Wood In Architecture Issue 2, 2021

www.panelsfurnitureasia.com
ISSUE 2, 2021
Offices of the future
Light wood frame
construction: Increasing
efficiency, design freedom
and sustainability
Accoya: High-performance
modified wood for all
climates
On the cover: MARUHON FUKUOKA Office & Showroom
Scan to
download
WIA Issue 2,
2021 ebook

Build
Sustainably
Build
with Wood
Every two minutes
U.S. forests grow
700 cubic meters
enough to build a
12-story building

MALAYSIAN
TIMBERS
THE PREFERRED
CHOICE
Sustainable
Renewable
Versatile
Durable
Diverse
The remarkable performance characteristics of Malaysian
timbers have allowed architects and designers globally to
feature timber in time-transcending designs that match
beauty with functionality.
Your go-to resource for information on
Malaysian timbers
www.mtc.com.my

IN VIETNAM’S
FURNITURE
CLUSTER
www.bifawoodvietnam.com
NEW DATE: 3 - 6 DECEMBER 2021
NEW
VENUE
WTC Binh Duong New City EXPO
Lot A19, Hung Vuong Street, Hoa Phu Ward,
Thu Dau Mot City, Binh Duong Province, Vietnam
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QR code
Exhibition Site
WOOD & WOODWORKING MACHINERY EXHIBITION
Enquiries For International Exhibitors
Pablo Publishing & Exhibition Pte Ltd
3 Ang Mo Kio Street 62
#01-23 Link@AMK,
Singapore 569139
Tel: (65) 6266 5512
Email: williampang@pabloasia.com
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Jointly organised by
• BINH DUONG FURNITURE ASSOCIATION (BIFA) • PANELS & FURNITURE Group
BINH DUONG FURNITURE ASSOCIATION
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CONTENTS
16
32 28
38
4 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

CONTENTS
06 Editor’s Note
07 News
THE BIG PICTURE
16 Offices of the future
SUSTAINABILITY
28 Light wood frame construction:
Increasing efficiency, design
freedom and sustainability
32 Timber buildings go beyond Net
Zero to achieve Whole Life Carbon
status
ENGINEERED WOOD
36 Bringing value and warmth
through engineered wood
38 F1 Canadian Grand Prix New
Paddock
MATERIALS AND
TECHNOLOGY
41 Thermally modified American ash
for Al Faya Lodge desert retreat
44 Accoya: High-performance
modified wood for all climates
DESIGN
46 “Touching colours”: RENOLIT
trend service Colour Road
presents latest trend report
STRUCTURAL
ELEMENTS
48 A dynamic and sustainable
environment for the stewards
of the future
FLOORING
52 Is wooden flooring in the
kitchen right for you?
FIT-OUTS
53 FURNIC – Modular carpentry
for the modern home
56 Chicken Mafia: the boss in
undulating waves interior
SHOW PREVIEW
59 Re-imagine the future of the
built environment at IBEW
2021
60 Dubai WoodShow to launch
all-new edition in March 2022
with year-round activities
SHOW REVIEW
62 Winners of the Hoa Mai
Furniture Design Competition
2021
66 Events Calendar
67 Index of Advertisers
46
56
62 48
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 5

EDITOR’S NOTE
Saving the world
one timber building at a time
As the world advances towards an
“endemic era” in our fight against
COVID-19, more developers and architects
are rethinking the way buildings are
designed. A lot more emphasis is now
placed on biophilic elements to invoke
a sense of warmth for its users, and this
points towards a material of choice that has
been long associated with human-centric
design – timber. Add sustainability and
carbon negative goals to the mix, and there
you have the perfect equation – wood =
good.
This issue’s cover story explores how
timber changes the work environment
(p.16), and five specially selected office
projects from across the globe shine a light
on how design affects productivity and
brand image.
In our column on sustainability, an article
by the Quebec Wood Export Bureau
highlights the emergence of light wood
frame construction and how it contributes
to design freedom, reduced carbon
footprint and cost savings (p.28). In a
similar vein, Ken Hickson introduces the
Whole Life Carbon approach that considers
all the carbon emissions produced over the
entire life cycle of a building (p.32).
Find out how Al Faya Lodge embraces
thermally modified American ash for their
desert retreat (p.41) and how fast-food
restaurant Chicken Mafia beautifully
decorates their outlet with undulating
timber waves (p.56).
Within this issue, we also introduce Accoya
– a brand of high-performance modified
wood suitable for all climates. We explain
how the acetylation process modifies
radiata pine such that it can withstand
harsh climates and surpass the benefits of
most durable hardwoods (p.44).
To meet the ever-growing demand for
custom carpentry in Singapore, interior
fit-out specialists 4PLUS8 has developed an
innovative modular approach. We interview
4PLUS8 founder Andrew Lim to find out about
their brand new FURNIC range and showroom
(p.53).
Last but not least, check out the winners
of this year’s Hoa Mai Furniture Design
Competition and let us know which are your
favourite winning products (p.62)!
All this and more await – happy reading!
JO-ANN | Editor
WOOD IN ARCHITECTURE
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6 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

NEWS
INNOVATION IN PARTNERSHIP
Metsä Wood partnered with Finnish
construction and structural design companies
to design the optimal hybrid sandwich wall
element. Precast element manufacturer
Lipa-Betoni saw the potential of the hybrid
elements.
“The hybrid sandwich wall element is a great
opportunity. We look for a new market with a
product, which can be used in the same way
than concrete sandwich elements,” said Satu
Lipsanen, Chief Executive Officer of Lipa-
Betoni.
METSÄ WOOD DESIGNS CONCRETE-LVL
HYBRID SANDWICH WALL ELEMENT
Hybrid construction offers construction
companies a more sustainable way of
building without changing the current way of
construction. Metsä Wood and its partners
have designed a hybrid sandwich wall
element which will renew offsite construction.
The innovation combines concrete with
Kerto® LVL (laminated veneer lumber). The
first construction project to use the elements
is Metsä Fibre’s Rauma sawmill.
The need for more sustainable solutions is
acute, because construction causes 30% of
all CO 2
emissions. Combining concrete and
Kerto LVL, the hybrid sandwich wall elements
offer an easy way to replace typical concrete
sandwich elements, the popular wall element
in residential multi-storey buildings in Nordic
countries.
Most importantly, the innovation guarantees
efficient construction.
“The hybrid sandwich wall element helps
to increase the share of wood to build more
sustainable buildings efficiently. This joint
development is our effort to support the
construction industry,” said Jussi Björman,
Director, Business Construction at Metsä
Wood.
SUSTAINABLE CONSTRUCTION
“As Kerto LVL is a light material, the hybrid
sandwich wall elements will be faster to
produce at the factory and transport to the site,
and even the transport emissions will decrease
due to the light load. The light elements are
also easier to lift,” said Björman.
“Around 1 million square metres of concrete
wall elements are produced annually in
Finland. Their load-bearing core creates
45,000 tons of CO 2
emissions. If all concrete
walls were replaced with hybrid sandwich wall
elements, CO 2
emissions would decrease by
30,000 tons a year and 95,000 tons of carbon
would be stored,” highlighted Björman.
Metsä Fibre’s new Rauma sawmill is the
first construction project at which the hybrid
sandwich wall elements will be used. Skanska
is the main constructor of the mill project;
the elements were produced at Lipa-Betoni’s
factory in Pieksämäki, Finland, and installed in
June. WIA
SCM GROUP: NEW €50M IN FUNDING
FROM BEI TO INVEST IN R&D
Scm Group and the European Investment Bank
(BEI) have signed a new unsecured credit line
running for several years of 50 million Euros
aimed at funding 50% of the Italian Group’s
planned 100 million Euro investments in
research and development (R&D) in the coming
four-year period (2021-2024).
“Innovation and digitalisation are the
cornerstones for the current and future
organic growth of our Group,” explained
Marco Mancini, Scm Group CEO, adding
that “the consolidated relationship with
BEI contributes, with this credit line, to
speeding up the route already undertaken
and further strengthening our financial
structure.”
The purpose of the investments planned by Scm
Group is to develop products and services based
on technological solutions that are even more
effective, flexible and simpler for the end client
to use and can guarantee production processes
in line with new needs in smart manufacturing
and 4.0 Industry to encourage greater
sustainability in the use of resources. WIA
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 7

NEWS
STUDY: FINNISH MULTI-STOREY BUILDINGS MADE OF WOOD
SELL FOR 9% MORE THAN OTHER CONSTRUCTION
Building more homes and buildings with
wood has been on the radar for years as
a way to offset carbon emissions, though
construction companies have been hesitant
to take the material in broader use. A study at
Aalto University in Finland is now the first to
show that building with wood can be a sound
investment.
The team analysed statistical data from real
estate sales in the Finnish capital of Helsinki
and two suburbs, from 1999 to 2018. Of these,
timber-built homes made up 2.23% of cases.
The findings show that multi-storey buildings
made out of wood sold for an average of 8.85%
more than those made from other materials.
Previous research has pointed to perceptions
of higher costs in wood construction, and until
now there have been no definitive results
on the material’s economic feasibility. Since
many things can affect price, the researchers
used regression analysis to control for other
potential factors.
“At first glance, multi-storey housing blocks
made out of wood appear to be cheaper on
average but when we look more closely at
the data and control for location, we see that
it’s economically advantageous to use wood.
The results show that wood-based housing is
almost 10% more expensive per square metre
than concrete-based housing in the same
area,” explained Seppo Junnila, professor of
real estate business at Aalto University.
Price differences between wood and other
construction materials were not seen in the
suburbs studied. The researchers say this may
have to do with the fact that timber-based
construction in Helsinki occurs in cheaperthan-average
areas, where people may be more
willing to pay for the eco-friendly material.
“These days, many consumers value ecological
choices and, at the same time, want to
communicate their green preferences to others.
Our results show that wooden buildings are
located more often in areas with lower socioeconomic
status – wood is what boosts their
prices,” explained Doctoral Student Ilmari
Talvitie.
“Our previous research shows that if you
buy a flat, you’re more concerned about its
environmental footprint than if you rent. An
owner typically invests more in ways to improve
VÄLINGE FLOORING
LAUNCHES IN FRANCE
AS EUROPEAN
ROLLOUT BEGINS
After successful launches in the United States
(US) and Asia, Välinge Flooring will now launch
in France as their first venture into the European
market. Made on-site at their headquarters
(HQ) in Sweden, the first products to launch in
France under the name “Välinge Flooring” are
a collection of real wood floors that combine
Välinge’s unique patented technologies:
Woodura® surface technology, 5G® Dry
waterproof fold-down system, and 5G® Climb.
The launch creates a whole new category
of floors called “Hardened Wood Flooring”,
offering the feel and luxury of a real wood floor
with next-level durability and water resistance.
“The launches in the US and Asia couldn’t
have gone better, so we are excited to finally
offer our next-generation real wood floors in
Europe,” said Hannes Lindblom, Director Sales
& Marketing, Surface Technology, Välinge
Innovation. “The reception we have had to
the floors has been incredible – there’s a huge
appetite for beautiful, sustainable real wood
floors that can handle whatever life throws at
them and we think customers in France are
going to love them too.”
Välinge Flooring France has established their
HQ in Nîmes in the south of France, with David
Sarcinella joining as managing director. David
has been involved in the flooring industry for
almost 25 years.
“It’s a real pleasure and challenge to join
Välinge,” commented David Sarcinella,
Managing Director, Välinge France. “Their
vision of offering an accessible, modern,
design-orientated, quality product while
thinking about the environment and
preserving nature corresponds perfectly to my
philosophy.”
“I’m convinced that customers in France will
appreciate the quality, durability, and design
of the Hardened Wood Floor collection,” said
Sarcinella. “With revolutionary products
like this, it was easy for me to accept this
fabulous opportunity – I can’t wait to get
started.” WIA
8 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

NEWS
performance, like energy-saving options. This
principle seems to hold true here: buyers are
willing to pay more for an eco-friendly choice,
even if they can’t afford to live in the most
expensive neighbourhoods of the city,” added
Junnila.
While Finland’s construction industry has been
hesitant to invest in timber construction, the
country’s government sees its potential: the
Ministry of the Environment aims to have 45%
of new multi-storied buildings constructed with
wood by 2025.
“Just legislation isn’t enough to meet these
goals. We need people to want to live in these
kinds of buildings and construction firms need
to see them as a business opportunity,” said
Junnila.
Construction firms hesitate because of a lack of
skills, resistance to change and a concern that
wooden construction will be expensive, say the
researchers.
“The cost of construction is just half of the
cost of a home, so if the consumer is ready to
pay nearly 10% for their wooden home, it’s
an extremely worthwhile investment for the
builder,” emphasised Junnila.
Previous research has shown that boosting
wood construction in cities is an effective way
of storing carbon emissions. Deforestation,
however, continues to be a hot topic
worldwide.
“Wood construction is an excellent option
in countries like Finland and other Nordic
countries, where legislation requires that cut
trees be replaced. It’s also worth remembering
that, globally speaking, deforestation happens
for other reasons – not wood construction. If
we need a new building, wood is indisputably a
good choice for our planet,” said Jussi Vimpari, a
post-doctoral researcher at Aalto University.
Most importantly, in a world increasingly fixated
on carbon neutrality, a shift to wood construction
can help cities around the planet meet their
goals.
“Building with wood is essentially the only way
for cities to store carbon – by definition they
don’t have vast amounts of nature needed to sink
carbon. The good news is that some international
investment companies have already realised the
potential of timber construction, and we can only
expect this interest to grow,” said Junnila. WIA
Further reading
Ilmari Talvitie, Jussi Vimpari & Seppo Junnila. Economic
feasibility of wood-based structures – improving urban carbon
neutrality strategies. Environmental Research: Infrastructure
and Sustainability. Link to the article:
https://doi.org/10.1088/2634-4505/abfe05

NEWS
DOMOTEX TO BE HELD FROM 13 TO
16 JANUARY 2022 WITH EXPANDED
RANGE OF PRODUCTS
From 13 to 16 January 2022, DOMOTEX will
feature several innovations, including two
newly introduced DOMOTEX labels “Carpets
& Rugs” and “Floor & Wall”, as well as an
adapted hall structure. In addition, DOMOTEX
will focus even more on application and special
formats tailored to specific target groups.
market-relevant exhibitors that we have
been able to ‘reconquer’ for the upcoming
event. Being able to meet the entire flooring
industry face-to-face again in Hannover in
January 2022 is a real highlight after the long
pandemic! This makes the preparations even
more fun.”
“We will present trends, innovations and
lifestyle in a decentralised way in the
respective display areas,” said Sonia Wedell-
Castellano, Global Director DOMOTEX,
Deutsche Messe AG, Hannover. “Exhibitors
and attendees can look forward to many
innovative ideas. They can discover trends
and innovations that will shape tomorrow’s
business. We are particularly pleased with
REGISTRATION LEVEL EXCEEDS
EXPECTATIONS
The current registration status attests to the
positive response to DOMOTEX, which will take
place as a hybrid event.
“Many exhibitors have already confirmed
their participation at DOMOTEX even before
registration was officially open,” commented
Wedell-Castellano. “This once again
underscores the importance of DOMOTEX as a
global marketplace and a source of inspiration
for the entire industry. The importance of
face-to-face meetings for the industry cannot
be overrated; renowned and long-standing
exhibitors such as IPEK – A. Ipektchi, Galleria
Battilossi, Jaipur Rugs Company, Jambros
EGGER GROUP ESTABLISHES NEW
BUILDING PRODUCTS DIVISION
EGGER Building Products offers system solutions
for private and commercial wood construction
Wood is becoming increasingly important as
a sustainable building material. Renovation
pressure and densification in urban areas,
a shortage of skilled workers in the trades
and resource issues mean both potential
and challenge for the industry. EGGER is
responding to this with its own organisational
unit, the EGGER Building Products Division.
It is led by Chief Executive Officer Ulrich
Weihs.
In order to be best positioned for further
growth in the core market of Europe and
beyond, and develop sustainable solutions
to pressing residential and commercial
construction issues, the EGGER Group is
bundling the production and marketing of
building products in the new division. It
comprises all activities of the oriented strand
boards (OSB) plants in Wismar, Germany,
and Radauti, Romania, as well as the sawmill
in Brilon, Germany, and the worldwide
marketing of the OSB and DHF product
groups.
The EGGER Building Products Division
is headed by Ulrich Weihs. He will be
succeeded by Georg Lingemann, Chief
Executive Officer of the sawmill in Brilon.
Also on the management team of the new
EGGER Building Products Division are
Andrea Kempen (Finance/Administration),
Jost Börger (Sales DACH), Jürgen Schaffer
(Sales Eastern Europe & Scandinavia),
Moritz Steinruck (Product Management) and
Christian Moßhammer (Marketing). Together
with the management of the OSB plants in
Wismar and Radauti, and more than 460
employees working in the division, they will
develop system solutions for building with
wood, create further finishing options for
building products and strengthen synergies
between the sites.
FOCUS ON SERIAL
CONSTRUCTION AND SYSTEM
SOLUTIONS
“Building products made of wood and
wood-based materials have a great future,”
shares Weihs. “They are sustainable building
materials that grow back in a climate-neutral
way. Our aim is to develop innovative system
solutions for wood construction that can be
manufactured industrially and that spare the
precious resource wood. The EGGER Building
Products Division will contribute to making
building with wood simple and efficient.”
With the organisation operational as of 1 May
2021, the EGGER Group now consists of six
divisions, structured according to product
categories and regions: EGGER Decorative
Products West, Central, East and Americas,
EGGER Flooring Products and EGGER Building
Products. WIA
10 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

NEWS
Modern Flooring, Javi Home, Rezas Oriental
& Modern Rugs and Zollanvari from the
handmade carpet sector, as well as Oriental
Weavers Carpet, Obsession and Royal Hali
from the machine-made carpet sector,
have already confirmed their participation.
Commitments of Bauwerk Group, HARO and
Scheucher as new exhibitors as well as the
participations of ter Hürne and Windmöller
in the field of parquet, LVT and laminate
are a special source of joy. In addition the
likes of Associated Weavers, Infloor-Girloon
and Onefloor from the textile and resilient
sector and SELIT from the application and
installation technology sector have already
registered.”
“CARPET & RUGS” AND “FLOOR
& WALL”
Two new labels will be introduced at
DOMOTEX 2022 to optimise orientation
for visitors: “Carpet & Rugs” and “Floor
& Wall”. The adjusted hall layout brings
together product groups from the two labels
in terms of space, enabling attendees from
the wholesale and retail trade, architecture,
interior design, crafts, and the furniture and
furnishings trade to find their way around
more easily. Halls 2 to 4 will showcase the
world’s largest range of handmade carpets.
Machine-made woven carpets can be seen
in Halls 5 to 7. Halls 2 to 7 thus form “Carpet
& Rugs”.
Products and practical solutions from
application and installation technology will in
future be at home in Hall 12, directly adjacent
to textile floor coverings in Hall 11 and hard
flooring and resilient flooring in Hall 13. In
addition, greater emphasis will be placed on
the extended range of products, including the
many wall solutions that exhibitors regularly
show at DOMOTEX. This means that Halls 11
to 13 will form “Floor & Wall.”
NEW SHOW DAYS
Starting next year, DOMOTEX will take place
from Thursday to Sunday (previously Friday
to Monday). This means that DOMOTEX 2022
will start on 13 January 13 and remain open
until 16 January. With the new sequence of
days, DOMOTEX is responding to the wishes of
numerous visitors and exhibitors to officially
open the show as early as Thursday and offer
two consecutive working days. WIA
Jonathan Bernard/unsplash

NEWS
JLL: 70% OF COMPANIES IN ASIA PACIFIC WILLING
TO PAY HIGHER RENT FOR GREEN BUILDINGS
A majority of Asia Pacific corporations (70%)
are willing to pay a rental premium to lease
sustainability-certified buildings in the future.
This commitment aligns with broader real
estate sustainability developments across
Asia Pacific where 40% of corporate occupiers
have already adopted net zero targets and
another 40% are planning to adopt targets by
2025. The regional real estate decarbonisation
drive is also prompting 80% of corporate
occupiers to prioritise locations that help
them reduce carbon emissions, while 65% of
investors will focus more on green building
investments.
These insights come from the JLL (NYSE: JLL)
Asia Pacific “Sustainable Real Estate: From
ambitions to actions” report that surveyed
over 550 corporate real estate leaders.
Approximately 90% of companies in Asia
Pacific agree that tackling emissions from
real estate is essential in achieving a net zero
carbon agenda – signaling a new era in regional
real estate portfolio leasing and investment. For
corporate occupiers who currently lease space
in a green building, the majority are paying
a rental premium of 7% to 10%, providing
a benchmark for future sustainable leasing
trends, according to JLL.
“For companies operating in Asia Pacific, any
meaningful reduction in carbon footprint is
tied directly to real estate. Corporate occupiers
will increasingly demand real estate solutions
that complement their sustainability agenda.
This will lead investors to prioritise green
investments, propelling the real estate industry
transformation towards future-ready green
buildings,” said Anthony Couse, Chief Executive
Officer, APAC, JLL.
The survey provides a comprehensive view
of organisations’ sustainability journeys, with
only a handful of corporate occupiers (21%)
and investors (26%) identified as “Leading” in
their category within the survey – defined by
the strength of their sustainability goals which
will move the needle on their carbon emissions
reduction targets – scoring above 71 out of 100
total possible points. This indicates that a large
EUROPEAN ACCREDITATION BODIES READY TO OFFER ACCREDITA-
TION FOR THE 2020 PEFC CHAIN OF CUSTODY STANDARDS
Following the positive evaluation of the
Programme for the Endorsement of Forest
Certification (PEFC) chain of custody by the
European co-operation for Accreditation
(EA), European accreditation bodies can now
provide accreditation against the 2020 PEFC
Chain of Custody and Trademarks standards.
This decision enables certification bodies to
update their accreditation and clears the way
for thousands of PEFC-certified companies
worldwide to transition to the 2020 chain of
custody standards. Furthermore, companies
looking to achieve PEFC certification have the
opportunity to be certified against the 2020
standards.
In addition, we have extended the
transition period by six months, to 14
August 2022, to give accreditation and
certification bodies more flexibility. After
this date, all certification bodies must be
accredited against the 2020 standards
and all chain of custody audits carried out
against the 2020 standards.
BACKGROUND
In February 2020, PEFC published the
2020 versions of three vital international
standards: Chain of Custody (ST 2002),
PEFC Trademarks (ST 2001) and Certification
Body Requirements – Chain of Custody
(ST 2003).
Certification bodies need to be accredited
against both the 2020 PEFC Trademarks
and Chain of Custody standards before
they can offer PEFC chain of custody
certification against the 2020 PEFC Chain
of Custody standard. Certification bodies
can find out more about this process here.
In Europe, EA applies a process called “EA
Procedure and Criteria for the Evaluation
of Conformity Assessment Schemes by
EA Accreditation Body Members” (EA-
1/22) to decide whether a standard can
be accepted by an accreditation body for
accreditation.
12 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

NEWS
majority of organisations need to do
more to translate commitments to
tangible actions. For instance, only
36% of occupiers have pledged to act
on emissions that come from their
suppliers and customers, in addition
to their own operations, according to
JLL data.
While firmer commitments from
companies are necessary to
accelerate the net-zero carbon
ambitions, organisations have
identified several barriers in
achieving their sustainable real
estate goals. Approximately 70% of
occupiers report a lack of incentives
from governments and support
from landlords. Additionally, three
out of four companies surveyed
identified insufficient technological
infrastructure as a hurdle to reaching
their environmental goals.
pay a premium to meet new demands. There
is now a heightened responsibility among
businesses to take demonstrable actions
with their commercial real estate portfolio,
which will increasingly rely on partnership
between occupiers and investors to translate
sustainability ambitions into actions.”
JLL’s “Sustainable Real Estate: From
ambitions to actions” report was based on an
online study of 478 occupiers and 76 investors
from multiple countries across the Asia Pacific
region, with a strong emphasis on Australia,
China, India, Japan and Singapore. Respondents
were asked questions to determine the position
of their sustainability maturity journey. Each
company was then assigned a maturity score
between 0 and 100 to determine whether they
are “Leading”, “On-the-Path” or “Starting Out”.
WIA
Roddy Allan, Chief Research Officer,
JLL Asia Pacific, commented, “Across
Asia Pacific, society is shifting
towards an emphasis on green
and sustainable spaces in a bid to
address the concerns on climate
risk, and companies are willing to
As a scheme owner, PEFC needed the
PEFC Chain of Custody standards to
comply with EA 1/22 requirements to
enable European certification bodies to be
accredited against the 2020 standards.
On 6 April 2021, following a thorough
assessment by ACCREDIA, the Italian
accreditation body and so called “home
AB” for PEFC, EA confirmed that the
PEFC Chain of Custody of Forest and
Tree Based Products scheme based on
product certification (ISO/IEC 17065) is
now considered acceptable by European
national accreditation bodies, and EA
members (European accreditation
bodies) can now start accreditation of
certification bodies. WIA
Source: PEFC
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 13

NEWS
AMERICAN HARDWOOD EXPORTS
TO INDIA UP 62% IN Q1 2021
than in 2018. India, like other markets
across the globe, was impacted by the
pandemic in the first half of 2020 but
showed a remarkable turnaround with
two thirds of the total volume exported
to India in 2020 taking place during the
second half of the year. This uptake has
continued into the new year, and the first
quarter statistics bode well for the rest
of the year,” said Roderick Wiles, AHEC
Regional Director.
India, as a market for American
hardwoods, looks to be back on track to
fulfil its potential following last years’
economic downturn caused by COVID-19.
Keeping in line with India’s rapid economic
recovery, total exports of US hardwood
lumber and veneer to India for the first
quarter of 2021 reached US$2.308 million,
up by 62%, according to the American
Hardwood Export Council (AHEC), the
leading international trade association
for the American hardwood industry.
Statistics compiled from the latest data
released by the United States Department
of Agriculture (USDA) revealed that US
hardwood lumber exports for Q1 2021
increased by 214% to reach US$1.159
million while US hardwood veneer exports
increased by 9% to reach US$1.149
million.
According to AHEC, demand for American
hardwoods in India is expected to at
least return to the record levels seen
in 2019 this year; and the first quarter
Chapel of St Albert the Great
statistics are definitely a step in the right
direction. Despite global lumber shortages,
uncertainty in freight rates and availability
of containers, and generally increasing
prices across all species, exports of both
US hardwood lumber and veneer were up
year-on-year. It is also worth noting that
US hardwood log exports to India reached
just 678 cubic meters during the period,
marking a 71% decrease in comparison to
the same period last year.
This is indicative of a general shift seen
in recent years by Indian buyers towards
importing value-added kiln-dried lumber,
as opposed to logs.
“Given the tremendous potential present
in India and despite the major challenges
facing the wider use of American
hardwoods, we cannot ignore the fact
that demand has been increasing in
recent years. While overall imports of US
hardwood lumber and veneers decreased
in 2020, they were still significantly higher
A closer look at the numbers for the
first quarter reveal that total hardwood
lumber shipped from the US to India
increased by 214% in value to US$1.159
million (up from US$370,000) and by
196% in volume to 1,887 cubic meters
(up from 638 cubic meters). The top five
American hardwood species exported
were hickory (US$335,000 and 522m3),
red alder (US$252,000 and 452m3),
white oak (US$199,000 and 344m3), ash
(US$200,000 and 280m3), and red oak
(US$156,000 and 243m3). Significant
increases were seen in both value and
volume of exports across all species,
which proves that 2020 was a temporary
dip in an otherwise upward trend.
“However, we are not out of the woods
yet. 2021 did start very well for exports
of American hardwoods to India, but
the current state of the COVID-19
pandemic is a major cause for concern
and its effect on India’s economic
recovery, not to mention its people, is
yet to be fully seen. On top of this, global
demand for American hardwoods has
surged in recent months and supply is
yet to catch up, resulting in tighter than
usual availability of certain species.
This supply-demand balance will be
restored soon enough, but it makes for a
challenging time at present. Nonetheless,
both AHEC and the US hardwood industry
as a whole remain extremely confident
in the future potential of India as a major
world market for American hardwoods.
For this reason, we remain committed
to supporting this developing trade,”
concluded Wiles. WIA
14 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

NEWS
UK: MAJOR CHALLENGES AHEAD FOR
TIMBER USERS IN Q3 2021, WARNS TTF
The Timber Trade Federation (TTF) is
warning timber users that the balance
between supply and demand is likely to
further tighten in Q3 2021.
This statement comes after recent
communications from Sweden, who
supply almost half of the structural
wood that is used in the United
Kingdom (UK), that their current
stock levels are at their lowest in over
20 years – despite record levels of
production from the Swedish sawmill
industry.
• Regularly communicate with your suppliers,
as the situation develops over coming months.
• You should communicate early with your
clients of any potential price rises, and long
lead times, using the information produced
by the TTF where necessary in these
discussions.
• Make sure orders are being placed well
ahead of time and planning for any
potential cost increases when setting out
the cost of a project. Where possible seek
earlier agreement of orders with clients to
reflect longer lead times.
• Aim to work collaboratively with your
suppliers and be as flexible as possible
with specifications and quantities
required. WIA
As structural wood buyers will already
be more than aware, the supply and
demand balance for Q2 2021 means
that almost all wood arriving in the
UK has been presold to customers.
Despite strict allocations, most buyers
are already unable to purchase all the
timber they want for their business.
“We have great respect for our Swedish
partners, who have consistently
worked throughout the pandemic to
meet UK wood needs; as they have
done for decades. This means we need
to take their statement extremely
seriously,” said TTF Technical and
Trade Manager Nick Boulton. “The
already tight balance between supply
and demand is already being made
worse because there are insufficient
Heavy Good Vehicles available to get
the wood out of UK ports and into UK
customers yards. As we enter July,
sawmills and wood production facilities
in Sweden and other European
countries start to close for essential
summer maintenance, and this will
significantly reduce the available
supply of structural wood for the UK.”
TTF is now urging manufacturers and
those in the timber frame and trussed
rafter sectors to consider the following
actions:
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 15

BIG PICTURE
1
Offices
of the future
While steel and concrete are currently the main materials for today’s
office developments, many have turned to wood along
with advanced computer-controlled manufacturing to
build the offices of tomorrow. The results are often breathtaking.
16 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
The shimmering, curved silhouette of the new
Swatch building, designed by Japanese star
architect Shigeru Ban, extends over a total length
of 240m and a width of 35m. At its highest point,
the façade measures 27m. The unusual design
breaks the conventions of classic office building
architecture and blends harmoniously into the urban
environment. The building’s forms awaken the
imagination – like a work of art, the interpretation
lies in the eye of the beholder.
2
The vaulted façade with an area of over 11,000m 2
rises gently towards the entrance and transitions to
the Cité du Temps. Both exterior and interior of the
building are interspersed with a variety of leitmotifs,
with curved shapes, colours and transparency, as
well as with the unusual use of classic materials and
building elements.
1 Swatch headquarters is one of the world’s
largest timber structures (Photo: Swatch)
2 There are 124 wooden Swiss crosses on
the ceiling to improve the acoustics in the
offices (Photo: Swatch)
In harmony with nature
PROJECT: Swatch Ltd. headquarters, Biel/CH
CLIENT: Swatch Ltd., Biel/CH
ARCHITECT: Shigeru Ban Architects Europe, Paris/FR
TIMBER CONSTRUCTION: Blumer-Lehmann AG, Gossau/CH
TIMBER CONSTRUCTION ENGINEER: SJB Kempter Fitze, Eschenbach/CH
DIGITAL PLANNING: Design-to-Production GmbH, Zurich/CH
CONSTRUCTION PERIOD: 2014 – 2019
A timber grid shell construction forms the basic
structure of the large-area façade. The traditional
material was chosen for its ecological and sustainable
properties. Wood can also be processed flexibly
and cut to extremely precise sizes — important
properties for a construction where every millimetre
is important. During the planning phase, modern 3D
technology helped to define the exact shape and
positioning of the approximately 4,600 beams of the
timber grid shell.
Using a sophisticated plug-in principle, the individual
beams were fitted to each other perfectly. Since
the timber grid shell of the Swatch building serves
as a large office façade, it also had to meet various
technical requirements. A complex network of cables
is discreetly integrated into its structure.
While the wooden structure was still being erected,
the installation of around 2,800 honeycomb timber
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 17

BIG PICTURE
3 The piazza in the Swatch headquarters
(Photo: Swatch)
4 The shimmering, curved silhouette of
the new Swatch building is designed by
Japanese star architect, Shigeru Ban
(Photo: Swatch)
5 The glass pedestrian bridge on the third
floor which connects the Swatch building
to the Cité du Temps (Photo: Swatch)
6 Constructing the honeycomb façade
(Photo: Jan Bolomey and Blumer
Lehmann AG)
7 During the planning phase, modern
3D technology helped to define the
exact shape and positioning of the
approximately 4,600 beams of the
timber grid shell
grid shell elements, which make
up most of the façade, began. Each
element was meticulously tailored from
up to 50 individual parts and adapted
to its individual function and position.
Three basic types of honeycomb
can be distinguished: the opaque,
the translucent and the transparent
element.
The regular opaque element represents
the majority of the combs. It is a closed
element with an extremely weatherresistant
and opaque outer film, which
serves primarily as sun protection.
Some of these elements can be opened
for smoke extraction, while others
are equipped with photovoltaic cells.
The translucent cushion element, on
the other hand, is inflated with air and
fitted with translucent polycarbonate
sheets in the middle for thermal
insulation. The cushions, which are
also able to withstand the weight of
snow or ice, are constantly lightly
ventilated so that they are permanently
under tension. The transparent
element is made of glass. A total
of four glass panes were used for
thermal insulation, between which a
white roller blind is embedded. These
elements are as well always lightly
ventilated to prevent condensation
from forming.
A total of nine balconies ranging in
size from 10m 2 to 20m 2 space provide
views over several floors. Tiny white
dots on the glass façades serve as sun
protection. One hundred and twentyfour
wooden Swiss crosses on the
ceiling improve the acoustics in the
offices thanks to their fine perforations.
INSIDE THE BUILDING
Inside the building, 25,000m 2 of floor
space spreads over five floors for all
departments of Swatch International
and Swatch Switzerland. The surface
area of the four upper floors decreases
successively from floor to floor, while
galleries with glass balustrades
provide a view of the lower floors. In
addition to the regular workplaces,
various common areas are distributed
throughout the building: a cafeteria on
the ground floor, which is open to all
Swatch employees and their visitors;
small rest areas at various locations
in the building. For moments when
privacy is necessary, separate “Alcove
Cabins” can accommodate up to six
employees for telephone calls or work
requiring particular concentration.
An especially unusual installation
is located at the very rear of the
second floor: a staircase that leads
to nowhere – the “Reading Stairs”
– whose steps and views encourage
3 4
18 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
brainstorming among colleagues during
creative breaks. Five black olive trees
extend up to two stories in height, are
comfortable at room temperature and
keep their fine leaves all year round.
The basement extends under the entire
length of the building. In addition to the
technical rooms, ventilation center and
archive, it also houses the underground
car park, with 170 car parking spaces
and 182 bicycle parking spaces.
THE LOBBY
Looking out onto Nicolas G. Hayek
Street, the entirely glazed entrance
area features generous dimensions
as well as the sense of transparency,
openness and lightness. While its
zigzag shape stems from the timber
grid frame of the façade, it also plays a
role in the building physics, for example
in relation to wind loads. This zigzag
glazing begins at a height of 5.5m and
extends to a height of 22m. Below the
glazing, glass shutters – known best
for their industrial applications – open
and close automatically: in fact, they
are glass “blinds” that have to be
able to withstand wind and rain and
be adequately insulated. Two glass
elevators take employees and visitors
to the upper floors and to the glass
pedestrian bridge on the third floor,
which connects the Swatch building to
the Cité du Temps. Galleries on three
floors offer views of the entrance area.
modern construction and modern ways
of working can be in harmony with
nature.
Only timber from Swiss forests –
mainly spruce – was used in the
construction. A total of just under
1,997m 3 of this was needed, a quantity
that regrows in the Swiss forest in less
than two hours.
The energy concept is based on solar
technology and groundwater use and
allows building functions such as
ventilation, cooling, heating and basic
lighting to operate autonomously for
both the Swatch Headquarters and
the Cité du Temps. The groundwater
utilisation concept ensures the
heating and cooling of the new Swatch
building. Swatch shares the resources
with neighboring Cité du Temps and
the new Omega Manufacture, which
went into operation in 2017. Nine
underground wells are distributed over
the entire area, as well as two former
oil tanks which have been converted
into water reservoirs. Four hundred and
forty-two individually manufactured,
curved solar elements were inserted
into the honeycomb structure of the
façade. With 1,770m 2 of installed
photovoltaics, around 212.3MWh of
electricity are generated per year,
which corresponds to the average
annual consumption of 61 Swiss
households.
5
6
SUSTAINABILITY
A clever use of groundwater to heat
and cool the building and solar
power from the photovoltaic system
make a significant contribution to an
optimum CO 2
balance. From Velospot
bicycle sharing and charging stations
to intelligent blackouts and glazing,
from LED lighting and highly efficient
ventilation systems to thermal
component activation and paperless
offices: thanks to state-of-the-art
technology and know-how, the new
Swatch building demonstrates that
CITÉ DU TEMPS
Also designed by Shigeru Ban, the Cité
du Temps, measuring 80 x 17 x 28m,
forms an independent architectural
unit that perfectly complements the
Swatch building. Each of its 14 arcades
has a span of 15m and is 5m wide. The
Cité du Temps hosts both the Omega
Museum, located on the first floor, as
well as PLANET SWATCH on the second
floor. The Nicolas G. Hayek Conference
Hall on the fourth floor, which is
reserved for Swatch Group, stands out
with its elliptical shape.
7
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 19

BIG PICTURE
1
20 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
An iconic form
PROJECT NAME:
MARUHON FUKUOKA Office & Showroom
COMPLETION DATE: January 2020
ARCHITECTURAL DESIGN: KATORI
archi+design associates (Takenori Katori)
STRUCTURAL DESIGN: KAP Inc.
EQUIPMENT DESIGN:
yamada machinery office
LIGHTING DESIGN: LIGHTDESIGN Inc.
DIRECTION: FIELD FOUR DESIGN OFFICE
CONTRACTOR: KUROKI.Construction Co,Ltd.
1 Over 20,000 sample boards are stored and
displayed on the approximately 70m 2 site.
(Photo: Akito Goto)
2 Designers and clients can handle samples in an
inspiring and uplifting space (Photo: Akito Goto)
3 The space is the first office and showroom in western
Japan for Maruhon, a manufacturer of natural wood
for interiors (Photo: Akito Goto)
4 As time passes, the architecture of the building will
blend further into its surroundings, becoming as
much a symbol of the neighborhood as an iconic old
tree (Photo: Hiroshi Mizusaki)
Located in a verdant residential
neighborhood in the city of Fukuoka, this
is the first office and showroom in western
Japan for Maruhon, a manufacturer of
natural wood for interiors. The design
highlights the rich detail of Maruhon’s
products, evoking the image of a huge tree
that seems to have stood on the site for
many years.
In order to store and display over 20,000
sample boards on the approximately 70m 2
site, KATORI archi+design associates
transformed the wooden building into a
device for displaying samples such that
architecture, furniture and product become
three aspects of the same form. As the
structure serves as the finished surface,
the project required both scrupulous
construction planning and rigorous quality
control.
Stepping inside the building from the gentle
slope where it sits, visitors are immediately
greeted by a striking space filled with
countless samples of natural wood. The
spacious, two-story atrium begins a halffloor
below ground, with a skylight over
the second-floor office. The first-floor
showroom and workspace, which can be
reached by descending four steps, includes
a ledge below the wrap-around shelves
that serves as a table where designers and
clients can handle samples in an inspiring,
uplifting space. Throughout the building,
windows are kept to a minimum to enhance
the experience of being surrounded by
wood.
The exterior walls of the oval building are
made of Japanese cedar planks from the
Tenryu region, seamlessly interlocked to
emphasise the play of light and shadow and
stained with natural plant dyes (produced
from leaves, berries and roots collected
through the seasons) to enhance the
attractiveness of the wood. As time passes,
the building will blend further into its
surroundings, becoming as much a symbol
of the neighborhood as an iconic old tree.
3
2
4
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 21

BIG PICTURE
1 2
Subtle appearance
PROJECT: IDIN Architects Office
LOCATION: Bangkok, Thailand
ARCHITECT: IDIN Architects
(Jeravej Hongsakul, Eakgaluk Sirijariyawat,
Sakorn Thongdoang, Wichan Kongnok)
INTERIOR ARCHITECT:
IDIN Architects (Thuwanont Ruangkanoksilp)
LANDSCAPE ARCHITECT: Walllasia
STRUCTURAL ENGINEER: Pakanut Siriprasopsothorn
SYSTEM ENGINEER:
Eakachai Hamhomvong, Panot Kuakoolwong
CONTRACTOR: ArtCon
INTERIOR CONTRACTOR: Diidia
PHOTOGRAPHY: Spaceshift Studio (Ketsiree Wongwan)
IDIN Architects conceived its office
as a reflection of its core beliefs – the
symbiotic relationship of man, building
and environment. The key is to create a
creative working place which is private
while developing the invisible presence
of the building in an urban context.
In fact, IDIN Architects decided to
walk away from creating an iconic
appearance for its office. The passive
design is a significant approach for
zoning and creating openings in the
building, utilising the sun orientation
to minimise the building’s energy
consumption.
The selection of the material for the
main feature wall, burnt cedar woods,
plays a significant role in the design
process. The articulation of the wall
22 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
4
3
5
brings about a continuous flow from solid
exterior wall to interior space while having a
camouflage effect on the building. Its unique
black and texture do not come from painting
or colouring, but from the burning process to
protect the plank from fire and termite.
The building spaces are based on the
organisation of three zones: public,
semi-public and private. The hierarchical
relationships are developed in both vertical
and horizontal directions. The first zone is
located on the ground floor and composed of
a café and a meeting room. It also functions
as a recreation area for the staff during the
day. The second zone, which is semi-public,
contains all working spaces on the second
floor and covers most of the building area. The
innermost part of the building accommodates
a private residential area for the company’s
principal.
The architects’ working space facing the
north is enclosed with Low-E glass wall to
blend the greenery view and the quality
north light with the interior space. This
zone for creative work is the heart of the
building. It has a relaxed atmosphere,
good amount of light and a comfortable
temperature. Most of the west side of the
building is a solid wall to block the harsh
heat. Staircase for the main circulation
is aligned along the south to block the
building from the intense degree of heat
transfer caused by the sunlight. The voids
at the stairs are specifically designed to
use natural light to accompany the users
inside the building — from the stair landing,
the corner of the corridor to the entrance
hall of the working area. With the natural
light, the play of shade and shadow under
the trees enlivens the working environment
of the office.
1 Burnt cedar woods plays a significant role in the
design process
2 IDIN Architects conceived its office as a reflection of
its core beliefs – the symbiotic relationship of man,
building and environment
3 The architects’ working space, facing the north, is
the heart of the building
4 Unlike other stand-alone office designs, IDIN
Architects decided to walk away from creating an
iconic appearance for its office
5 The café area in front of the building. The building
spaces are based on the organisation of three
zones: public, semi-public and private
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 23

BIG PICTURE
Aesthetics, structures
and expediency
BUILDING DEVELOPER:
Koy Metsätapiola property company
ARCHITECTS: Helin & Co Architects
(Pekka Helin, Mariitta Helineva ja Antti Laiho)
CONSTRUCTION CONSULTANT: Haahtela Group
PHOTOGRAPHY: Metsä Group
Metsätapiola, Metsä Group’s office, won in
the Office Building Architecture category at
the Iconic Awards competition organised
by the German Design Council. According
to the jury, the special features of the
building, designed by Helin & Co Architects,
include innovative wooden structures in the
personnel restaurant and the extraordinary
workspace solutions, which accommodates
the move to work in open-plan offices. This
is also reflected in the façade of the building.
Metsätapiola is an office building owned by
NREP, a real estate company.
“Iconic Awards is a comprehensive design
award event, which emphasises aesthetics,
structures and expediency. All these are
evident in the Metsätapiola office building
in an exemplary manner. The building also
demonstrates the developer’s wish to
make an impressive and appropriate head
1
24 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
office for a company functioning within
the forest industry; a prime example is the
wooden personnel restaurant, where one
feels the power of wood at its strongest. In
my opinion, the innovative structure of the
restaurant has wider significance, since a
similar space can be adapted to different
situations and uses,” said Pekka Helin from
Helin & Co Architects.
One of the principles followed when building
Metsätapiola was to take advantage of the
developer’s extensive expertise in the use
of wood in both structures and cladding. An
example is the main entrance – restaurant
made completely of wood, utilising Kerto®
LVL beams, plywood, Kerto® LVL casing
elements and narrow wood battens on the
ceiling. The light from the skylights located
between the beams increases the sculpturelike
quality of the wooden structures. When
it came to the choice of other materials, it was
decided that these also should be genuine
and strong natural materials: brick and natural
stone.
“Metsätapiola’s award winning wooden
architecture is an excellent example of how
wooden products can be used for top quality
design as well as for their ease of adaptability
in demanding projects. Our wood products
can be used for impressive structures which
are simultaneously load bearing,” said Jussi
Björman, director, Business Development,
Construction at Metsä Wood.
The building has been awarded a LEED Gold
certificate, which is rare among Finnish office
buildings. LEED certification aims to reduce
environmental effects of construction and
building use and to develop healthier work
environments.
1 One of the principles followed when building
Metsätapiola was to take advantage of the
developer’s extensive expertise in the use of wood in
both structures and cladding
2 Metsätapiola, Metsä Group’s office, won in the Office
Building Architecture category at the Iconic Awards
competition organised by the German Design
Council
3 The light from the skylights located between the
beams increases the sculpture-like quality of the
wooden structure
2 3
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 25

BIG PICTURE
Exploring
possibilities
ARCHITECT: UENOA (Fumie Horikoshi
and Yoshinori Hasegawa)
STRUCTURE ENGINEER: Masahiro
Inayama, Holzstr; Ken Kamachi, KMC
LANDSCAPE DESIGNER:
SfG landscape architects (Akihiko Ono)
CONSTRUCTION:
HAKKOH Construction Co., Ltd
SITE AREA: 2,407m 2
BUILD AREA: 633m 2
TOTAL FLOOR AREA: 834m 2
PHOTOGRAPHY: Hiroyuki Hirai
1
Located in Miyagi Prefecture, Japan,
SYNEGIC Co., Ltd., a structural screws
manufacturer for wooden buildings, wanted
to expand on the possibilities of wooden
structure for its new office building.
timber (CLT) panels. By adopting a CLT
panel to fasten the flat trusses, complicated
processing of joints and joining by hardware
are avoided as it enables pre-cutting and onsite
screw joining.
Designed by UENOA, the result is a mix of
various areas under the roof of the 18m
wooden large span trusses, which allowed an
open plan office to improve communication
and collaboration between employees.
The roof frame touches the ground at four
points on each end, with no pillar in the
interior, creating a large space. By following
the topographical and keeping the floor level
with a dynamic roof frame, visitors can feel
the spatial continuation of the frame.
The three-dimensional roof shape is formed
by connecting flat trusses made of laminated
timber along with triangular cross-laminated
In addition, the heavy CLT panels, generally
used for walls and floors, is used on the
roof which present a new way of using the
material.
The CLT is also used as a partition wall that
bears as a vertical load on the first floor. In
fact, the texture of the CLT surface is made
to look like a marble and is joined with
screws with consideration to the design and
workability.
Through these ambitious processes, it
was possible to realise a large CLT wall
in the atrium that has no modules while
emphasising the wooden texture.
26 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

BIG PICTURE
2
1 SYNEGIC Co., Ltd. wanted to expand on the
possibilities of wooden structure for its new office
building
2 The open-plan office aims to improve
communication and collaboration between
employees
3 The three-dimensional roof shape is formed by
connecting flat trusses made of laminated timber
along with triangular CLT panels
3
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 27

SUSTAINABILITY
Light wood frame
construction: Increasing
efficiency, design freedom
and sustainability
Proven and effective construction methods are not static –
they’re always improving. In Quebec, Canada, light wood frame
and modular manufacturers are always pushing the limits of
innovation. Their craft is now linked to building systems on a bold
scale with offsite light wood frame construction.
The light wood frame industry has
risen to a wide variety of new building
challenges and has developed many
new specialised components in the
last decade. Cost competitiveness is
still present but may no longer be the
primary factor as there now exist many
building systems that can really only
be delivered with skilled technical staff
and automation of offsite facilities. For
Eli Gould, United States representative
for the Quebec Wood Export Bureau
(QWEB), light wood frame is a technical
and detail-oriented technology that
offers much more to projects that any
other method.
Modular construction by Maisons Laprise, Quebec, Canada (Photo: QWEB)
“There’s a broad difference between
typical homebuilders, even good framers,
and the level of technical skill at offsite
manufacturing companies,” said Gould.
“I have learned a lot from watching
the details that go into multistorey
shear walls, fire rated walls, continuous
insulation requirements, and even new
light wood component solutions such as
custom portal frame trusses.”
28 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SUSTAINABILITY
Walls and trusses
by La Charpenterie
in Quebec, Canada
(Photo: QWEB)
Quebec has developed light wood frame
and offsite construction know-how for
a variety of products, including modular
construction. Custom fabricators can
make integrated roof and floor systems
with trusses, hardware and structural
sheathing, while nationally distributed
manufacturers provide engineered
components including I-joists, openweb
wood joists and laminated fingerjointed
lumber (LFL). These innovative
products promote three major benefits
for architects (as well as contractors,
engineers and advocates of embodied
carbon in buildings): design freedom,
sustainability and efficiency/cost
savings.
and roof applications. It is also easier
to adapt to different kinds of soils
and site conditions, with the highest
strength per weight of any building
type.
The architectural freedom provided
by light wood framing is also unique.
Wood is easy to mix and match with
other elements in order to reach the
level of customisation necessary for
your project. Offsite manufacturing is
also a crucial advantage when looking
for flexibility, as products needed
for the site can be customised and
manufactured in parallel with the
jobsite’s progress, helping to meet
crucial milestones and deadlines.
DESIGN FREEDOM FOR
ARCHITECTS
Light wood framing is highly adaptable
to a wide variety of projects, from
residential to large commercial
developments. Its design flexibility
makes it useful for an entire building or
any combination of wall, floor/ceiling
I-joist by Barrette Structural, Quebec, Canada (Photo: QWEB)
WOOD IN ARCHITECTURE • ISSUE 2– 2021 29

SUSTAINABILITY
SUSTAINABILITY AND
EMBODIED CARBON
BENEFIT
Light wood frame construction
checks another crucial box
on everyone’s list: improved
sustainability. Much like our own
lifestyles, the construction world
is changing for a better tomorrow.
Wood contributes to the construction
of sustainable buildings and efficient
use of resources in several ways.
First, light wood framing is the only
renewable construction material in its
field. It is manufactured specifically
for each project; there is almost no
job site waste and manufacturers can
re-use any leftovers for stairs, other
architectural elements or even as
biofuel.
The other aspect to offsite light wood
framing is its small carbon footprint.
Wood products typically require less
energy to manufacture than other
building materials, and most of that
comes from renewable biomass.
Furthermore, in a wood building, the
carbon is kept out of the atmosphere
for the entire lifetime of the structure.
It stores more carbon than the entire
process of harvesting, transforming
and installation could produce.
Increasing the proportion of wood
in construction can help reduce the
use of other less environmentallyfriendly
construction materials such
as concrete, steel and brick.
EFFICIENCY AND COST
SAVINGS
Due to skilled labour shortages,
compressed schedules and
a potential for greater quality
control, offsite wood construction
has become increasingly popular.
Because light wood frame
is manufactured for specific
applications, it is well suited to a
high degree of prefabrication at the
plant, leading to increased speed and
efficiency of installation. For example,
From above: Apartment project in Boston, Massachusetts by AmeriCan Structures, Quebec, Canada; Wall Panel by NA
Structures, Quebec, Canada (Photos: QWEB)
panels are prefabricated, complete with
pre-cut openings for doors, windows,
stairs, service channels and ducts, and
shipped directly to job sites so that they
can be quickly and efficiently fitted into
place. This can shave months off the
construction schedule. WIA
This article was first published on the Quebec
Wood Export Bureau’s (QWEB) official website and
is reproduced here with permission.
30 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

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SUSTAINABILITY
Timber buildings go
beyond Net Zero to achieve
Whole Life Carbon status
By Ken Hickson
There are seemingly dozens of
acronyms when it comes to dealing
with – or building with – timber.
Besides MET (mass-engineered
timber) and CLT (cross-laminated
timber), which have embedded
themselves into my subconscious
after years of writing about them, I’ve
now come across WLC. So what’s that
all about?
A Whole Life Carbon (WLC) approach
considers all the carbon emissions
produced over the entire life cycle
of a building. According to the Royal
Institute of British Architects (RIBA),
a simple working definition of WLC
is “the operational energy plus the
embodied carbon of a building. But a
thorough WLC approach, apparently
should consider the building’s afterlife
too – the carbon cost of its disposal, as
well as its construction.”
That’s the ideal. The ultimate. But why
isn’t this currently the objective of the
World Green Building Council? When
it talks about the importance of Net
Zero Emission buildings, that’s mostly
taken to mean the energy used in the
operation of the building.
Let’s see how timber can fit into the
WLC equation.
Responsibly-sourced and certified
timber certainly ticks all the right
boxes. When I visited a building site
in Singapore recently to inspect six
timber pavilions being constructed
for the local National Parks Board,
Kevin Hill of Venturer Timberwork –
undisputedly the most experienced
MET builder in Asia – didn’t hesitate to
confirm that when his MET load arrives
on site from Austria and Finland, it is
“carbon negative”.
Let’s be clear: You’re carbon negative
if the amount of CO₂ emissions you
remove from the atmosphere is bigger
than the amount of CO₂ emissions you
put into the atmosphere. Your impact is
positive, meaning you’re actively doing
something to better the climate.
Kevin is convinced that MET is positively
the best material for construction
because:
• The carbon contained in the wood is
safely retained in the building itself
• The timber is responsibly harvested
from sustainably managed forests
certified by the Programme for
It points out that a rigorous WLC
assessment would take into account
all of the following:
• raw material extraction and supply
• transport of raw materials to where
they will become building products
• manufacturing of building products
• transport to site
• the construction process and
disposal of waste
• use of the building during its
lifetime
• end of the building: its disposal,
demolition, deconstruction or
reuse
A totally timber Water
Sports Centre taking
shape alongside
Bedok Reservoir,
Singapore, for the
People’s Association
(Photo: Venturer
Timberwork)
32 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SUSTAINABILITY
Pablo is able to demonstrate that if
we take into account all the costs,
including the embodied carbon
in buildings made of “non-biomaterials”,
timber is by far the best for
the environment and the economy.
He points out that “as long as the
societal costs of the environmental
damage by large-scale production of
abiotic materials, such as concrete
and steel, is not monetised, for
example, through true pricing or
carbon taxing, these industries will
be able to keep producing at low
cost, while not having to justify for
Assembling the
massive timber
frame for one of six
pavilions being built
for the National
Parks Board at
Jurong Lakes
Garden, Singapore
(Photo: Venturer
Timberwork)
the Endorsement of Forest
Certification (PEFC) and there’s
no deforestation or other
controversial sourcing involved
• Even the carbon footprint involved
in freighting the ideal timber
from Europe to Asia is much less
than the footprint of the heavier
imported steel or concrete used
for most buildings in Singapore
This view is well supported by
another global expert Pablo van
der Lugt in his excellent book
“Tomorrow’s Timber”.
The vision of Pablo – a sustainability
consultant and lecturer in Biobased
Building at Delft University of
Technology in the Netherlands – is
about the essential transition towards
a more bio-based, circular economy.
He sees tremendous opportunities
for the next generation of regrowable
materials (eg, mass timber,
modified wood, engineered bamboo)
to substitute carbon-intensive,
non-renewable materials such as
aluminium, steel, PVC and concrete.
Not only is this a text that every
architect and builder in the world
should absorb, it’s one that every
property developer should seriously
dwell on. So often we hear – even
disappointedly from property
developers themselves – that the
transition to sustainability for the built
environment is very costly.
However, it is not as costly for the
planet if the world continues to build
with carbon-intensive materials like
concrete and steel.
the environmental damage they
cause.”
Needless to say, PEFC is a major
advocate of timber and this is clearly
emphasised in the World Architecture
Festival (WAF) prize it sponsors every
year for the “best use of certified
timber”.
It’s also worth drawing on some
of the expert commentary from a
PEFC virtual event sponsored a few
months ago on “Building a better
future with certified timber”. First
was Mark Wayne Probert, Head
of Sales for the UK and Ireland at
Binderholz, a leading manufacturer
of mass timber solutions, who
highlighted the importance of
managing forests sustainably and the
special characteristics of timber as a
construction material.
From left:
Tomorrow’s Timber
by Pablo van der
Lugt (Published by
MaterialDistrict);
Timber in “moving
mode” made of
PEFC-certified
laminated veneer
lumber (LVL) and
designed by dECOi
Architects (Photo:
Anton Grassl)
WOOD IN ARCHITECTURE • ISSUE 2– 2021 33

SUSTAINABILITY
He described how his company pays
special attention to sourcing PEFCcertified
timber and uses 100% of a
harvested tree, optimising the use of the
raw material and protecting the forest
resource.
“Timber is not like concrete and steel,
which are cold to work with. It is warm
and inviting even during construction.
Timber is also great to work with as it is
quicker, safer and cheaper than other
materials.”
The second speaker, Paul Jarquin,
President of REI Habitat, a pioneer
of wood construction in France, says
that using local and certified timber
is a priority for his company. He made
four important points from his French
experience:
• By building with wood, we can reduce
a building’s carbon emissions by up to
60% – this really is a game changer
• We are seeing an increasing demand
for wood from consumers in France,
particularly those from the big cities
• These consumers not only ask
for wood, but also ask about its
provenance – if it’s sustainable and
local
• PEFC certification enables us to
respond to their needs with wood –
for people and the planet
The third expert contributor was Mark
Thomson, architect and Director of Eco-
Effective Solutions, who highlighted
the benefits of timber buildings for the
environment and the people living and
working in them.
“Building with sustainable timber is
eco-efficient. This means it creates
more value with less environmental
impact. Not only is it renewable,
recyclable and reusable, but it also
absorbs CO 2
and has a positive effect
on physical and mental health,” said
Thomson.
Timber can have a calming effect on
people’s stress levels and lower blood
pressure, he believes. The educational
and medical environments, such as
schools and health centres, built with
timber can improve the learning and
healing processes.
At the same time, he emphasised the
importance of choosing timber from a
sustainable origin.
“It can only be stated that timber is
renewable if it comes from a certified
source,” he explained. “Unless you
know the history of the timber, you may
not be using the sustainable material
that you think you are.”
The views and output of architects and
builders in Europe is starting to have a
big impact in Asia Pacific.
We are certainly seeing an upsurge in
the adoption of MET in Asia Pacific, as
The work of Terroir
Architects – the new
Penguin Parade
Visitor Centre on
Victoria’s Phillip
Island, Australia
(Photo: Responsible
Wood)
34 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SUSTAINABILITY
we are seeing the use of PEFC-certified timber
from Europe for exteriors and interiors of
buildings.
The core business of APP Timber – which
operates throughout Asia – is the supply of
imported timber, veneers, surface materials and
panel products for the Asian timber industry and
the export of Asian-made products worldwide.
With its three major collections of pre-finished
veneered panels – Shinnoki, Belfipa, and
Querkus – APP Timber, together with their
Belgian partner Decospan, offers ready-toinstall,
PEFC-certified, natural veneer solutions
for projects of all sizes throughout South East
Asia.
They obviously see that PEFC-certified timber
– in this case from Europe – solves common
interior challenges and enables the integration
of wooden surfaces into a project, be it
residential, hospitality or commercial.
Interior use of hardwood oak in Smoked Arabica (Photo: APP Timber)
Architects are always challenged to design
a space thoughtfully, functionally and
aesthetically, APP Timber believes. This always
involves finding the right balance between
the client’s expectations, the architect’s own
creativity, budget, available materials and, last
but not least, the environmental impact.
Placing timber at the heart of a building is the
one practical way architects, builders and
property developers can go beyond Net Zero
and further than energy efficiency measures
and renewable energy solutions.
As the World Green Building Council tells us
that Building and Construction accounts for
at least 39% of global emissions of CO 2
and
greenhouse gas, the only way to drastically cut
emissions is to go all the way.
That means the WLC approach, which we
started with, by tackling the embodied carbon
in a building, as well as the carbon cost in its
construction – all materials included – along
with its disposal and its after-life.
Let’s finish with another acronym. WFG – Wood
for Good. WIA
Hotel room in Oak Vintage, described as “Intense Harlem” (Photo: APP Timber)
WOOD IN ARCHITECTURE • ISSUE 2– 2021 35

ENGINEERED WOOD
Bringing value and
warmth through
engineered wood
Meiken Lamwood
Corporation is able to
showcase the quality of
their engineered wood
through the usage of it
for their head office.
1
36 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

ENGINEERED WOOD
PROJECT: Meiken Lamwood
Corporation (Head Office)
LOCATION: Maniwa, Okayama
prefecture, Japan
DESIGN GROUP:
NKS architects, Tourisha
CONSTRUCTION MATERIAL:
CLT, Glulam
OVERALL DESIGN DURATION:
January 2018 - March 2019
OVERALL CONSTRUCTION
DURATION:
July 2019 - December 2019
CONSULTANT
BUILDING DESIGN: NKS architects
STRUCTURAL ENGINEERS: Tourisha
ELECTRICAL & MECHANICAL
EQUIPMENT ENGINEERING:
Seed Engineering
PROJECT MANAGER: Naya
CONSTRUCTION
CONSTRUCTION COMPANY:
Ohmoto-gumi
CLT & GLULAM CONSTRUCTION:
Meiken Lamwood Corporation
1 Meiken Lamwood Corporation is a
Japanese leading company of engineered
wood. (Photo: Senichiro Nogami)
2 The structural frame system consists of
the diagonal grid columns made of glulam
and the V-shaped CLT beams spanning
between them. (Photo: Meiken Lamwood
Corporation)
3 The atrium floor on the ground level has
a close relationship to the first floor,
situated half-underground, and the
second floor. (Photo: Meiken Lamwood
Corporation)
4 The view of mountains surrounding the
Katsuyama basin through the transparent
south facade. This view gives the workers
an intimate feeling of the local place amid
the global timber trading landscape.
(Photo: Meiken Lamwood Corporation)
2
The Meiken Lamwood Corporation
is a Japanese leading company
of engineered wood. The head
office building is to be a full-scale
showroom of their products as well as
a new central space for their various
communications.
The structural frame system consists of
diagonal grid columns made of glulam
and the V-shaped cross-laminated
timber (CLT) beams spanning between
them. The folded roofs and exterior
walls composed of large CLT panels
wrap the entire interior space with the
strong existence of Japanese cider
wood.
The two-story building has an atrium
which serves as a gathering space at the
centre, with working spaces arranged
around it. The atrium floor on the
ground level has a close relationship to
the first floor, situated half-underground,
and the second floor. By shifting the
structural frame units according to
the site, the interior space is gently
articulated by the diagonal grid columns
as well as has a flow movement. In
addition, the continuous and intimate
atmosphere of the interior space ensure
people feel connected and relaxed.
The transparent south facade with the
diagonal grid columns expresses the
warm image and the open future of
the company, whereas the east and
west facades are covered with CLT
walls and Kebony timber finishing.
After gathering under one roof from
dispersed work places, Meiken’s new
working style, using the free seating
and the communication café, began the
first year of a-hundred-year long lasting
cultural landscape in Maniwa, Japan.
WIA
3
4
WOOD IN ARCHITECTURE • ISSUE 2– 2021 37

ENGINEERED WOOD
F1 Canadian Grand
Prix New Paddock
Circuit Gilles-Villeneuve, Montreal, Quebec
38 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

ENGINEERED WOOD
editions, the building was designed
as an assembly of prefabricated parts
comprising concrete panels, steel
beams and columns, cross-laminated
timber (CLT) beams and panels, curtain
walls and removable partitions. It
can also be easily disassembled and
recycled in case the Grand Prix is
terminated.
CONFIGURATION
The new paddocks accommodate
up to 13 stables, each of which have
two front accesses for single-seaters,
drivers and technical teams, as well
as a service access located at the rear
of the building for equipment or quick
access to the redeveloped hospitality
area.
Designed without a permanent division,
the garage space is modular according
to the needs of the teams competing
at each edition of the Canadian Grand
Prix; temporary partitions are used
to create the desired divisions and
thus suit the technical needs of this
constantly evolving sport.
CLIENT: Société du Parc Jean Drapeau
ARCHITECT: architects FABG (Éric Gauthier [project
director], Marc Paradis [project manager] and Nicolas
Moussa [project manager])
GENERAL CONTRACTOR: GEYSER Group
ING. STRUCTURE: CIMA+
PHOTOGRAPHY: Steve Montpetit
COMMISSIONED: May 2019
As part of a renewal agreement for
the Formula 1 Canadian Grand Prix,
the city of Montreal had to replace
the existing temporary structures
with a larger permanent building that
would more adequately meet the
needs of the event. The new paddock
includes garages for the teams, offices
for the Federation Internationale de
l’Automobile (FIA) and the promoter,
a lounge area for 5,000 people, and a
multimedia centre for journalists and
broadcasters.
To facilitate the completion of the
$50m project within the 10 free
months between the two Grand Prix
The building presents a completely new
configuration of the space for sports
commentators and representatives
of the FIA and Formula One World
Championship; the distribution has
been redesigned to meet the need
for stakeholder interactions with the
action taking place on the circuit.
Unlike the old control tower, which
was made at height to offer good
visibility of the track, the new tower
is arranged horizontally on two floors
right in the building as new race control
technologies now require less direct
visibility.
A media space is integrated into the
building rather than being located
in a temporary marquee, in order to
provide quality services to journalistic
representatives. This space includes
modular lighting, a suitable ventilation
system, as well as electrical and
WOOD IN ARCHITECTURE • ISSUE 2– 2021 39

ENGINEERED WOOD
telecommunication connection boxes
including optical fibre.
This media space is also a rental space
made available to Montrealers for events
outside the Grand Prix period.
The building has been designed to
multiply the views on the race track
and, with the development of several
terraces on the second and third floors,
the entire environment of the park that
surrounds it.
The new building, being higher, allows
spectators to have a 360-degree
panoramic view. On one side, a close-up
view of Jean-Doré Beach, the Casino
de Montréal, former Pavilion of France
during Expo 67, as well as the former
Pavilion of Quebec that is adjacent to
it. In the distance, the city of Montreal,
Mount Royal and its cross are also
visible.
On the other side, one can see at first
glance the Olympic pool where groups
of rowers, canoers and dragon boaters
train. Behind is a narrow passage of the
St Lawrence River crossed by freight
boats, followed by the South Shore of
Montreal.
UNIVERSAL ACCESSIBILITY
Accessibility has been completely
redesigned in the new building; the
entire ground floor is on the same
level as the ground and the floors
are accessible via a panoramic
glass elevator located at the east
entrance. Bleachers and bathrooms
are also provided to ensure universal
accessibility and ease of travel.
SUSTAINABLE DEVELOPMENT
The structure of the roof is made
up of 1,425m 3 of wood. During its
growth, wood captures CO 2
from the
atmosphere and sequesters it in its
fibre. Hence, this volume of wood
corresponds to the sequestration of
more than 1,000 tons of CO 2
. Wood
is thus considered carbon-negative,
which means that not only does the use
of wood in construction generate low
carbon emissions, but it also helps to
remove additional carbon dioxide from
the atmosphere.
To limit the heat island effect and rising
temperatures for the spectators, the
roof is waterproofed by an elastomeric
coating covered with white mineral
granules.
Sixty-four square metres of solar
photovoltaic panels on the terrace should
store enough solar energy in one year to
compensate for the energy expenditure
required for the whole building during a
Grand Prix.
LOCAL PRODUCTION
Glue-laminated timber and CLT used for
the beams, as well as CLT for the decking,
come from northern Quebec, Canada.
The precast concrete parts come from a
Quebec company, as are the curtain walls
and the steel structure. The division into
several separate batches of the structure
(concrete, steel and wood) allowed their
simultaneous factory production as well
as their erection in a very limited period
of time and despite a harsh winter. WIA
40 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

MATERIALS AND AND TECHNOLOGY
Thermally modified
American ash for
Al Faya Lodge
desert retreat
Set at the foot of Mount Alvaah, the Al Faya Lodge is nestled into the
United Arab Emirate’s (UAE) prehistoric crimson desert landscape with
close proximity to the country’s first petroleum pump.
The Al Faya Lodge is a new addition to the Sharjah Collection – a
group of distinctive boutique hotels and eco-retreats purposefully
located in key locations throughout the emirates of Sharjah.
PROJECT NAME: Al Faya Lodge
CLIENT: SHUROOQ (Sharjah
Investment and Development
Authority)
LOCATION: Mount Alvaah,
Mleiha, Sharjah, United Arab
Emirates
COMPLETION: Q1 2019
TOTAL AREA: Plot area 8,000 sqm
ARCHITECTURE, INTERIORS AND
FURNITURE DESIGN: ANARCHITECT
LANDSCAPE: DesertINK
FURNITURE PROCUREMENT: H&H
SPA CONSULTANT: The Wellness
CONTRACTOR: Alba Tower & Obaid Al Abdi
JOINERY: Thomas & McQuaid
PHOTOGRAPHY: Fernando Guerra and
ANARCHITECT
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 41

MATERIALS AND TECHNOLOGY
The architecture and design of the
Al Faya Lodge by architect Jonathan
Ashmore and his Dubai and Londonbased
practice ANARCHITECT are
paramount to the experience it
provides. Two single-storey, stone-built
buildings from the 1960s, previously
occupied as a clinic and grocery
store, have been re-imagined into a
contemporary boutique lodge and
restaurant. Together with the addition
of a newly built saltwater spa building,
Al Faya Lodge is set to become a new
and unique destination in the UAE.
1
“Desert conditions present extreme
heat in summer with intense and
prolonged sun exposure so it is
important to consider these factors
when first designing the form and
mass of the building and secondly
the selection of suitable and robust
materials which go hand in hand,” said
Ashmore, Principal of ANARCHITECT.
“Desert sites are exposed to all the
elements and not just sunlight. The
elements also include driving rain, sand
storms and low temperatures at night.”
“Locally sourced stone or concrete
construction provide heavy thermal
mass to deal with these extremes with
regards to temperature fluctuations.
Surface materials like corten steel and
secondary structure materials like
robust hardwoods and aluminium were
also explored to add refinement and
precision to the design particularly for
over-sailing roofs, shading elements
and also terrace decks raised above the
level of the sands,” added Ashmore.
The lodge comprises a breakfast area,
reception room, library and roof terrace.
Within each room of the five-bedroom
lodge is a feature skylight for stargazing;
the luxe room has the added
experience of a private roof terrace
and dual aspect. The purpose-built spa
building houses an open-air saltwater
pool and three salt spa experiences –
heat, water and salt inhalation.
1 Thermally
modified timber
was a natural
and suitable
choice for
ANARCHITECT
to explore for
the outdoor
conditions
2 The lodge’s
breakfast area
3 One of the lodge’s
five bedrooms
4 The spa building
houses an openair
saltwater pool
and three salt
spa experiences
5 The lodge allows
visitors to escape
the intensity
of the city and
simply exist in
their own way
and time
2
42 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

MATERIALS AND TECHNOLOGY
3
4
5
CHOICE OF MATERIAL
The choice of material is contextual
and relevant not only to the harsh,
arid, desert climate but also to the
historical presence of iron in the
region.
On the subject of materials, Ashmore
commented: “More often than not,
the intense desert climate proves to
be a difficult condition to enable the
use of traditional timber in exterior
applications. Durable hardwoods from
South East Asia and South America
often fail after short periods of time, or
they begin to weather fast and require
regular and intense maintenance.
We were looking for suitable natural
wood, dark in tone, with a smooth
finish and consistent grain to contrast
the dense, sober brutalism of the cast
in situ fair-faced concrete that made
up the main structure of the new build
spa building.”
Thermally modified (TM) timber
was a natural and suitable choice
for ANARCHITECT to explore for the
outdoor conditions. TM American ash
offers Class 1 category for durability
with a minimum life expectancy of 25
years, high water resistance without
requiring additional protection, and is
suitable for contact with the ground.
“The TM American ash façade has
close proximity to the saltwater
swimming pool. We required a TM
hardwood species that also had good
structural properties to allow us to
design a bespoke and interlocked
self-supporting wall system that could
incorporate a series of doors and
bi-fold openings that would provide
access to changing rooms and the
pool pantry areas from the exterior
areas,” added Ashmore.
ABOUT THERMAL
MODIFICATION
Thermal modification takes a nondurable
hardwood and makes it
suitable for exterior use and adds
dimensional stability through a
relatively simple, chemical-free
and low environmental impact
process of heating the timber to a
very high temperature in a vacuum
kiln. In American hardwoods, the
process works best in ash, red oak,
soft maple and tulipwood, making
them ideal for decking and cladding
applications, as well as for outdoor
furniture and shade structures.
Roderick Wiles, Regional Director
of the American Hardwood Export
Council, added: “It is great to see
this relatively new material being
specified and used in the Middle
East and, as far as we know, this is
one of only two or three projects
in the Gulf that uses TM American
hardwoods. I have no doubt that we
will be seeing more of it in the near
future, as for American hardwoods,
which already come with guarantees
of legality and sustainability, this
process opens up a whole new
market opportunity and one that
has immense potential in the harsh
climate of the region.”
The Lodge, Spa and Restaurant
buildings are divided by a throughroad
that creates an unusual and
dynamic urbanity to the master
plan of the retreat. The buildings,
together with the historical
petroleum pump, command a
presence in the scarce desert
landscape and will become both a
destination and stop-off for those
who know of and those who discover
this new intervention.
The project is designed to become a
destination that offers relief from the
intensity of the city. Al Faya Lodge
is purposely primordial, allowing
one to simply exist, absorb and
contemplate the surroundings in
one’s own individual way and time.
WIA
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 43

MATERIALS AND TECHNOLOGY
Accoya: High-performance
modified wood for
all climates
By Jo-Ann Teo
Accoya cladding
WHAT IS ACCOYA?
Produced by Accsys at its plant in
Arnhem, the Netherlands, since
2007, Accoya is a brand of highquality
modified wood that has
been a building material of choice
for designers and builders across
the world. By modifying radiata pine
Pinus radiata
(Pinus radiata) using a process called
“acetylation” to increase its moisture
resistance, the timber does not visibly
swell, shrink or distort even when
subjected to extreme exposure. This
allows Accoya to withstand varying
climates and surpass the benefits of
most durable hardwoods.
ACETYLATED WOOD
PROCESSING
Wood cellulose contains a small number
of naturally occurring acetyl groups that
are hydrophobic (repels water) as well
as a high number of hydroxyls that are
hydrophilic (attracts water). The low
number of acetyls in natural wood may
not provide sufficiently durable and
stable performance, and the presence
of hydroxyls causes cellulose to swell
(or shrink when subsequently dried)
and become more susceptible to the
attachment of biological organisms.
The acetylation process creates
extremely dimensionally stable wood
by increasing the amount of acetyl
molecules and reduces the number
of hydroxyls. Using acetic anhydride
(concentrated acetic acid), the level of
moisture-resistant acetyl groups can be
precisely increased without changing the
constituents of the natural wood.
As Accoya is modified to its core instead
of just the surface, there are no exposed
unacetylated surfaces when the wood
44 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

MATERIALS AND TECHNOLOGY
is cut or jointed. Thus, it is not necessary for
additional chemical preservatives to be applied
on-site.
The acetylation process mimics nature
and does not involve the addition of toxic
substances, thus producing a non-toxic
product.
SUSTAINABILITY
Trees selected to make Accoya are harvested
responsibly from fast-growing and wellmanaged
forests and plantations. Besides
being FSC-® certified, Accoya has also been
awarded a gold-level Cradle to Cradle (C2C®)
overall certification and a platinum-level C2C®
Material Health certification, among other
accreditations.
As the rate at which trees sequester carbon
from the atmosphere slows down once they
reach maturity at the 30-year mark, the trees
are harvested at this point so that the Accoya
timber acts as a carbon store and also gives
the forest the opportunity to regenerate and
produce new biomass.
All Accoya is compliant with the European
Union Timber Regulation and the United
States’ Lacey Act.
APPLICATIONS AND
SPECIFICATIONS
Accoya has been applied in architectural
projects all across the globe, even in countries
that face extreme climates and weather
fluctuations. From Asia to Antarctica, beaches
to mountaintops, Accoya has proved its
dimensional stability and is used mainly for
windows, doors, decking and cladding.
Because acetylated wood barely shrinks
or swells, coatings tend to last longer even
in harsh environmental climates. Testing
rigs were set up in Arnhem to monitor the
performance of Accoya over the last decade
1
1 Accoya decking
2 Coated Accoya
windows
3 The first global
Accoya project:
architectural
designer Gordon
Aitkin’s family
home in Glenrothes,
Scotland
with coatings company Remmers. Today,
after 14 years of exposure, the tests showed
no visible coating degradation even with zero
maintenance.
In 2006, the first global Accoya project took
place in Glenrothes in Fife, Scotland, where
architectural designer Gordon Aitkin installed
Accoya cladding in his new family home. Ten
years later, in an interview with the Accoya
team, Aikin revealed that the only maintenance
he had needed to carry out on the cladding was
a light sand and recoat in a small, exposed area.
Accoya is approved for general building by
the German Institute for Building Technology
for load-bearing structural applications. This
DIBt approval qualifies the strength class of
A1 and A2 solid Accoya timber based on the
European strength class system of C classes
(EN338). Accoya A1 quality is classified as
C22 strength grade and Accoya A2 quality
is classified as C16. The approval applies to
Accoya wood in the widths 100 mm to 250 mm
with a thickness of 25mm to 100mm, and can
be used both flat and upright use. The standard
wood design safety factors (kdef, kmod) as
given in EN 1995-1 were determined in the
DIBt test program to be appropriate and may
be used.
Accoya wood may be fastened to a timber
sub-frame with nails, clamps, wood screws,
dowels and bolts. For non pre-drilled holes,
the minimum spacing distance and edge/end
clearance (EN 1995-1-1, table 8.2) should be in
line with wood with a density between 420 and
500 kg/m³. WIA
2 3
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 45

DESIGN
“Touching colours”
RENOLIT trend service
Colour Road presents
latest trend report
The need for touch is so deeply ingrained in the human psyche that it is
proven to positively impact well-being and metabolism. Colours have the
inherent power to tell us how different materials and fabrics might feel.
The RENOLIT Colour Road Trend Report 2021/22 utilises this power to
guide us through diverse design and colour trends.
OUR SENSE OF TOUCH SHOWS
US THE WORLD
“We experience the world through touch,”
said Monika Haag, General Manager
Corporate Design Management at RENOLIT.
“The sense of touch plays a key role in
human development.” It shows us our
own boundaries and gives us information
about the composition of the objects we
are touching, including tension, pressure or
even temperature. Touch can even have a
therapeutic effect; when we are touched
by another person, cortisol and stress
levels can be reduced.
We connect colours with the expectations
of what characteristics things have and
the feelings they elicit in us.
“Slate grey makes us think of a slightly
rough, cool surface, light green of
refreshing smelling leaves, and shiny red
of smooth materials and passion,” explained
Haag.
The Colour Road design experts have
recognised these expectations and developed
three trend topics for the new Trend Report
2021/22 – “ELEMENTS”, “FUNDAMENTAL”
and “STATEMENT”. It is now more important
than ever to design our personal living spaces
in a way that considers the deeply human need
for touch and a variety of tactile experiences.
46 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

DESIGN
“FUNDAMENTAL”:
BACK TO BASICS
With “ELEMENTS”, we expand our horizon –
but to venture towards what’s new, we need
a solid foundation. The “FUNDAMENTAL”
trend topic creates this basis in the home.
Using earth, soil, stone and wool soft plant
fibres continuously refresh the connection to
our origins in a way that is not only visual but
haptic.
“ELEMENTS”: BRINGING THE
ELEMENTS INTO YOUR HOME
“When we think of the elements, we think of
freedom and nature experiences, but also of
emotional healing,” explained Verena Mundle,
Expert for Corporate Design Management at
RENOLIT. “A walk in the forest or along the beach,
with the wind in our hair, enriches our day.”
Different surfaces and their dynamics – from
the surface of the water, continuously changing
with the wind, to the play of sunlight on ribbed
leaves – have a relaxing effect on the eyes and
spirit. In times when our mobility is
restricted, we can create
these
“STATEMENT”:
MAKE A STATEMENT!
Sometimes, it isn’t grounded earthiness we
need but a bold statement. Colours affect our
innermost feelings, and our sense of touch can
do the same. Verena Mundle says:
“That’s why we have devoted our third trend
topic, ‘STATEMENT’, entirely to the inner
experience.” Strong red evokes a sense of
passion – but also of danger. This contrast is
what makes it so fascinating and perfect for
setting effective accents in interior design. The
Colour Road experts have created two new
trend colours that achieve this: Feel alive!, a
spirited, nearly pure red shade that really lives
up to its name, and the darker Lacquer Red!
that exudes elegance. Both colours invite you
to touch, sensuously experience and stand up
for your values. Combine them with expressive
wood and dark stone decors to make true
statements in the home.
The dark neutrals
Mineral Grey and Cubanit
Grey Premier Matt are true multi-talents
and provide space for sophisticated surfaces
and warm, natural oaks. Sand Grain and Raw
Cotton contribute lighter shades. The off-white
Raw Cotton lends even larger furniture pieces
visual lightness, while Sand Grain is an ideal
partner for rustic oak or abstract structures
especially now when users are seeking
stimulating physical experiences
in home furnishings as well.
impressions in the home and re-energise.
Blue shades such as the fresh Ocean Breeze
Supermatt and the deep Acai Berry Supermatt
ideally complement natural marble and stone
decors for designing full spaces. The quiet,
tranquil Lichen Green brings nature as the
primary design colour to a living or dining
room while the invigorating Lemongrass
Supermatt adds a cheery accent
to dark-brown oak.
Blush shades remind us of skin and the
emotions surrounding it – warm, deeply
touching and something that brings us
together. The new shade Touch! conveys this
especially well and can be used to invigorate
various interior concepts, for example, in
combination with Highland Green Premier
Matt for a Scandinavian hygge atmosphere.
This concept uses handcrafted furniture that
are increasingly appreciated today. Hands on!
not only stands for this appreciation; the soft
brown shade also invites us to explore our own
creativity. WIA
The RENOLIT Group is one of the world’s leading specialists
in high-quality plastic films, sheets and other plastic products.
With more than 30 locations in 20 countries, and annual sales
amounting to one billion euros, the company is one of the leading
processors of plastics in the world. Over 4,700 employees
continuously develop the know-how gathered over 70 years of
company history.
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 47

STRUCTURAL ELEMENTS
A dynamic and
sustainable environment
for stewards of the future
In 2020, Michael Green Architecture completed
two new mass timber buildings for the internationally recognised
College of Forestry at Oregon State University.
1
48 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

STRUCTURAL ELEMENTS
2
Located on campus within the Oregon
Forest Science Complex (OFSC),
the new George W. Peavy Forest
Science Center and the A.A. “Red”
Emmerson Advanced Wood Products
Laboratory (AWP) uphold the OFSC’s
vision to create a dynamic learning,
collaboration, and research environment
for managing and sustaining working
forest ecosystems in the 21st Century.
The project design approach was
created in collaboration with multiple
college departments and user groups
across various functions, including
resource management, ecosystems and
society, and science and engineering.
Engagement with these unique
and diverse groups meant that the
buildings themselves were designed
to be teachers and a living laboratory –
something to interact with and to learn
from.
1 The Rosenburg Forest Products Atrium
is an expansive space that captures the
feeling of being in the forest; the main
stairs are made from recycled glulam
beams from the former Peavy Hall (Photo:
Josh Partee)
2 The third-floor area outside the
Wollenberg Foundation Dean’s Suite, also
called the “treehouse”, offers an informal
learning space among the treetops
(Photo: Josh Partee)
3 Peavy Hall’s deep lightwells within the
academic bar allow natural light to reach
the hallways (Photo: Josh Partee)
4 The use of wood as the primary material
is evident with wood details exposed
throughout the interiors (Photo: Josh
Partee)
3
4
GEORGE W. PEAVY FOREST
SCIENCE CENTER
The new George W. Peavy Forest
Science Center (83,000 sq ft) is
connected to the complex natural
layers, systems, and networks of a
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 49

STRUCTURAL ELEMENTS
5 6
5 Exterior of the Advanced Wood Products
Laboratory’s High Bay Loading Entrance
(Photo: Ema Peter)
6 Advanced Wood Products Laboratory’s
Structural Testing Bay; the structural
testing bay includes a reaction wall and
strong floor to support heavy structural
work and the testing of structures up to
three storeys high (Photo: Ema Peter)
7 The building enclosure’s translucent
panels create a beautiful daylit lab space
that becomes the backdrop for innovation
(Photo: Ema Peter)
8 Advanced Wood Products Laboratory’s
Seminar Space; this flexible space is
intended for workshops and education
through the TallWood Design Institute
(Photo: Ema Peter)
forest, from soil to sky. The building
is designed as two intersecting bars,
connected to the existing Richardson
Hall. A simple academic bar features
20 classrooms, computer rooms, and
laboratories. Classroom and lab spaces
range from small to large and interior to
exterior, facilitating a range of teaching
styles in an inspiring environment for
students to study all aspects of the
forest landscape. Timber stairwells
filled with natural light flank both ends
of the academic corridor to connect
the landscape and enhance intuitive
wayfinding.
At the heart of Peavy is the Roseburg
Forest Products Atrium. Shaped
by towering two-storey douglas fir
columns, this expansive space captures
the feeling of being in the forest. The
atrium is directly connected to the
Peavy Arboretum, a curated collection
of local plant species that acts as a
living classroom for forestry students,
community, and industry. The edge
between the building and the adjacent
arboretum is blurred to remind students
and faculty of their unique and critical
role as environmental stewards.
Peavy includes several informal learning
spaces, including the third-floor area
located outside of The Wollenberg
Foundation Dean’s Suite. This space
provides opportunities for students,
faculty and staff to collaborate, study
and teach in a relaxed setting among the
treetops.
The wood structure design is innovative
in its response to the high seismic
requirements of the site. A crosslaminated
timber (CLT) rocking wall
system, the first of its kind in North
America, was developed with shear
walls composed of separate sections
connected vertically by a post-tension
system. This allows the walls to move
and self-center during an event, and for
components to be selectively replaced
on an as-needed basis after the event
occurs. As part of the building as a
teacher concept, the wood structure is
50 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

STRUCTURAL ELEMENTS
7
8
monitored by over 200 sensors that have
been installed throughout the structure
to gather data on vertical and horizontal
structural movement as well as moisture.
This data will be used for research
into the performance of mass timber
structures for the life of the building and
will inform the future of good practice in
building with mass timber.
ADVANCED WOOD PRODUCTS
LABORATORY (AWP)
The A.A. “Red” Emmerson Advanced
Wood Products Laboratory (18,000
sq ft) is home to the TallWood Design
Institute, which brings together industry
and academia to advance knowledge
about the use of wood products in
buildings through applied research,
product development, testing and
professional education. The building
provides dedicated research spaces
for developing and testing innovative
wood products and technologies while
producing data that can be applied in
research and industry.
The AWP programme required
an expansive space to allow for
the flexibility to test and adapt to
technologies as they emerged. The
building structure is a simple and elegant
glue-laminated timber (glulam) and
mass plywood panel (MPP) system that
works together to achieve the long span
required. The lab space is broken into
two bays:
• the structural testing bay includes
a reaction wall and strong floor to
support the heavy structural work
and testing of structures up to threestoreys
high
• the manufacturing bay is equipped
with advanced robotics and
fabrication equipment.
These new buildings extend beyond
forestry to include the entire ecosystem,
the industries that engage it, and more
importantly, the wide variety of people
who will be environmental stewards of
the future: the students. WIA
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 51

FLOORING
FLOORING
Solidfloor’s Herringbone Chevron St. Paul’s RG wooden flooring
Is wooden flooring in the
kitchen right for you?
Wooden floors are regarded as one of the
most enticing types of floors in interior
design. However, it is also acclaimed among
professionals that hardwood floors are
somewhat high-maintenance and are a poor
choice for wet locations or other intensely
used places such as kitchens or bathrooms.
Nonetheless, when a wooden floor is correctly
maintained, it could be possible for one to
have a wooden floor in their kitchen.
Although some manufactures claim that their
wooden floors are water resistant, it does not
mean that they are fully waterproof. Many
have disclaimers warning that the product
shouldn’t be placed in wet areas such as
kitchens or bathrooms, and yet, there’s a grey
area when it comes to these particular places
as we can classify them as “semi-moist” or
“sporadically moist”. The possibility of one
having a wooden floor in the kitchen depends
on the nature of the household.
There are different kinds of wooden floor
finishes – the most common being lacquered
and oiled floors. It generally known that
lacquered floors can tolerate moist and
water slightly better compared to oiled
floors. However, these are not waterproof.
When a floor has recently been oiled or
lacquered, all the product is thoroughly
drained in the wood fibres so that other
substances don’t have the chance to be
absorbed. In turn, well-nourished floors
are less likely to show marks or stains over
time. Whenever the floor looks slightly
undernourished, it has to be maintained
again with a high-quality maintenance
product. Also, as wood is a product of nature,
wooden floors are vulnerable to acidic
substances. Whenever liquids are spilled on
a wooden floor, it is good practice to remove
them immediately when spotted to avoid
irreversible stains.
From this perspective, a wooden floor in
the kitchen isn’t that suitable for a busy
household or a home designed such that
traffic comes directly into the kitchen
from a pool deck or garage. A wooden
floor adds a lot to the home’s ambiance,
so consideration is regarded as being
worthwhile.
A somewhat simpler alternative would
be to explore flooring materials that
feature wood-grain designs. For example,
Solidfloor’s new product range of LVT floors
has prints that resemble real wooden floors.
This collection is fully waterproof as they
are made out of stone gravel. Also, other
benefits of this type of raw material include
high resistance to humidity and temperature
differences. WIA
This article was first published on Solidfloor’s official website
(www.solidfloor.com) and is reproduced here with permission.
52 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

FIT-OUTS
FURNIC – Modular carpentry
for the modern home
Singapore-based interior fit-out
specialists 4PLUS8 has recently
developed an innovative
modular approach to meet
the ever-growing demand for
custom cabinetry and carpentry
work in residential buildings.
Wood in Architecture talks
to Andrew Lim, Founder of
4PLUS8, to find out more about
their new offering: FURNIC.
Andrew Lim is the Founder of
4PLUS8, a team of interior fit-out
specialists that focus on interior
renovation works on Good Class
Bungalows in Singapore. Andrew,
with 12 years of experience in the
industry, was previously a director
at a furniture retail company that
produced bespoke carpentry. As
an employee, he felt that
there was much more that
he could offer to clients
creatively. He decided
to start a business
and convince his
specialised team of
11 craftsmen to
join him.
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 53

FIT-OUTS
1 Kitchen for a residential unit in Punggol,
Singapore
2 Teak, oak and walnut are common
wood species used for wood products
in Singapore as they can withstand the
tropical climate
According to Andrew, there has been a
consistently strong demand for quality
cabinetry works, and some design
trends that have become popular
evolve around home spaces serving
multi-purpose functions and comprising
clever storage solutions to help
declutter and segregate zones.
Despite the demand, the industry is
currently facing a decline due to rising
wages, an aging workforce, overreliance
on foreign workers, and the
lack of new blood in the workforce. Also,
when selecting a contractor, especially
in the absence of a baseline standard
when it comes to workmanship quality,
consumers tend to use price as the
deciding factor. Modular carpentry could
be a gamechanger.
“With the introduction of modular
carpentry, consumers can expect
consistent quality, design, fabrication
and installation support,” shared
Andrew. “Consumers can expect
cabinetry akin to European system
furniture brands designed to meet
quality and productivity standards.”
THE CONCEPT
FURNIC, which was launched in
early 2021, is an integrated system
of modular components perfect for
kitchens, wardrobes and storage units.
With 4PLUS8’s focus on the luxury
residential sector where most projects
involve highly customised woodwork
and the use of natural and exotic
materials, FURNIC targets homeowners
in the mid-to-high end market, as well
as small-scale developers of residential
projects. The modular systems are tailor
made according to the layout of local
Housing Development Board units and
condominiums in Singapore.
Compared to a similar kitchen layout
fabricated by 4PLUS8, a system by
FURNIC costs approximately 30% less
due to the library of modules, finishes,
hardware and accessories available
on the back end to flexibly configure
various storage units.
THE PROCESS
Clients can first share their layout and
requirements they would like to achieve,
so that the 4PLUS8 team can propose
suitable systems and accessories in the
first proposal. With a preferred concept
and budget in mind, a highly intuitive
software is then used to quickly develop
an accurate design configuration.
Once the project is confirmed, the
shop drawings are then translated
into fabrication drawings ready for
CNC milling. The team partners with
a factory in Malaysia to develop the
products using raw materials sourced
from Austria, and an in-house logistics
team ensures that the finished product
is safely delivered and installed onsite.
Purchasing a modular system
means that the installation process is
straightforward and fuss-free. A kitchen
set takes approximately three weeks
for fabrication and just three days for
installation.
MATERIALS
According to Andrew, teak, oak and
walnut are some of the more commonly
used wood species in 4PLUS8’s
1
2
54 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

FIT-OUTS
3 4PLUS8’s showroom featuring a living
space and walk-in wardrobe
4 Custom-made furniture for a residential
home in Singapore
5 4PLUS8’s carpentry is made by hand,
whereas FURNIC utilises technology
and machinery
3
4
projects, due to their ability to withstand
Singapore’s tropical climate. For the
FURNIC range, the melamine faced
chipboard panels are stabilised and
tested for heat resistance and moisture
durability. In addition, the melamine
resin surfaces are also tested for
antibacterial properties in accordance
with ISO 22196 standards – the most
important internationally recognised
test method for evaluating the
antibacterial activity of plastic materials
and non-porous surfaces to inhibit or kill
the growth of test micro-organisms.
The raw material used are both certified
by the Forest Stewardship Council (FSC)
and Programme for the Endorsement of
Forest Certification (PEFC).
DESIGN STUDIO
4PLUS8 recently invested SG$600,000
to design and build a first-of-its-kind
design studio to showcase the team’s
dedication to ensuring top quality in
every step of the production process.
Located at Shun Li Industrial Park in
Singapore, the three-level building
itself features unique elements such
as artificial skylights powered by
nano technology and reproduced to
mimic natural lighting; solid wood
milled panels; as well as customised
woodworking and bespoke finishing
elements.
5
At the top floor, a showroom showcases
an actual layout of a Good Class
Bungalow complete with a living area,
walk-in wardrobe, dining room and
kitchen, all featuring state-of-the-art
interior fitting solutions. WIA
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 55

FIT-OUTS
Chicken
Mafia:
the boss in
undulating
waves
interior
DESIGN INFORMATION
TOTAL AREA: 220m 2
YEAR: 2020
CLIENT: CHICKEN MAFIA
ARCHITECTURAL BUREAU: Gretaproject
architecture&design
ARCHITECTS: Margarita Denisova, Maxim Kashin,
Natalia Karpova
LOCATION: Moscow, Russia
PHOTOGRAPHY: Mikhail Loskutov
ARTICLE SOURCE: v2com
56 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

FIT-OUTS
FIT-OUTS
1 The usual rectangular shape of a space
box after the installation of the “waves”
should look like a sophisticated geometry,
creating an optical effect and attracting
the interest of visitors
1
Gretaproject had an interesting
task: to create a light, fashionable
and cosy interior for a fast-food
restaurant with high-quality
food. The interior had to be light,
provocative, fashionable, playful,
and taking the customers to the
homeland of fast food — the United
States (US). Also, one of the tasks
was to include unusual shapes and
lighting that had not previously been
used in any of Moscow’s restaurants.
At the same time, the realisation of
the interior should not be expensive.
The interior concept is a
transformation and refraction of
simple space geometry by the
sophisticated geometry of the
ceiling, walls and furniture. Thus,
the usual rectangular shape of a
space box after the installation
of the “waves” should look like a
sophisticated geometry, creating
an optical effect and attracting the
interest of visitors.
The architects chose plywood as a
cheap and warm material for this
idea. Moscow’s cold climate dictates
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 57

FIT-OUTS
2
2 The interior had to be light, provocative,
fashionable, playful, and taking the
customers to the homeland of fast food –
the US
3 Gretaproject had an interesting task:
to create a light, fashionable and cosy
interior for a fast-food restaurant with
high-quality food
3
4 4
its own laws for choosing materials
for public catering. Therefore, wood
was chosen as the material for the
geometry of the waves. Metallic
reflective surfaces with ripples were
chosen on the counterpart, showing
the sophistication of wood forms and
the simplicity of the metallic ones. The
concrete floor and walls also set off
and accentuate the interesting wood
volume of the interior base.
The CHICKEN MAFIA label represents
the tattoos of the restaurant owners –
this symbol is reflected in the graphic
design, in the drawings of the bathroom
walls, neon inscriptions, and the choice
of the Vitra Wire Chair DKR model of
mesh chairs.
In this project, the architects wanted to
show how the usual forms of space can
be transformed due to the introduction
of large volumetric elements of irregular
shape, passing from the ceiling to walls
and furniture. This is in addition to how
light affects the perception of space
and its warmth. WIA
58 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SHOW PREVIEW
Re-imagine the future of the
built environment at IBEW 2021
McLennan, CEO of McLennan
Design; Mr Kelvin Wong, CEO of the
Building and Construction Authority;
Mr Luke Goh, CEO of the National
Environment Agency; Mr Liam Wee
Sin, CEO of UOL Group; Mr Wong Mun
Summ, Founding Director of WOHA
Architects; Mr Chew Men Leong,
President/Head, Urban Solutions
of ST Engineering; Ar. Seah Chee
Huang, Chief Executive Officer of DP
Architects; and many more.
7 to 9 September 2021
The International Built Environment offer valuable insights and exciting
Week (IBEW) returns from 7 to 9 networking opportunities to help
September 2021 in an enhanced digital your business emerge stronger, more
format alongside BEX Asia.
sustainable and resilient.
SOURCE THE LATEST BUILT
ENVIRONMENT SOLUTIONS
AT BEX ASIA 2021
The enhanced digital BEX Asia will
continue to house the component
events including Mostra Convegno
Expocomfort (MCE) Asia, InnoBuild
Asia and Smart Cities and Buildings
Asia (SCB Asia).
Visitors and exhibitors can look forward
to an enhanced digital platform that
will facilitate the discovery of new
products and clients with the ability to
seamlessly network and hold business
meetings in a single platform.
The IBEW plays a pivotal role in
supporting the built environment sector
as it continues to evolve to meet new
challenges. IBEW 2021, themed “Reimagining
the Future”, will emphasise
on what’s next for the sector and
highlight the trends and opportunities
that will facilitate business growth
and transformation. From 7 to 10
September 2021, you can look
forward to a specially curated digital
conference and exhibition showcasing
the latest innovations in sustainability,
built environment technologies,
smart facilities management and
digitalisation. The event will also
HEAR FROM INDUSTRY
LEADERS AT IBEC 2021
Organised by BCA International,
a wholly owned subsidiary of the
Building and Construction Authority,
the International Built Environment
Conference (IBEC) is widely regarded as
the most comprehensive conference on
the built environment in the Asia Pacific,
and showcases senior leadership of key
industry players who share knowledge,
exchange experiences and explore
business opportunities.
Among the leaders that will be
speaking this year include Mr Jason
Participating exhibitors this year
include major global players such as
ebm-papst SEA, Camfil Singapore,
FinalCad, Bostik, Procore Technologies,
Conserve Lt and many more.
The 2020 edition attracted more
than 10,000 built environment
professionals from 120 countries and
regions. Of those who attended the
exhibition, 94% are decision makers.
For more information on the
conference, visit www.ibew.sg. For
more information on the trade show,
visit www.bex-asia.com. WIA
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 59

SHOW PREVIEW
Dubai WoodShow to launch
all-new edition in March 2022
with year-round activities
15 to 17 March 2022
Dubai WoodShow, the leading platform WoodShow will continue to propel its
for wood and woodworking machinery success through an entirely different
industry in the Middle East and North event format in 2022 by introducing
African regions, is gearing up for an allnew
edition with more unprecedented activities that will generate vast
the most dynamic and most rewarding
activities and engagements. Scheduled business opportunities for various
to be held from 15 to 17 March 2022 wood and woodworking machinery
at the Dubai World Trade Centre, the sectors in the market.
upcoming edition is set to provide a
truly unrivalled experience for key The all-new edition is anticipated to
players from across the globe.
showcase an unconventional event
compared to its previous shows, as
Following this year’s top-notch edition it will not only showcase a worldclass
exhibition, but will also amid the global health crisis, Dubai
include
the WoodShow global conference,
business-to-business (B2B) meetings/
matchmaking, networking events, talk
shows, WoodShow innovations and
industry awards for exhibitors.
“We need to keep up with the fastchanging
times and the increasing
demand of the competitive market.
Our goal is to bring an entirely different
Dubai WoodShow next year by
providing more rewarding activities
and a highly enriching experience to all
our attendees. Next year’s edition will
definitely become an unconventional
show because we will launch more
dynamic features which means, more
opportunities for generating leads,
60 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SHOW PREVIEW
increasing sales, and building relevant
connections within the industry. As
early as now, we are already starting
our preparations in order to ensure
that every participant will be able to
profoundly benefit from this highquality
event,” stated Walid Farghal,
Director General of Strategic Exhibitions
& Conferences at Dubai WoodShow.
Moreover, as a part of major preparation
for the big event, WoodShow is
organising an outstanding roadmap
to the physical edition in 2022 by
launching year-round calendar of
activities to be held globally that will
help build the momentum and engage
with more audiences. Happening
virtually, these activities include B2B
matchmaking, seminars, exhibitions,
talk shows and product shows.
“The year-round activities clearly show
the exceptional direction that Dubai
WoodShow is aiming for as it heads
towards a successful event next year.
The industry is on its way towards
continued growth and recovery so we
need to be vigilant in maximising every
potential. These activities will stimulate
opportunities for various relevant
sectors even before the big event
opens in 2022 by providing a powerful
platform that will connect key players
to the right people, learn from industry
experts, and expand their customer
base,” added Dawood Al Shezawi,
President of the Organising Committee
at Dubai WoodShow.
According to the report titled “Wood
Processing Global Market Report
2021: COVID 19 Impact and Recovery
to 2030” which was released by
Reportlinker.com, the market is
anticipated to reach US$179.7B in
2025 at a compound annual growth
rate of 6%. It was also revealed
that the wood processing market is
projected to benefit from the solid
economic growth predicted for various
developed and developing nations. This
year, the International Monetary Fund
forecasted that the gross domestic
product growth will be at 3.4% globally.
Dubai WoodShow’s exhibitions will
showcase world-class products,
services and technologies from leading
companies in the industry, providing
exhibitions with increased exposure
and opportunities to close deals with
serious buyers from across the world.
Visitors will also be able to gain access
to the latest trends in the industry and
connect with other key players.
The WoodShow global conference
will bring together industry experts
and prominent personalities who will
share their brilliant insights about
the latest local, regional and global
market trends, as well as the different
challenges and opportunities in the
wood and woodworking machinery
industry.
B2B meetings will be conducted with
key stakeholders to build partnerships or
collaborations with prospective business
partners, and discuss new opportunities
within the industry in a private setting.
Networking events will enable
participants to meet like-minded
individuals, get introduced to key
contacts, meet with investors and
potential clients, establish mutually
beneficial relationships, and strengthen
business relations.
Talk shows will feature interviews with
leading investors, chief executive officers
and other renowned personalities who
will share their success stories, in-depth
insights on the latest trends and expert
viewpoints on the industry’s most
interesting topics.
WoodShow innovations will serve as
a great platform for different brands
to showcase their latest products
and present their distinctive features,
specifications and innovations that will
attract potential buyers and investors.
The industry awards for exhibitors will
give recognition to the best individuals
and organisations that will participate
in the exhibition of Dubai WoodShow
2022. Winners will be chosen in different
award categories. WIA
1 Customers
engaging and
networking with
representatives
of various leading
global wood and
woodworking
machinery
2 Italco Middle East
FZE and SCM
Group brought
premium Italian
woodworking
machineries to
Dubai WoodShow
2021
1 2
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 61

SHOW REVIEW
Winners of the Hoa Mai
Furniture Design
Competition 2021
The Handicraft and Wood Industry
Association of HCMC (HAWA) and the
American Hardwood Export Council
(AHEC) recently announced the finalists
and winners of the Hoa Mai Furniture
Design Competition 2021.
The 18th iteration of the annual
competition continues to inspire young
Vietnamese designers to unleash their
creative design talent using American
hardwood species that provide
versatility, durability and aesthetic.
Mr John Chan, regional director,
Greater China and South East
Asia of The American Hardwood
Export Council, said: “We are
heartened that, even in the midst
of a pandemic, we were able to
push through with the competition
this year. We hope that through
this competition, we can discover
and nurture more budding
Vietnamese design talent, and
encourage greater understanding
of American hardwood
amongst Vietnamese designers and
manufacturers.”
All entries this year were created from
American red oak, the most abundant
species in the American hardwood
forest and which is particularly suited
to fine furniture making given its
beauty, strength and workability. There
were over 336 entries this year and
the judging panel narrowed down to a
shortlist of 17, of which eight eventual
winners were chosen.
62 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SHOW PREVIEW
FIRST PRIZE WINNER: NGUYEN DUC HUYNH (S21
ROCKING CHAIR AND HUNG KING FAMILY SOFA SET)
Designer Nguyen Duc Huynh had two entries in the final. The first is a set
of rocking tables and chairs inspired by hand trolleys these pieces have
a large cushion at the front to suggest someone carrying a package. The
footrest is also inspired by a recently delivered package. The seat has
been stylised to create a unique shape with a string backrest.
Hung King family sofa
S21 Rocking chair
The Hung King sofa set took inspiration the relics of King Hung
Temple, which has many entrances to the same oriental-style
dome architecture. This architecture can be seen throughout
Vietnam. The furniture is built based on that image to create a
family of tables and chairs with Vietnamese style. The colour of the
entire set is coordinated to give a feel of togetherness and also highlights
how well American red oak receives colour and stain.
SECOND PRIZE WINNER: TRAN
MINH TIEN & TRAN PHAT THUAN
(SIMPLE COMBINATION)
The two young designers took what they felt
was a simple idea of combining different
materials, iron and wood, and made it into a
practical structure. The design allows for the
doors to be closed or opened by pushing in
to reveal the contents. The juxtaposition of
the two materials, natural and man-made,
emphasises the grain of the American red oak.
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 63

SHOW REVIEW
SECOND PRIZE WINNER: TRAN CAM TRINH & TRAN
PHAT THUAN (ALPHA CHAIR)
The Alpha chair took the second prize in the 2021 competition. This
piece is inspired by the alpha symbol and aims to bring convenience
and enjoyment to users. The designers intend the chair to be neatly
folded when not in use. Two simple elastic lines are both a design
feature and provide additional structural support. In this piece, the
American red oak seat and frame is held with shrink wire and iron
bolts.
THIRD PRIZE WINNER: VU PHAN HOAI NHI, VAN
LANG UNIVERSITY (HOME)
Taking third prize in the competition, Designer Vu Phan Hoai Nhi was
inspired by the pandemic to create a mobile and versatile workspace.
For use at home or in the office, it can be easily set up to create a
partitioned and private yet comfortable workspace. The American red
oak timber envelops the user and creates a sense of calm and focus. It is
foldable and therefore easily stored when more open space is required.
The smart addition of wheels allows the workspace to be moved easily.
CONSOLATION PRIZE WINNER
(FUNCTIONALITY): TRAN HOANG
LONG (DINH CHAIR)
Đình Chair expresses both simplicity and
complication, lightness and heaviness in its
aesthetics through an assembly of bold back
legs and modest front legs, rafter-inspired
armrests, complemented by antique brass
details. A house roof, one of the elements
that distinguish traditional Vietnamese
architecture from others, is reassembled in
the curvy apron and seat form. Inspired from
the first impression when entering traditional
Vietnamese communal housing, Đình Chair
embraces the intuitive elegance of Vietnamese
Heritage while capturing the sense of
contemporary design. The distinctive grain of
the American red oak timber is highlighted by
the intense dark stain.
64 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

SHOW PREVIEW
CONSOLATION PRIZE WINNER (TECHNIQUE):
NGO DUY KHANH, HO CHI MINH UNIVERSITY OF
ARCHITECTURE (PARAPOL CHAIR)
The inspiration for this chair was the mathematical parabola function
graph. Designer Ngo Duy Khanh felt that parabola curves were both
powerful and definitive whilst still being generous and attractive. The
designer was able to experiment with the bending capabilities of the
American red oak for excellent effect.
CONSOLATION PRIZE WINNER (MARKETABILITY):
TRAN THANH HUYEN, HANOI ARCHITECTURAL
UNIVERSITY (CYCLO CHAIR)
Cyclo Chair is inspired by the movie “The Lover” (1992), which depicts
the romantic love story between a Chinese man and a young French
girl. Designer Tran Thanh Huyen explains that the movie is set in hot,
humid Saigon in the 1920s. The background, colour and interior style
used in the movie are characterised by a Saigon-Indochina vibe. The
image of a cyclo, or trishaw, appears as a symbol of Saigon. At that
time, the cyclo was the means of transport for rich French officials and
bureaucrats (representing the upper class). With the desire to revive
the atmosphere of the movie as well as Saigon’s vibe, the Cyclo chair
was born and boasts elegant features providing comfort to users.
CONSOLATION PRIZE WINNER (ECO-FRIENDLINESS):
NGUYEN THE HUNG, VAN LANG UNIVERSITY (THE
HANGING MOON)
The inspiration for The Hanging Moon comes from ancient Hoi An
houses which use traditional materials. Designer Nguyen The Hung
feels that besides having a beautiful wood grain, American red oak’s
acceptance of moisture and excellent heat retention make it easy to
bend and join together thus enhancing the overall design.
CONSOLATION PRIZE
WINNER (AESTHETIC
& UNIQUENESS): DAO
SON TUNG & DAO
SON LAM, HANOI
UNIVERSITY OF
CONSTRUCTION (%)
Designers Dao Son Tung
and Dao Son Lam sought
to bring out the values of
village craft and traditional
art with a fresh perspective.
% is symbolic of indie-folk
music, a combination of the
catchy indie rock melody
with the sound of acoustic
in traditional folk music. It is
vibrant, attractive, modern,
but preserves traditional
culture. The acoustic part
is shown through the ceramics of the ancient village of Bat Trang,
combined with rock. The designers cleverly combine elements and by
using a premium material, in this case American red oak, elevate the
quality of the design. WIA
For the full list of awardees, visit the official website of the
American Hardwood Export Council.
WOOD IN ARCHITECTURE • ISSUE 2 – 2021 65

EVENTS CALENDAR
2021
AUGUST
South China International Industry Fair
04 to 06 August
Shenzhen, China
NOVEMBER
FENESTRATION BAU China
02 to 05 November
Shanghai, China
Dubai Wood Show
15 to 17 March
Dubai, UAE
MARCH
The Big 5 Dubai
22 August to 17 November
Virtual
Archidex
03 to 06 November
Kuala Lumpur, Malaysia
INAGREENTECH
17 to 19 March
Jakarta, Indonesia
Architect ’21
31 August to 05 September
Bangkok, Thailand
SEPTEMBER
Salone del Mobile. Milano
05 to 10 September
Milan, Italy
International Built
Environment Week (IBEW)
07 to 10 September
Singapore
The Big 5 Dubai
12 to 15 September
Dubai, United Arab Emirates
Project Qatar
04 to 07 October
Doha, Qatar
OCTOBER
NOVEMBER
China Yiwu International Forest
Products Fair
01 to 04 November
Zhejiang, China
China Architecture Design Expo
02 to 05 November
Shanghai, China
Futurebuild SEA
09 to 11 November (Physical)
01 to 30 November (Virtual)
Kuala Lumpur, Malaysia (Hybrid)
ArchXpo
24 to 26 November
Singapore (Hybrid)
2022
DECEMBER
BIFA WOOD Vietnam
03 to 06 December
Binh Duong, Vietnam
Design Shenzhen
09 to 12 December
Shenzhen, China
FEBRUARY
China (Beijing) International Building
Decorations & Building Materials
Exhibition
09 to 12 February
Beijing, China
HanoiWood
22 to 24 February
Hanoi, Vietnam
MegaBuild Indonesia
17 to 20 March
Jakarta, Indonesia
Gulf Construction Expo
22 to 24 March
Bahrain
Yapi – Turkeybuild Istanbul
23 to 26 March
Istanbul, Turkey
The Big 5 Saudi
28 to 31 March
Riyadh, Saudi Arabia
MAY
INDEX Dubai
24 to 26 May
Dubai, United Arab Emirates
JUNE
Carrefour International du Bois
01 to 03 June
Nantes, France
Design Shanghai
09 to 12 June
Shanghai, China
66 WOOD IN ARCHITECTURE • ISSUE 2 – 2021

INDEX OF ADVERTISERS
INDEX OF ADVERTISERS
Advertiser
Page
Advertiser
Page
American Lumber 11
Softwood Export Council
IFC
Baillie Lumber 9
Technik Associates, Inc
IBC
BIFA Wood Vietnam 2021 3
American Hardwood Export Council
OBC
Hanoi Wood 2022 68
Panels & Furniture Asia House Ad 2, 67
International Built Environment Week 2021 31
Kuang Yung Machinery Co., Ltd 15
Malaysian Timber Council 1
PEFC International 13
Scan to download
WIA Issue 2, 2021 ebook
@panelsfurnitureasia
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W O O D & W O O D W O R K I N G
20-22 JANUARY 2021
HANOIWOOD 2022
河 内 木 工 机 械 展
NEW DATE:
20-24 FEBRUARY 2022
Venue:
International Centre of Exhibition
(I.C.E ), Hanoi
91 Tran Hung Dao Street, Hoan Kiem
District, Hanoi , Vietnam
QR Code to exhibition
location on Google Map
JOINTLY ORGANISED BY
M A C H
BINH DUONG FURNITURE ASSOCIATION
VIETNAM TIMBER AND
FOREST PRODUCT ASSOCIATION
I R
F A
I N E R Y T R A D E
Pablo Shanghai
Contact: Rain Ma
Mobile: (86) 182 1755 3837
Email: 2229204646@qq.com
PANELS & FURNITURE GROUP
PLEASE CONTACT:
Pablo Publishing & Exhibition Pte Ltd
3 Ang Mo Kio Street 62 #01-23 Link@AMK
Singapore 569139
Tel: (65) 6266 5512 Mobile: (65) 9621 4283
Email: williampang@pabloasia.com

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