dustextraction and lights were hung from the rugged timber frame.Externally, perforated steel and plain metal are used to highlight entryand signage points. Macrocarpa decking features in sunny spots toencourage use of external spaces.Wespine plantation house frames.The renewable resource.MF WPN1055Tough timber frames. Gentle on the earth.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 41

FLOORINGACHIEVING AGREAT RESULTWhat you should know about timber floor types and finishesThis second article in a series on timber flooring covers types of product,information on flooring timbers, the nature of timber floors over various sub-floors,characteristics of floor finishes and aspects relating to the natural movement thatoccurs with finished floors.42www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009

FLOORINGUnless tongue-and-groove (T&G) flooringis in a permanently controlled environment,it will always move in response to changingenvironmental conditions (Figure 1). Gapsbetween boards will occur as the floor shrinksin dry weather, and during either persistentwet weather or times of naturally high humidityfloors will tend to be tighter, showing fewer andsmaller gaps. Thus, it is unrealistic to expect a‘continuous mirror finish’.Localised shrinkage may also occur when areasare exposed to heat sources such as fireplacesor sunlight through large doors or windows –resulting in gapping across a floor.It may be relatively even, depending on individualcircumstances, but actual gap size betweenboards will vary. Wider boards will move morethan narrower ones, resulting in larger gaps.Floor finishes will not prevent timbermovement but can reduce the rate of responseto climatic changes. Applying a finish to theunderside of a floor may also help to lessen theimpact of sudden weather changes.Figure 1SPECIES COLOUR HARDNESS COMMON COVERWIDTHS (MM)Australian Hardwoods - to AS2796 - Timber - Hardwood - Sawn and milled productsSelect Grade, Medium Feature Grade (Standard) and in some species High Feature GradeSpotted Gum brown, dark brown, lightsapwoodTHICKNESS(MM)very hard 60, 80, 130 19, 12Ironbark dark brown or dark red brown very hard 60, 80, 130 19, 12Blackbutt golden yellow to pale brown very hard 60, 80, 130 19, 12New England straw to pale brown very hard 60, 80, 130 19, 12BlackbuttForest Red Gum dark brown or dark red brown very hard 60, 80, 130 19, 12Brushboxmid brown even colourdark red hard 60, 80, 130 19, 12brownJarrah dark red brown hard 67, 80, 125 19, 12Karririch reddish browns to pale hard 67, 80, 125 19, 12pinksRose Gum straw pink to light red hard 60, 80, 130 19, 12Sydney Blue Gum pink to dark red hard 60, 80, 130 19, 12Tallowwood pale straw to light brown hard 60, 80, 130 19, 12Southern Blue Gum pale brown with some pink hard 63, 80, 85, 108, 133 19, 12Stringybark yellow brown with pink tinge hard 63, 80, 85, 108, 133 19, 12Messmate pale yellow to pale brown moderately hard 63, 80, 85, 108, 133 19, 12Tasmanian Oak pale straw to light brown, pink moderately hard 85, 108, 133 19, 13Victorian Ash pale straw to light brown, pink moderately hard 63, 80, 85, 108, 133 19, 12Manna/Ribbon Gum pale straw pinks moderately hard 63, 80, 85, 108, 133 19, 12Imported Hardwoods - to AS2796 - Timber - Hardwood -Sawn and milled productsSelect Grade, Medium Feature Grade (Standard) and in some species High Feature GradeKwila/Merbau dark brown hard 80, 130 19Northern Box mild brown even colour hard 80, 130 19Cypress - to AS1810 - Timber - Seasoned Cypress - Milled productsGrades No.1 and No.2Cypressstraw sapwood, dark brown moderately hard 62, 85, 98 20heartwoodAustralian Softwoods - to AS4785 - Timber - Softwood - Sawn and milled products except Araucaria (hooppine) for which industry grades apply Standard Grade for AS4785 Australian Softwoods.Radiata white to straw soft 104 19, 21Araucariastraw soft 87, 89, 102, 133, 152 19, 20, 21(hoop pine)Note: Not all species, width and thickness combinations are available. Check with suppliers before specifyingSpecies and characteristicsThe species chosen generally determinesthe overall floor colour, and where there is aspecies mix, they may differ from one producerto another. Even with a single species there canbe a wide colour variation and it is also possiblethat a limited number of boards of a differentspecies may be present because of a similarityin appearance.As a guide, Table 1 (right) indicates the rangeof possible colours. The sapwood of manyhardwoods can be much lighter than adjacentheartwood and some boards may contain bothlight and dark colours. Even within a singlespecies and within individual trees, large colourvariations can occur. The product supplied maydiffer in colour to showroom samples and thisshould be discussed with flooring suppliers andowners. It is also a good idea to buy the flooringfrom one manufacturer, checking that the packsare of a similar age.The character of a floor is influenced by aspecies’ characteristics and therefore the grade.Grading is a process that sorts boards accordingto the number and size of features present(e.g. gum veins and knots). Table 1 indicatesthe grades contained in relevant AustralianStandards, but manufacturers often havetheir own grades. It is important to realisethat the overall colour or blend of colour in afloor is determined by the species or speciesmix chosen and the character of the floor.Suppliers, installers and clients should workclosely to ensure the desired finished look isclearly understood by all.Hardness indicates species resistanceto indentation and abrasion. Damage totimber floors may occur because of continualmovement of furniture, heavy foot trafficand in particular stiletto-heel type loading.Choosing a hard timber species will improveresistance. Soft species are likely to indentand floor finishes will not significantlyimprove hardness.Widths and thicknessesTypical cover widths and thicknesses for T&Gstrip flooring are as shown in Table 1.Figure 2(Actual cover widths may vary from thoseshown and should be confirmed withindividual suppliers.) Typical T&G profiles areshown in Figure 2. Some profiles are producedwith grooves or rebates on the underside.Where the underside of a floor forms a ceiling,the board edges may be elevated to form a ‘v’joint profile. The secret nail profile is used forboth top (face) nailing and secret fixing. Whensecret fixing, the cover is generally limitedto a maximum of 85 mm but, at times, widerboards are secretly fixed. The standard profileis more often used for face nailing and iscommonly found on wider boards.If the species or species mix contains asignificant colour variation, the appearancewill differ, depending on the cover width.Using narrower boards effectively reducescolour variations and the gaps that developbetween individual boards during drier timesis also less.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 43

FLOORING44www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009“Applying a finish to the underside of afloor may further assist to reduce the impact ofsudden changes in the weather.”

FLOORINGEnd-matching (Figure 3) is a process wherea T&G joint is provided at the ends of boards.Most flooring is now end-matched – allowingjoints to be placed between the joist or batten– resulting in less waste than plain-end flooring,which must have its ends fixed over the joistor batten.Figure 3Plain EndEnd-matchedFlooring length is generally ‘random’ inpacks up to 4.8 m. The average length is oftenbetween 1.8 m and 2.1 m but shorter-lengthpacks are available to suit floors in high-risebuildings with elevator-only access.The minimum length for timber fixed to joists is900 mm, based on a 450 mm joist spacing.Flooring is generally supplied within a 9% to14% moisture content range. For larger jobs inspecific environments a different range may bespecified.When ordering, the following details shouldbe provided to the timber supplier:• species (or species mix)• grade• profile and end-joint type• cover width• thickness• quantity (in linear metres).To calculate the required linear metres, thefollowing method is recommended:Total length of flooring required = (Area offloor (m2) x 1000 + Wastage)/Cover width (mm).There should be a 5% waste allowance for endmatchedflooring and 10% for plain end buttjoinedflooring.Covering sub-floorsDepending on the T&G sub-floor supportingsystem (e.g. joists, plywood on slab, etc),timber floors will have a different feel andsound when walked on. Generally T&G laidover joists or battens will have more spring andsome vertical movement is likely at board edgesand end-matched joints when walked on.Some squeaks will occur with most timberfloors of this type – the result of movementof one board edge against another or fromboards moving on nails. Squeaks are oftenmore prevalent during drier weather because ofloosening at the joints.Floors laid over plywood on a slab will havea firmer feel underfoot and some areas maysound ‘drummy’. Similarly, when glued directlyto concrete, the feel is firmer and the ‘drum’sound may also occur.When laying a timber floor over a structuralsub-floor of plywood, particleboard or concrete athinner overlay timber floor may be used. Theseproducts are often 10 mm to 14 mm thick andcan be beneficial when height differences in floorlevels are a consideration, or when there arelimitations because of ceiling height. However,thinner boards can be more susceptible to directheat, resulting in increased movement.Engineered flooringIn cooler climates where slab heating ispresent, substantial seasonal movement canbe expected. Strip flooring can be used, but ifcare is taken with appropriate product selectionand installation practices, it may be better touse engineered timber flooring products whereless dimensional change is likely. Engineeredflooring is manufactured with a decorative layerof timber bonded over layers of other timbers,maintaining the appearance characteristics ofsolid flooring.These products can be laid as a fixed floor ora floating floor. Floating floorboards are fixed toone another but there is no direct fixing into thesub-floor. Manufacturers of this flooring typehave specific installation recommendations,with some outlining procedures for laying overheated sub-floors.Finishes and characteristicsTimber floor finishes can be grouped intofour main categories: penetrating oils andwaxes, curing oils and alkyds, oil-modifiedurethanes and polyurethanes. The latter threeare available in solvent-borne and waterborneformulations. Polyurethanes are also availablein yellowing (aromatic) and non-yellowing(aliphatic) types. All four categories areavailable in low to high VOC (volatile organic(solvent) content). Gloss level options can rangefrom very high gloss to matt.Performance parameters such as durabilitycan vary significantly within a category, andbetween categories. All categories can berecoated with refurbishment coats. The degreeof surface preparation required before recoatingwill vary with time and coating type.As a general guide, refer to Table 2 (below),which outlines the types of finishes availableand their various properties. Coating propertiescan vary greatly within a category and finalselection may require some discussion withindividual product manufacturers.PREVIOUS PAGE Overall colour or blend of colour isdecided by the choice and mix of species(Photo: Neilson Images)OPPOSITE Localised shrinkage may occur whenexposed to sunlight through large doors or windows(Photo: Neilson Images)COATING SELECTION CHARTPROPERTYPENETRATINGOIL/WAXOIL BASEDFINISHESOMUSolvent-bornePOLYURETHANEWater-borne1 pack 2 pack 1 pack 2 packWear resistance Low Low - Medium Medium Very High Very High Medium - High Med - V HighAbility of the floor to accept careful foot traffic Low Low Medium Medium High Medium High3 days after coating (Ave. Temp. 20C)Timber colour richness Low - High High High High High Low - Medium Low - MediumResistance of the coating to yellowing with age Low Low Low Low - High Low - High Medium - High Medium - HighAbility to cure in cold & dry weather Low Low Medium Medium HIgh Medium HighAbility to cure in cold and damp weather Low Low Low Medium High Low LowEdge bonding resistance High High Medium - High Low - Medium Low High Medium - HighRejection resistance High Medium Medium Low - Medium Low - Medium Medium MediumVOC emission at application Low - High High Medium - High High High Low Low - MediumInhalation hazard when coating is applied Low Medium Medium High Very High Low MediumOdour on application Low - Medium Medium Medium High Very High Low Low - MediumGeneral product cost Medium - High Low - Medium Medium Medium Medium High Very HighSeries provided by the Australian Timber Flooring Association (ATFA) and Timber Queensland Ltd.www.timberdesignmag.com timberDesign AUSTRALASIA SPRING 2009 45

Reach the leading architects and specifiers for as little as $300 (plus gst) per issue!To find out more about the options, please email us at info@timberdesignmag.comou ST IN CE REWPoutside• Cladding• Decking & Boardwalks• Landscaping• Bridging & Piling• Joinery• Furniture• RoofingSTRUCTURAL• Framing• Trusses• Glulam• Laminated VeneerLumberINSIDE• Flooring• Joinery• Veneers• Wood Panels• FurnitureCERTIFIED• Standards• Forests• Wood ProducersRECYCLED• Flooring• Decking• Furniture grades• Beams & ColumnsWOODPROTECTION• Timber Treatments• Fire Retardants• Primers & Paints• Stains & Oils• Lacquers & SealantssTWPouBUILD WELL. BUILD STRONG.For superior strength in construction, builderschoose Douglas-fir. The timber’s tough fibreand dense grain, makes Douglas-fir the firstchoice for strong structural beams.Plus, because it has high natural resistanceto moisture and decay, it can be left untreatedin many low risk building situations. And thatprovides an ideal choice for people seekingthe natural benefits of a wood solution.Manufacturers of a wide range of qualitywood priming, sealing, finishing andprotection systems from wood stains, clears,oils, gels through to specialist primingsystems and topcoat paint systems forinterior and exterior wood projects.Email: advice@resene.co.nz (NZ)or advice@resene.com.au (AUST)Ph: 0800 RESENE (737 363) (NZ)or 1800 738 383 (AUST)Web (NZ): www.resene.co.nz (NZ)or www.resene.com.au (AUST)WPRecycled timbers in flooring, decking,cladding, joinery timbers, large structuralposts and beams, commercial decking.Rainforest Safe Certified timbers in thesame product range.For further information, please contact:sales@kennedysagedtimbers.com.auph +61 7 3293 0528fax: +61 7 3293 2402Rod or Michael: Head Office228 Potassium Street, Narangba, Qldwww.kennedysagedtimbers.com.auiNFor your next build choose Douglas-fir, thenaturally strong wood. Available in MSG8 andMSG10 untreated and H1.2.Visit www.douglasfir.co.nzTanacoat Decking OilDeveloped forTanalith E treated timberManufactured for OutdoorStructures Australia byEmail: ted@outdoorstructures.com.auWebsite: www.outdoorstructures.com.auThe American Hardwood Export Councilrepresents suppliers for architectural joinery,doors and dowels, floors & frames,kitchens & furniture from sustainableand legal sources.For further information please contact:Email: info@ahec-china.orgWebsite: www.ahec-seasia.org

ReHyne is a leading Australian manufacturerand distributor of engineered, structuraland decorative softwood products to thebuilding industry, including our T2 and T3range of termite resistant framing and HyneDesign Structural Software.For more information please contact:info@hyne.com.au or call 1300 304 963www.hyne.com.auSpecify wood and save tonnes of CO 2Wood not only stores carbon in its structure,it uses far less energy (and causes less CO 2emissions) than alternative materials.Visit www.naturallybetter.com.au and helpfight climate change.Recycled timbers in flooring, decking,cladding, joinery timbers, large structuralposts and beams, commercial decking.Rainforest Safe Certified timbers in the sameproduct range.For further information, please contact:sales@kennedysagedtimbers.com.auph +61 7 3293 0528fax: +61 7 3293 2402Rod or Michael: Head Office228 Potassium Street, Narangba, Qldwww.kennedysagedtimbers.com.auouCE“The Timber Source” stocks the largestrange of specialist timbers available inNew Zealand. Durable and stable softwoodssuch as Cedar suitable for exterior joinery,cladding and mouldings. Durable hardwoodsfor decking, boardwalks, landscaping andheavy construction.For further information please contact:Rosenfeld Kidson & Co. Ltd.Phone: +64-9-5730503 Fax: +64-9-5730504Email: rk@thetimbersource.co.nzVisit: www.thetimbersource.co.nzouThe weather exposed timber experts.Download our new commercialbarrier guideCEFor further information, please contact:Email: ted@outdoorstructures.com.auWebsite: www.outdoorstructures.com.auRecycled timbers in flooring, decking,cladding, joinery timbers, large structuralposts and beams, commercial decking.Rainforest Safe Certified timbers in the sameproduct range.For further information, please contact:sales@kennedysagedtimbers.com.auph +61 7 3293 0528fax: +61 7 3293 2402Rod or Michael: Head Office228 Potassium Street, Narangba, Qldwww.kennedysagedtimbers.com.auLike our logo? Use it free!Become a partner of the Wood. NaturallyBetter. program and you’ll be licensedto use the logo, receive free brandedmerchandise and more.Visit www.naturallybetter.com.au for detailsor call 1300 414 044

iNiNsT“The Timber Source” stocks the largestrange of specialist timbers available in NewZealand, most of which are on display in ourflooring showroom. Native and importedspecies suitable for furniture, interior joinery,mouldings and solid wood strip flooring.For further information please contact:Rosenfeld Kidson & Co. Ltd.Phone: +64-9-5730503Fax: +64-9-5730504Email: rk@thetimbersource.co.nzVisit: www.thetimbersource.co.nzSuppliers of interior and exterior finishingtimbers for commercial and high-endresidential building projects.Southern Lumber Company works withproperty owners, architects, builders andmerchants to provide quality, service,and solutions in solid wood.For further information, please contact:Ph: +64 3 215 8818Callfree: 0800 LUMBERsales@southernlumber.co.nzwww.southernlumber.co.nzTimberbond is New Zealand’s leadingcustom Glulam producer. With a brand new,custom built production plant, no job is toobig or too complicated for Timberbond.If a structural timber solution is required, justgive Timberbond a call and they will be morethan happy to assist.For further information, please contact:Timberbond Industries NZ Ltd.Ph: +64 9 298 2149Fax: +64 9 98 2148www.timberbond.co.nzTHINKING GLULAM?THINK TECHLAM….Craftbuilt Industries specialises in engineeredglulam timber products. 17 years on,Craftbuilt is still a 100% New Zealand, familyowned business complete with 6,500 m² ofmanufacturing space at our premises in Levin,New Zealand.Our glulam products are endorsed with thehighly acclaimed mark status in bothour “Glue Laminating” AS/NZS 1328:1998Licence No.2682 and “Finger jointing “AS/NZS 1491:1996 Licence No.2683.The “Techlam” range of glulam products isvast, covering all beams and posts includingcurved beams, portal rafters, bridge beams,columns and we regularly manufacture longlength glulam products.We produce our products in whatever rangeof timber treatment you require includingH3.2, H4 and H5 Radiata and canmanufacture GL8 to GL12 strengthsin-house. Our range of finishes andappearances available in glulam timberproducts, makes Craftbuilt Industries yourNo#1 choice.For your next glulam timber requirements orspecification, ensure you specify CraftbuiltIndustries as your glulam timber supplierwho provides you with honest and promptdelivery timeframes and delivers a highquality product as specified and on time!!For further information, please contact:CRAFTBUILT INDUSTRIESph: +64 6 368 0759fax: +64 6 367 6324email: sales@craftbuilt.co.nzweb: www.craftbuilt.co.nzsTWATSONS IRONBARKTIMBER PRODUCTSSpecifying for joinery or a major interiorfit-out? Deal direct with Australia’s mostexperienced hardwood supplier and getthe right advice.Huge range of kiln-dried furniture grades,plus stair stringers and treads, handrails,balustrades and benchtops, beamsand posts.Call us for the best advice.Phone: +61 (03) 5852 2522Email: jeffwatson4@bigpond.comFine, handcraftedtimber furniture.Specialising in one-offcommissions.Full range of homeand private officefurniture.For further information:Email: dave@davejonesfinewood.comVisit: www.davejonesfinewood.comCall: +61 (02) 6569 0826ExpandyourhorizonsNelsonPine LVL is an engineeredwood product that is consistentin performance and resistsbowing, warping and twisting.w w w. n e l s o n p i n e . c o . n zLVL@nelsonpine.co.nzINiNsT iN15003Want the good word on designingwith wood?Visit www.naturallybetter.com.auand discover links to a world of resources.Technical details, advice and more. If youthink a link to your site should be there– visit the site and email us.

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