Wood In Architecture Issue 1, 2023

First published in 2017, Wood in Architecture (WIA) is a bi-annual trade magazine devoted to the international timber construction sector. The newest addition to the Panels & Furniture Group of wood magazines, WIA features in-depth insights to the latest industry news, incredible projects and leading trade events. WIA is an advocate for timber as a material of choice for today’s built environment, and is the perfect source of inspiration for architects, builders, engineers and interior designers across the globe.

First published in 2017, Wood in Architecture (WIA) is a bi-annual trade magazine devoted to the international timber construction sector. The newest addition to the Panels & Furniture Group of wood magazines, WIA features in-depth insights to the latest industry news, incredible projects and leading trade events. WIA is an advocate for timber as a material of choice for today’s built environment, and is the perfect source of inspiration for architects, builders, engineers and interior designers across the globe.

  • No tags were found...

Create successful ePaper yourself

Turn your PDF publications into a flip-book with our unique Google optimized e-Paper software.

www.panelsfurnitureasia.com<br />

ISSUE 1, <strong>2023</strong><br />

What is the role of a<br />

library?<br />

Sylva: Prefabricated,<br />

modular mass timber<br />

elements in one kit<br />

Scan to<br />

download<br />

WIA <strong>Issue</strong> 1,<br />

<strong>2023</strong> ebook<br />

Sandwiched Variable<br />

Eggcrate Structure:<br />

Reconstituted timber<br />

component for wall<br />

and flooring use

We Know<br />

<strong>Wood</strong>.<br />

And we want to share<br />

what we know about some<br />

of the most beautiful,<br />

sustainably-grown species<br />

in the world.<br />

Softwood Export Council<br />

is your go-to resource<br />

for information on U.S.<br />

wood products, and we’re<br />

invested in creating and<br />

maintaining relationships<br />

world-wide. With industry<br />

connections across the<br />

United States, there’s<br />

no better avenue into<br />

importing the highest<br />

quality American species.<br />

For more information, visit<br />




34<br />

12<br />

32<br />

2 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


04 Editor’s Note<br />

06 News<br />


12 What is the role of a library?<br />


26 Timber construction<br />

business: How to make it a<br />

success story<br />


30 Compliance with North<br />

American composite wood<br />

formaldehyde emission rules<br />

32 EDGE Suedkreuz Berlin<br />



34 Aurum: Modern, sustainable<br />

architecture embraced by<br />

historic surroundings<br />

36 Sylva: Prefabricated,<br />

modular mass timber<br />

elements in one kit<br />


39 Communicating with mass<br />

timber: <strong>Wood</strong>en telecom<br />

towers by EcoTelligent<br />

42 Glulam columns for a<br />

veranda<br />

DESIGN<br />

44 Escapes – The landscapes of<br />

the soul: <strong>Wood</strong>-dye veneers by<br />

TABU<br />

46 Paseo Mallorca 15<br />



49 Sandwiched Variable Eggcrate<br />

Structure: Reconstituted<br />

timber component for wall and<br />

flooring use<br />

52 The Circus<br />


54 Harder than hardwood:<br />

<strong>Wood</strong>ura by Välinge Flooring<br />

56 2022: Challenging year for<br />

global laminate flooring sector<br />

FIT-OUTS<br />

57 Sycamore tree hung in hotel<br />

lobby<br />

59 Yamagiwa Osaka showroom<br />

and office<br />


61 Workspace Design Show <strong>2023</strong><br />

62 BEX Asia <strong>2023</strong><br />

63 Events Calendar<br />

64 <strong>In</strong>dex of Advertisers<br />

42<br />

46<br />

36<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 3


When will the mass<br />

timber revolution hit<br />

South East Asia?<br />

It is not often for somebody who lives in South<br />

East Asia to see mass timber structures.<br />

<strong>Wood</strong>en buildings, maybe — depending on<br />

which country you stay. <strong>Wood</strong>en cabins or<br />

small houses are probably plenty in rural<br />

regions, but for urbanised Singapore you get a<br />

steel and concrete jungle everywhere.<br />

Mass timber has taken hold of many western<br />

countries and in some parts of Asia-Pacific,<br />

but it is slow on the uptake for South East<br />

Asia. Familiar arguments in support of mass<br />

timber, such as its inexpensiveness in terms of<br />

material and labour, might not apply in South<br />

East Asian context. Specific to Singapore,<br />

architects and designers need to import<br />

timber from EU countries or New Zealand, and<br />

that marks up the cost of building with mass<br />

timber. They need to install sprinkler systems<br />

as well, and that increases costs.<br />

That does not mean that mass timber is a<br />

lost cause for South East Asia, of course.<br />

Mass timber still is a worthy investment for<br />

our environment and the carbon-intensive<br />

construction industry, although the caveat to<br />

this is that the timber used to create mass<br />

timber elements must be sustainably<br />

harvested and sourced. After all,<br />

deforestation, land conversation and illegal<br />

forestry are also culprits of increasing<br />

greenhouse gas emissions.<br />

<strong>In</strong> this issue, we interviewed architect<br />

and creative director Pan Yi Cheng,<br />

who invented the Sandwiched Variable<br />

Eggcrate Structure, a flooring and wall<br />

module prototype (p.49). This prototype<br />

aims to decarbonise the construction<br />

industry by targeting low-storey houses<br />

in Singapore, as well as address the<br />

aforementioned expensiveness of<br />

importing timber from western countries<br />

by using reconstituted timber from<br />

Malaysia to build the prototype.<br />

We also talked to global sawnwood<br />

producer Stora Enso about their new kit for<br />

prefabricated, mass timber elements, Sylva<br />

(p.36). With manpower in the construction<br />

industry getting scarcer and the demand<br />

for green buildings growing, Sylva aims to<br />

be the answer to these two issues, tailormade<br />

for various building typologies.<br />

Libraries are our central theme for this<br />

issue’s Big Picture column. When we think of<br />

libraries, we think of books. However, a closer<br />

look at the projects we feature — and many<br />

others out there in the world — tell a different<br />

story: How can libraries become communal<br />

spaces as well? And what is the effect of<br />

using wood in such spaces?<br />

We hope to continue bringing everyone<br />

inspiring and beautiful projects of wooden<br />

architecture and interior design in the new<br />

year. And if ever you come across new<br />

projects, don’t hesitate to reach out to us and<br />

let us know. We will be happy to showcase<br />

them.<br />




Publisher<br />

William Pang • williampang@pabloasia.com<br />

Editor<br />

Yap Shi Quan • shiquan@pabloasia.com<br />

Business Development Manager<br />

Pang YanJun • yanjun@pabloasia.com<br />

Graphic Designer<br />

Goh Meng Yong • mengyong@pabloasia.com<br />

Circulation Manager<br />

Shu Ai Ling • circulation@pabloasia.com<br />


General Manager<br />

Ellen Gao • pablobeijing@163.com<br />


Editor<br />

Kresly Shen • pabloshanghai@163.net<br />



3 Ang Mo Kio Street 62, #01-23, Link@AMK,<br />

Singapore 569139<br />

Tel : +65 6266 5512<br />

Email: info@pabloasia.com<br />

www.panelsfurnitureasia.com<br />

Company Registration No: 200001473N<br />

Singapore MICA (P) No: 084/12/2022<br />



Tel : +86 10 6509 7728<br />

Email : pablobeijing@163.com<br />


Tel : +86 21 5238 9737 / 36<br />

Email : pabloshanghai@163.net<br />

let's connect!<br />

@wood.ia<br />

All rights reserved. Views of writers do not necessarily reflect the views<br />

of the Publisher. No part of this publication may be reproduced in any<br />

form or by any means, without prior permission in writing from the Publisher<br />

and copyright owner. Whilst every care is taken to ensure accuracy<br />

of the information in this publication, the Publisher accepts no liability for<br />

damages caused by misinterpretation of information, expressed or implied,<br />

within the pages of the magazine. All advertisements are accepted on the<br />

understanding that the Advertiser is authorised to publish the contents of<br />

the advertisements, and in this respect, the Advertiser shall indemnify the<br />

Publisher against all claims or suits for libel, violation of right of privacy and<br />

copyright infringements. Panels & Furniture Asia is a controlled-circulation<br />

magazine with two issues a year. It is mailed free-of-charge to readers who<br />

meet a set of criteria. Paid subscription is available to those who do not<br />

fit our terms of control. Please refer to subscription form provided in the<br />

publication for more details.<br />

Printed by Times Printers Pte Ltd<br />

Scan to subscribe<br />

to WIA’s enewsletter<br />

Front cover image: Nick Kane<br />

4 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

in conjunction with<br />

SFS & MT VIETNAM <strong>2023</strong><br />

www.sfsmtwoodexpo.com<br />

30 JUNE TO 03 JULY <strong>2023</strong><br />

VENUE :<br />




2, TÂN HƯNG THUẬN, QUẬN 12,<br />



Organised by:<br />

PABLO<br />



PTE LTD<br />

Official Media:<br />

Contact us:<br />

sales@pabloasia.com<br />

+65 62665512<br />

WECHAT<br />


NEWS<br />



According to the Decorative Hardwoods<br />

Association, imports of multi-layered<br />

wood flooring into the US rose by<br />

more than 11% in value to more than<br />

US$1.3bn and 7% in volume to more<br />

than 761 million square feet in 2022.<br />

Data from the US <strong>In</strong>ternational Trade<br />

Commission showed that there were<br />

strong increases that followed growth<br />

of more than 31% in volume in 2021<br />

compared to 2020.<br />

Asia, in particular South East Asia,<br />

swept the top few positions. Imports<br />

from Vietnam rank first, increasing by<br />

nearly one-third in 2022 from 2021,<br />

with approximately 209 million square<br />

feet imported and $311m in value.<br />

Cambodia, China, Malaysia, Thailand<br />

and <strong>In</strong>donesia followed after, although<br />

Cambodia and China saw a fall in<br />

volume compared to 2021, with 4.1%<br />

and 20.4% decrease respectively, and a<br />

fall in value with 2.6% and 16.2%.<br />

<strong>In</strong> contrast, Malaysia, Thailand and<br />

<strong>In</strong>donesia recorded robust increases<br />

in volume and value. Malaysia<br />

experienced a 34.4% increase in<br />

volume and 39.8% in value, Thailand<br />

with 46% and 53.4% increases, and<br />

<strong>In</strong>donesia with 31.5% and 24.1%<br />

increases. WIA<br />



Sumitomo Forestry has announced it<br />

has jointly established three companies<br />

— Bywater SFC Holdings, Bywater SFC<br />

Management and Bywater SFC <strong>In</strong>vestments,<br />

or collectively known as Bywater SFC —<br />

with British real estate developer Bywater<br />

Properties.<br />

With a shared business vision to realise<br />

decarbonisation, Sumitomo Forestry and<br />

Bywater are developing a six-storey mass<br />

timber office building in London, UK.<br />

The establishment of Bywater SFC will<br />

serve to further strengthen the relationship<br />

of these two companies. It also marks<br />

Sumitomo Forestry’s full-scale entry into<br />

the UK real estate development market<br />

to promote environmentally conscious<br />

properties and mass timber constructions in<br />

Europe.<br />

Bywater specialises in the development,<br />

planning and management of real estate<br />

properties, primarily offices. It has developed<br />

mass timber and environmentally conscious<br />

properties in UK cities such as London,<br />

Manchester, Glasgow and Belfast.<br />

Sumitomo Forestry Group is engaged in a range<br />

of businesses revolving around wood, including<br />

forest management, timber and building<br />

material procurement and manufacturing,<br />

wooden construction, and wood biomass power<br />

generation.<br />

Within the construction industry, it is currently<br />

involved in the development of 4,000 mass<br />

timber build-to-rent housing units per year<br />

using 2×4 construction, as well as numerous<br />

medium- to large-scale mass timber<br />

constructions both in Japan and abroad, such<br />

as a 15-storey office building in Melbourne,<br />

Australia, a six-storey office building in London,<br />

UK, a seven-storey office building in Dallas, US,<br />

and a three-storey office building in Atlanta, US.<br />

<strong>In</strong> February 2022, Sumitomo Forestry<br />

established Sumirin UK which has been<br />

collaborating with Bywater to develop the<br />

London office building.<br />

Bywater SFC will develop real estate properties<br />

under the Bywater brand name. Its expansion<br />

into the European market is planned to<br />

include developing mass timber multi-family<br />

dwellings, refurbishing buildings, and several<br />

environmentally conscious projects using<br />

existing construction methods.<br />

According to Sumitomo Forestry, demand for<br />

environmentally conscious real estate is high<br />

in Europe, which leads the world in terms of<br />

climate change policies.<br />

Under the UK’s Assessment of Environmental<br />

Performance of Buildings (BS EN15978),<br />

for buildings constructed of wood from<br />

sustainable forests and designed so that<br />

the wood is reused after demolition, wood<br />

carbon sequestration can be subtracted in the<br />

calculation of the building’s Whole Lifecycle<br />

Carbon (WLC) emissions.<br />

The UK ranks number one in Europe in terms<br />

of commercial real estate investments and the<br />

number of residential transactions, as reported<br />

by the European Mortgage Federation.<br />

Recent advances in wood fireproofing and<br />

other technologies have led to the streamlining<br />

of building certification and administrative<br />

licensing systems, resulting in an increase in<br />

the number of medium- to large-scale mass<br />

timber construction projects. WIA<br />

6 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

NEWS<br />



Back in October 2022, the municipal government<br />

of Shanghai began to promote low-carbon,<br />

zero-carbon and even negative carbon emission<br />

technology innovations to support the carbon<br />

peak and carbon neutrality strategies for the city.<br />

According to Canada <strong>Wood</strong> Group, Shanghai<br />

officials are reportedly working on positioning<br />

the city as an exemplary model for the national<br />

double carbon goals, to reach carbon peak by<br />

2030 and carbon neutrality by 2060.<br />

Ten action plans were formulated to support<br />

the goals, which includes the zero-carbon<br />

technologies of urban and rural construction<br />

and transportation areas.<br />

The government published an official notice<br />

for the Carbon Peak and Carbon Neutrality<br />

Implementation Plan with Science and<br />

Technology Backing, which has been<br />

announced with the participation of six<br />

municipal authorities.<br />

The implementation plan sets specific<br />

targets, such as the R&D of low-carbon<br />

related technology systems covering energy,<br />

industry, construction, and transportation<br />

areas; completion of demonstration projects;<br />

and establishment of carbon neutralityrelated<br />

laboratories and green technological<br />

innovation centres.<br />

To promote the green and low-carbon<br />

construction of urban areas, communities and<br />

rural areas, the plan promotes the R&D of key<br />

technologies for carbon reduction throughout<br />

the lifecycle of buildings.<br />

It specifically lists low-carbon or zerocarbon<br />

building materials for design and<br />

construction, calling for action on the<br />

R&D of new building materials as well as<br />

structural systems with natural materials<br />

that can sequester carbon, including wood<br />

structures.<br />

During the China-Canada Green Low Carbon<br />

Construction Exchange organised by<br />

Forestry <strong>In</strong>novation <strong>In</strong>vestment (FII) China,<br />

the Shanghai Management Commission of<br />

Housing and Urban-Rural Development also<br />

reiterated the importance of the inclusion of<br />

wood in the plan.<br />

China’s carbon peak and carbon neutrality<br />

strategy are creating more opportunities for<br />

wood construction development across the<br />

country, with the carbon advantages of wood<br />

gaining more awareness among Chinese<br />

government stakeholders. WIA<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 7

NEWS<br />



According to Canada <strong>Wood</strong> Korea, South<br />

Korea envisions timber as the key construction<br />

material to reach its carbon neutrality target.<br />

The trend of building with wood using mass<br />

timber technology in larger and taller public<br />

buildings has been reinforced by repeated<br />

statements from various levels of government<br />

in recent years.<br />

Canada aims to take advantage of this market<br />

opportunity, particularly in the public building<br />

sector, by promoting the use of nail-laminated<br />

timber (NLT), a cost-effective substitute<br />

to cross-laminated timber (CLT) products.<br />

For cost-sensitive public building projects<br />

funded by the government, the simplicity and<br />

aesthetic quality of NLT have a unique catch.<br />

To generate meaningful impact, Canada <strong>Wood</strong><br />

has pivoted their demonstration efforts in<br />

this direction to showcase the use of NLT in<br />

public buildings such as a community centre<br />

and enable the Korean industry to get through<br />

the learning curve when it comes to design,<br />

manufacturing and installation.<br />

Their inaugural project was a community<br />

building in Jinju city focused on introducing<br />

various NLT roof configurations in a gable roof<br />

design.<br />

The second NLT demonstration is underway<br />

now. The project is located in Seungsan Village,<br />

a historic settlement featuring classic Korean<br />

wooden dwellings, and is famous for being<br />

the hometown of several corporate founders<br />

of large conglomerates like GS and LG Group.<br />

As a popular tourism destination, the demo<br />

project will be home to many travellers.<br />

Drawing upon knowledge gleaned from the<br />

first project, this building has incorporated<br />

The second NLT demonstration is underway in<br />

Seungsan Village (Image: Canada <strong>Wood</strong> Korea)<br />

various design components that improve<br />

manufacturing and construction cost. For<br />

example, its shed roof layout facilitates simpler<br />

and consistent NLT roof setup, resulting in<br />

cheaper production and no need for the steel<br />

columns seen in the first project.<br />

The Jinju municipality is encouraging the<br />

utilisation of wood and is the host city of the<br />

inaugural <strong>Architecture</strong> Festival in 2022, which<br />

explicitly recognised wood structures for their<br />

ability to maintain carbon neutrality. WIA<br />



Lunawood has entered into a partnership<br />

agreement with Nordic Timber Labs for the fire<br />

protection of planed Lunawood Thermowood<br />

products at their production facility in Nastola,<br />

Lahti, Finland.<br />

Lunawood is the producer of Lunawood<br />

Thermowood, a range of thermally treated<br />

wood products for facades, interiors and<br />

landscaping. Nordic Timber Labs is a provider<br />

of fire impregnation services.<br />

Himmelbyen, 2017-2019 by The Seasons (Image:<br />

Terkel Bo Grum-Schwensen/Bergsten Timber)<br />

The use of wood materials in facades has<br />

increased around the world, especially in<br />

growth centres where architects want to use<br />

natural wood products to bring warmth and<br />

soften modern architecture, and help replace<br />

fossil building materials with wood products<br />

that act as carbon stores.<br />

Without fire protection treatment,<br />

Thermowood belongs to the same fire<br />

class D as untreated wood. Using the<br />

fire impregnation method, Lunawood<br />

Thermowood will reportedly meet the<br />

required fire class B of the facade structures<br />

of P1 and P2 buildings.<br />

The used technology and method for fire<br />

protection is a documented, CE-marked<br />

treatment process which enables consistent<br />

quality in fire protection.<br />

“The cornerstone of Lunawood strategy is<br />

sustainability. Thanks to the fire impregnation<br />

technique we are able to bring our sustainable<br />

Thermowood to new heights in larger projects,<br />

replacing fossil-based materials. <strong>In</strong> addition,<br />

working with a local impregnation partner<br />

helps us minimise the overall climate footprint<br />

of the final product,” explained Maija Masalin,<br />

vice-president of marketing and product<br />

management at Lunawood.<br />

“We are happy that such specialised<br />

expertise has been established in Finland.<br />

This co-operation increases the degree<br />

of domesticity and both usability and<br />

competitiveness of sustainable wood<br />

products manufactured entirely in Finland in<br />

the international market.”<br />

Vincent Parasnis, CEO of Nordic Timber Labs,<br />

concluded: “We are proud to be teaming up<br />

with such a competent and well-respected<br />

innovator in the Thermowood space, and it<br />

is exciting bringing novel technology to the<br />

Finnish timber market. The global commercial<br />

footprint of Lunawood products helps us<br />

enable fire safe wood construction all around<br />

the world.” WIA<br />

8 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

NEWS<br />



Paseo Mallorca 15, designed by OHLAB<br />

architects, has won the Best Use of Certified<br />

Timber prize, supported by the Programme for<br />

the Endorsement of Forest Certification (PEFC)<br />

at the 2022 World <strong>Architecture</strong> Festival (WAF).<br />

The prize recognises architects for their use<br />

of certified timber as a key element of their<br />

project and something that makes it stand out<br />

in terms of sustainability, innovation, quality<br />

and aesthetics.<br />

The judges praised the project for its<br />

“masterful control of light” and “timeless<br />

beauty and technical innovation”.<br />

“The building shows the many ways that PEFCcertified<br />

material can deliver sustainability to<br />

global building design,” said Fabienne Sinclair,<br />

head of marketing of PEFC, who presented the<br />

award.<br />



Set on a tree-lined promenade in the heart of<br />

the Spanish city of Palma de Mallorca, Paseo<br />

Mallorca 15 is a new residential complex has<br />

sustainability and energy efficiency at heart.<br />

The facade, supplied by GRUPO GUBIA, is<br />

made of PEFC-certified Scots pine that has<br />

been thermally modified due to the building’s<br />

close proximity to the sea. This treatment<br />

gives the timber minimal contractions and<br />

expansion movements. Vertical timber slats<br />

are brushed on all sides, with different sections<br />

and separations, then fixed to an anodised<br />

aluminium frame.<br />

According to PEFC, more than 350 fixed and<br />

sliding timber panels change the vision of the<br />

building continually and act as a solar filter or<br />

brise soleil.<br />

The design reflects traditional Majorcan<br />

carpentry and according to OHLAB is a<br />

“re-reading of the island’s traditional<br />

materials and systems…carried out in an<br />

abstract and contemporary key, creating a<br />

building that seeks to be totally efficient and<br />

sustainable as well as creating a pleasant<br />

and stimulating sensory experience for its<br />

inhabitants”.<br />

The project has been designed according to<br />

Passivhaus standards to achieve maximum<br />

energy efficiency and to provide a healthy,<br />

comfortable living environment.<br />

To know more about Paseo Mallorca 15, flip to<br />

page 46. WIA<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 9

NEWS<br />



1<br />

1 The mentors of SLOW Spain, as well as designers for the workpieces<br />

showcased for Natural Connections. From left: Jorge Penadés,<br />

Álvaro Catalán de Ocón, <strong>In</strong>ma Bermúdez and Moritz Krefter<br />

2 The furniture pieces showcased for SLOW Spain<br />

2<br />

The American Hardwood Export Council<br />

(AHEC) has presented two wood design<br />

projects at the Madrid Design Festival<br />

<strong>2023</strong>, held from 7 Feb-12 Mar <strong>2023</strong>.<br />

The first is ‘SLOW Spain: Slow design for<br />

fast change’, a project in collaboration<br />

with nine Spanish design schools that<br />

showcases the talent and ideas of<br />

the emerging design generation while<br />

exploring the material possibilities<br />

of four sustainable but underused<br />

American hardwoods for furniture<br />

design.<br />

The projects have been mentored by<br />

designers <strong>In</strong>ma Bermúdez and Moritz<br />

Krefter from Studio <strong>In</strong>ma Bermúdez,<br />

Álvaro Catalán de Ocón from studio<br />

ACdO, and Jorge Penadés from Oficina<br />

Penadés.<br />

Together with the students, they<br />

have worked to refine and shape the<br />

students’ ideas using red oak, maple,<br />

cherry and tulipwood.<br />

The exhibition aims to show the<br />

importance of ‘slow design’ and how<br />

this philosophy can be applied<br />

in furniture creation. As well as<br />

being an opportunity to learn<br />

more about the importance of<br />

sustainability in furniture design,<br />

the ‘slow’ approach can contribute<br />

to a positive change in the current<br />

culture of fast furniture.<br />

Each of the pieces has been<br />

handcrafted in the La Navarra<br />

carpentry in Madrid. The final<br />

designs mix aesthetics with<br />

functionality, and range from side<br />

tables to a bookcase-screen, a desk<br />

or the reinvention of a chair.<br />

“SLOW is about education and<br />

opportunity. We have attempted<br />

to fill the gap in design education<br />

which often does not provide an<br />

in-depth experience for design<br />

students to learn about and work<br />

with hardwood materials,” said<br />

David Venables, European director<br />

of AHEC.<br />

The second project is ‘Natural<br />

Connections’, which reportedly<br />

aims to connect materials and people in<br />

a playful, conscious and nature-focused<br />

way.<br />

The aforementioned mentor-designers<br />

were invited to create three pieces of<br />

furniture for public spaces, designed to<br />

help people encounter and rediscover<br />

nature, using red oak, maple or cherry.<br />

The result is a collection of pieces that<br />

promote fun and interaction.<br />

“Our collaboration with the Madrid<br />

Design Festival, Matadero Madrid and<br />

three of the most important design<br />

studios in Spain has provided an amazing<br />

opportunity to connect the public with<br />

the worlds of design, craft, and wood,”<br />

said Venables.<br />

“The design teams worked with<br />

maple, cherry, and red oak to create<br />

playful, original, and highly innovative<br />

installations that we hope will provide<br />

engagement, excitement and a<br />

connection for visitors to these wonderful<br />

natural materials.” WIA<br />

Images: AHEC<br />

10 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

NEWS<br />



The state government of South Australia has<br />

announced that public houses built in South<br />

Australia must use products manufactured<br />

in the state.<br />

This means the state government requires<br />

core products used in construction, including<br />

bricks, timber frames, concrete, reinforcing<br />

steel, steel frames, windows, security doors<br />

and steel for roofing, fencing and rainwater<br />

tanks, to be manufactured locally in South<br />

Australia.<br />

house framing timber and about 25% of the<br />

nation’s particleboard, and it is great news<br />

that this policy will support our domestic<br />

manufactured product over imported product,<br />

thereby support local jobs.”<br />

Furthermore, the cross-laminated timber<br />

(CLT) and glue-laminated timber (glulam)<br />

expansion by Timberlink is expected to help<br />

secure the southeast region of Australia as one<br />

of Australia’s leading timber manufacturing<br />

regions, unlocking further economic activity for<br />

the region. WIA<br />

Source: Timberbiz<br />

According to Timberbiz, this announcement<br />

came after government reforms, where the<br />

new government has made promises to<br />

make policy changes that will benefit local<br />

businesses, manufacturers and workers.<br />

The state government will also commit<br />

AU$177.5m to build 400 new homes and<br />

refurbish another 350, which will benefit<br />

local manufacturers and South Australia<br />

businesses, especially in times of a stressed<br />

housing market.<br />

The government is further targeting an<br />

increase of $425m per year in work awarded<br />

to South Australia businesses.<br />

“This is a big win for manufacturing<br />

industries in South Australia, particularly<br />

the forest industries, giving such sectors<br />

a boost of confidence and recognition by<br />

the state government,” said Nathan Paine,<br />

CEO of South Australian Forest Products<br />

Association.<br />

“Timber frames are a core manufactured<br />

product in South Australia that supports<br />

our residential construction and building<br />

industries, and we are please that locally<br />

grown trees [will help in] building and<br />

refurbishing affordable public homes for<br />

South Australians.<br />

“The South Australian forest industries<br />

process about 35% of Australia’s structural<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 11


What is the role<br />

of a library?<br />

12 WOOD IN ARCHITECTURE • ISSUE 12 – <strong>2023</strong> 2022


Libraries have long developed past their sole purpose of<br />

collecting books for use. As public spaces where<br />

the community can gather to work, play, and<br />

socialise, and as models for sustainability,<br />

the following projects showcase timber<br />

libraries in all their versatility, encapsulating<br />

not only culture, but also enjoyment,<br />

neighbourliness, and warmth.<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 13


2<br />

1<br />

Climate-conscious<br />

design<br />

PROJECT: Microlibrary Warak Kayu<br />

LOCATION: Semarang, <strong>In</strong>donesia<br />

ARCHITECTURE FIRM: SHAU <strong>In</strong>donesia<br />

STRUCTURAL ENGINEER: Joko Agus Catur Wibowo<br />


Kayu Lapis <strong>In</strong>donesia<br />

CONTRACTOR: RAH Contractor<br />

PHOTOGRAPHY: KIE & team<br />


The Microlibrary Warak Kayu is<br />

the fifth built project within the<br />

Microlibrary series, an <strong>In</strong>donesian<br />

initiative to increase reading interest<br />

by creating socially-performative<br />

multifunctional community spaces<br />

with environmentally conscious<br />

design and materials, which aim to<br />

serve low-income neighbourhoods in<br />

<strong>In</strong>donesia. Designed by architecture<br />

firm SHAU and prefabricated by<br />

Kayu Lapis <strong>In</strong>donesia, an integrated<br />

wood manufacturing company, this<br />

project is a community, private sector<br />

and government collaboration. The<br />

microlibrary charges no entry fee and<br />

is run by Harvey Centre, a locallyembedded<br />

charity group in Semarang,<br />

the <strong>In</strong>donesian capital of Central<br />

Java, in coordination with the local<br />

government.<br />

Architecturally it represents SHAU’s<br />

passive climate design, material,<br />

and typology experimentation for<br />

the tropical context. After numerous<br />

design iterations, the most favourable<br />

design concept was the one with<br />

the whole building being elevated,<br />

like a traditional rumah panggung —<br />

which translates to house on stilts —<br />

because it does not only function as a<br />

library but adds value by becoming a<br />

neighbourhood and community centre,<br />

at the same time being used to promote<br />

<strong>In</strong>donesian engineered wood products<br />

and manufacturing capabilities. By<br />

elevating the library, various spatial<br />

configurations, multiple programmes<br />

and a range of activities can be offered.<br />

On the ground is a large semi-outdoor<br />

area which can be used for workshops,<br />

as well as a wide tribune seating at the<br />

entrance for watching presentations or<br />

movies, and to grab children’s attention,<br />

a wooden swing. The ground area is<br />

framed by a ring of planter boxes to<br />

create a more intimate atmosphere.<br />

Upstairs in the library itself, there is a<br />

net where kids can lie down, relax and<br />

read but also directly communicate<br />

14 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


2 3<br />

1 The library has a net where kids can lie down,<br />

relax and read but also directly communicate<br />

with people underneath<br />

2 Bangkirai-based finger joint laminate was<br />

used for columns and beams<br />

3 A wide tribune seating at the entrance for<br />

watching presentations or movies<br />

with parents and friends in the space<br />

underneath. It is important to have this multiprogrammatic<br />

approach to make the library a<br />

popular place, since reading alone is not yet<br />

considered a fun activity in the country.<br />

The Microlibrary Warak Kayu is the latest<br />

addition to the architecture landscape of<br />

Semarang. It is built at Taman Kasmaran, a<br />

public square in the city centre with direct<br />

proximity with a river and has a view to<br />

Kampung Pelangi, or Rainbow Village, a local<br />

tourist attraction. The square has a cafeteria<br />

with warungs, also known as small vendors,<br />

underneath, and there is a local school nearby.<br />

The library will be part of the city’s tourism<br />

route where the bus tour will stop. <strong>In</strong> that<br />

sense, the library serves not only the local<br />

neighbourhood but is embedded in the larger<br />

city network and thus has an increased reach.<br />



The building can be seen as a living<br />

educational spot for wood material and<br />

construction techniques and is <strong>In</strong>donesia’s<br />

first Forest Stewardship Council (FSC)<br />

project certified building. This is possible<br />

with the donor and client, Arkatama<br />

Isvara Foundation. A variety of Kayu Lapis<br />

<strong>In</strong>donesia’s available materials and products<br />

for construction are used and only the<br />

foundation, footings and roof cladding are not<br />

wood-based materials.<br />

The design process includes a bottom-up<br />

process, where all available products in the<br />

factory were first evaluated, and the design<br />

was developed from that. As one of the<br />

design-exploration results, the brise soleil<br />

was based on the Zollinger Bauweise, a<br />

construction system developed in the 1920s<br />

in Germany. It is a form of reciprocal system,<br />

resulting in a distinctive slightly shifted<br />

diamond pattern. This pattern happens to<br />

resemble a local mythical creature, Warak<br />

Ngendog, and its dragon-like skin, displayed<br />

during annual festivals in Semarang. Hence<br />

the name Warak Kayu in <strong>In</strong>donesian,<br />

meaning wooden Warak, which is a positive<br />

narrative for communicating the design to a<br />

wider audience.<br />



The Microlibrary Warak Kayu is designed<br />

around passive climatic design aspects: No air<br />

conditioning is used, and therefore no energy is<br />

spent. Semarang has a tropical monsoon climate<br />

according to Köppen climate classification with<br />

temperatures up to 34°C during the end of dry<br />

season. The building is cooled down by means<br />

of cross ventilation and solar heat is prevented<br />

from entering using shading elements. The roof<br />

overhang provides shading around noon. The<br />

longer facades are oriented north-west and<br />

south-east due to site restrictions. Therefore, an<br />

eggcrate-like deep screen is designed to block<br />

the lower sun altitude angles in the mornings and<br />

afternoons. That means direct sunlight cannot<br />

enter the building in an unobstructed way. As a<br />

result, the diffuse-reflected sunlight is sufficient<br />

to read books without artificial lighting. <strong>In</strong><br />

addition, the depth requirement of the Zollinger<br />

brise soleil was determined by the angular<br />

relationship between the sun path and building<br />

rotation. The cross ventilation aspect also helps<br />

to drag moisture out of the building and prevent<br />

books from getting mouldy or damaged.<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 15


1<br />

4<br />

5<br />

4 Only bangkirai<br />

is used for the<br />

main structure of<br />

columns, beams<br />

and secondary<br />

beams<br />

5 The Zollinger<br />

brise soleil,<br />

eggcrate design<br />

blocks the lower<br />

sun altitude<br />

angles in the<br />

mornings and<br />

afternoons<br />

<strong>Wood</strong> as construction material<br />

outperforms many other materials<br />

regarding embodied energy, water and<br />

air pollution, carbon footprint, and<br />

it is also a re-growing material. For<br />

the Microlibrary Warak Kayu all wood<br />

materials are in compliance to the SVLK<br />

Timber Legality Verification for certified<br />

timber, and almost all according to<br />

FSC certification. <strong>Wood</strong> is sustainably<br />

logged in Central Kalimantan, then<br />

shipped from Sampit over the Java<br />

Sea southwards to Semarang and<br />

the factory. The whole process also<br />

includes nursery, replanting and<br />

harvesting time planning to maintain<br />

sustainability for the coming years.<br />

Various types of wood products and<br />

wood species were used. For the main<br />

structural components like columns<br />

and beams, bangkirai-based finger joint<br />

laminate — a tropical hardwood with<br />

high weather resistance often used for<br />

outdoor furniture and decks — was<br />

used. For decking and the Zollinger<br />

brise soleil, different meranti-based<br />

plywood types in various thicknesses<br />

were employed.<br />

The main structure of columns, beams<br />

and secondary beams has the highest<br />

volume of all materials. Here, only<br />

bangkirai is used. The by-products of<br />

this manufacturing in form of leftover<br />

and small-cut wood pieces are<br />

trimmed and processed for finger joint<br />

strip elements. That means the whole<br />

structural elements also make use of<br />

factory leftovers.<br />

Apart from the concrete foundation all<br />

wooden elements are prefabricated at<br />

the Semarang factory and transported<br />

within 20km to the site. Prefabrication<br />

of the elements at the factory, on-time<br />

delivery and on-site assembly mean<br />

less noise, dust and generally less<br />

harmful impacts on the direct<br />

environment during assembly, and at<br />

the same time, faster construction time.<br />

<strong>In</strong> addition, with prefabrication at the<br />

factory, due to better trained workers,<br />

modern tools, higher safety standards,<br />

a safer construction process but also<br />

higher degree of precision is reached,<br />

and with that, fewer mistakes are made.<br />

This in return produces less waste.<br />

<strong>In</strong> general, wooden waste material<br />

produced at the factory can be collected<br />

more easily because no sorting is<br />

needed. Also, there is minimal distance<br />

involved in transporting waste for<br />

recycling, and valuable leftovers from<br />

cutting can be used for other products<br />

consisting of smaller pieces also made<br />

at the factory. The construction of<br />

the main structural elements uses a<br />

mixture of engineered connections and<br />

carpenter joints — most notably scarf<br />

joints — for prolonging the main beams<br />

due to manufacturing practicality.<br />

16 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


1<br />

1<br />

A hybridised<br />

public space<br />

PROJECT: Lea Bridge Library Pavilion<br />

LOCATION: Leyton, London, UK<br />

ARCHITECTURE FIRM: Studio Weave<br />

CLIENT: London Borough of Waltham Forest<br />

STRUCTURAL ENGINEER: Timberwright<br />


Sebastian Cox<br />

PHOTOGRAPHY: Jim Stephenson<br />

COMPLETION: October 2021<br />

2<br />

London-based architecture practice Studio Weave has<br />

extended the Lea Bridge Library in east London, adding<br />

a cafe and adaptable community space with improved<br />

connection to the library’s gardens, resulting in a revived<br />

civic heart for the Borough of Waltham Forest.<br />

1 The Lea Bridge Library<br />

2 A library can offer places to work, learn,<br />

socialise, and gather, beyond just reading<br />

To connect the local and future community as the<br />

neighbourhood undergoes a period of cultural growth and<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 17


3<br />

regeneration, Studio Weave explored the<br />

changing role of a library in modern civic<br />

infrastructure conceiving a new wing that<br />

offers places to work, learn, socialise, and<br />

gather.<br />

Je Ahn, director of Studio Weave said: “We<br />

envisaged the Lea Bridge Library extension<br />

as a hybridised public space; a new town<br />

hall with wider opportunities for citizens to<br />

participate more fully in public life. Hybridised<br />

public spaces combine and maximise<br />

collective resources, and are unexpected<br />

engine rooms for community connection.<br />

“Since completing the new library extension,<br />

as locals we have witnessed first-hand the<br />

impact it has had on the community. The<br />

extension is always brimming with occupants:<br />

children’s parties on weekends, students,<br />

mother’s groups, and workshop attendees<br />

each week. We are proud to have contributed<br />

an environmentally-focused space for Leyton’s<br />

social and cultural growth.”<br />

The new 250m 2 wing sits to the rear of the<br />

Edwardian red brick library and occupies the<br />

western boundary of the site, designed to<br />

lightly touch the existing heritage building and<br />

its green space, Friendship Gardens. Studio<br />

Weave utilised the existing western garden<br />

wall as a structural spine, anchoring the<br />

structure and bulk of the building to one side,<br />

ensuring a seamless, open connection to the<br />

gardens. Cantilevered beams of high-strength<br />

laminated veneer lumber (LVL) support a<br />

length of overhead glazing and floating ceiling<br />

of timber battens. Floor-to-ceiling glazing<br />

along the entire east elevation invites the<br />

outdoors in, creating a visual and physical<br />

connection to Friendship Gardens.<br />

Studio Weave designed the new Lea Bridge<br />

Library extension to sit harmoniously in<br />

between existing mature trees in Friendship<br />

Gardens, resulting in a rectangular floor<br />

plan punctuated by a semi-circular glass cut<br />

out. The pavilion curves in and steps up at a<br />

central pinch point to protect the root system<br />

4<br />

18 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


of a neighbouring mature Common Lime<br />

tree. The architects used this momentary<br />

squeeze in the plan created by the sweeping<br />

concave glass as an opportunity to divide the<br />

pavilion. A pivoting timber door hangs flush<br />

with wall joinery and swings across to create<br />

a flexible private events space, offering a<br />

community asset while also future-proofing a<br />

further revenue stream for the library. A long<br />

colonnade stretches the length of the new<br />

extension, featuring a gently graded natural<br />

stone walkway to ensure level access to the<br />

rear event space. A facade of zig-zagging red<br />

precast concrete panels and columns nods<br />

to the tone of the brick used in the existing<br />

library, and conceal drainage which captures<br />

and redirects water down to the tree roots<br />

below the building.<br />

Accessibility is central to the success and<br />

popular use of the Lea Bridge Library Pavilion.<br />

Studio Weave designed two new access points<br />

to draw visitors in through the gardens at<br />

the side and rear of the site, bypassing the<br />

library’s quiet zone. The main entrance and<br />

foyer on Lea Bridge Road were refurbished to<br />

include new wash facilities, buggy parking and<br />

an upstairs staff room. From the foyer, the new<br />

cafe welcomes visitors before opening into the<br />

main space. A continuous wall of fluted timber<br />

joinery connects bookshelves with in-built<br />

banquette seating, creating interspersed open<br />

reading rooms. The open plan layout can be<br />

adapted for a range of cultural, recreational<br />

and community activities and be used at<br />

different times of day by different local groups<br />

and library users.<br />

The architects’ approach to sustainability<br />

can be felt throughout the building. Studio<br />

Weave balanced a light, open-plan community<br />

space that benefits from a considered passive<br />

cooling strategy supported by mechanical<br />

heat recovery ventilation (MVHR). The ceiling<br />

is positioned to protect the exposed aggregate<br />

floor from direct sunlight, and the continuous<br />

glass wall opens at intervals to allow for<br />

natural cross ventilation.<br />

Reuse is a strong theme throughout the new<br />

pavilion. All internal joinery and furniture<br />

timber were salvaged from trees felled across<br />

the publicly owned streets and parks across<br />

London in an effort to reduce the carbon<br />

footprint of the pavilion and reuse existing<br />

waste materials. The species of trees salvaged<br />

include London plane, poplar, sycamore, ash,<br />

holm oak, turkey oak, sequoia, horse chestnut<br />

and more, and add a variety of textures and<br />

tones to the custom-designed fitted and<br />

loose furniture. Studio Weave worked closely<br />

with local furniture maker Sebastian Cox,<br />

designing an in-built banquette with fluted<br />

timber shelving that stretches along the<br />

pavilion, reinforcing the link to the library<br />

while creating a natural visual language which<br />

is echoed by the trees outside in Friendship<br />

Gardens. Sebastian Cox also designed custom<br />

tables, chairs and sofas for the new space, all<br />

crafted from 25m 3 of waste timber.<br />

The project is a community element of<br />

the Borough of Waltham Forest’s cultural<br />

regeneration, supported by £411,000 from<br />

the Greater London Authority’s Good Growth<br />

Fund. Studio Weave is now working on the<br />

second phase of the library’s development,<br />

re-landscaping the garden and adding in play<br />

facilities to be delivered by summer <strong>2023</strong>.<br />

The extension has revived the library as a key<br />

cultural and community hub through which<br />

social cohesion is fostered, offering events,<br />

activities and opportunities to empower<br />

local residents. Where the library offers<br />

access to a wealth of knowledge, Studio<br />

Weave’s architecture offers an open public<br />

asset and space for the community to share<br />

experiences.<br />

5<br />

3 All internal joinery<br />

and furniture timber<br />

was salvaged from<br />

trees felled across<br />

London streets and<br />

parks<br />

4 Large windows<br />

for users to enjoy<br />

the fresh air and<br />

sunshine<br />

5 Cantilevered beams<br />

of high-strength LVL<br />

Alpa Depani, head of strategic planning and<br />

design at Waltham Forest Council, concluded:<br />

“The Lea Bridge Library extension is a warm<br />

and generous addition that responds with<br />

care to both the existing historic building,<br />

and the garden with its mature trees. It<br />

embeds sustainable principles and has been<br />

transformative in terms of opening up the<br />

possibilities for community life and activity,<br />

as proved by its popularity with a range of our<br />

residents.”<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 19


20 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong><br />



Durable and sustainable<br />

1 The New Library at Magdalene College<br />

2 The timber gable pitched roof<br />

PROJECT: New Library at Magdalene College<br />

ARCHITECTURE FIRM: Niall McLaughlin Architects<br />

CLIENT: Magdalene College<br />

TIMBER SUPPLIER: James Latham<br />


Piper Joinery<br />

CLT STRUCTURE: Eurban<br />

CLT SUPPLY: Stora Enso<br />

GLULAM STRUCTURE: Neue Holzbau<br />


TIMBER FLOORING: Pica Floorings<br />

PHOTOGRAPHY: Nick Kane<br />

COMPLETION: January 2021<br />

The new building at Magdalene College<br />

replaces cramped and poorly equipped<br />

facilities in the adjacent Pepys Building<br />

with a larger library, incorporating an<br />

archive facility and a picture gallery.<br />

The New Library is sited at a sensitive<br />

historic setting, along the boundary<br />

wall between the enclosed space of<br />

the Master’s Garden and the more<br />

open space of the Fellows’ Garden. Its<br />

placement extends the quadrangular<br />

arrangement of buildings and courts<br />

that developed from the monastic<br />

origins of the college site.<br />

2<br />

The library is approached from Second<br />

Court, through a little doorway and<br />

out under an old yew tree. From this<br />

corner visitors can sense the presence<br />

of the river opening out at the edge of<br />

the lawn. Niall McLaughlin Architects<br />

wanted to make the building a journey<br />

that gradually rose up towards the<br />

light. On the way up there would be<br />

rooms, galleries and places to perch<br />

with a book. At the top, there would<br />

be views out over the lawn towards<br />

the water. The architects wanted to<br />

create a variety of ways for someone to<br />

situate themselves depending on their<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 21


inclination. Visitors might sit in a grand hall,<br />

a small room, or tuck themselves into a tiny<br />

private niche.<br />

For the architects, good architecture plays<br />

variety of experience against the underlying<br />

order to produce harmony. The new library<br />

is based upon a logical latticework of<br />

interrelated elements. A regular grid of<br />

brick chimneys supports the floors and<br />

bookstacks and carries warm air up to<br />

ventilate the building. Between each set of<br />

four chimneys there is a roof lantern bringing<br />

light down into the spaces below: air rising<br />

and light falling. This regular array produces<br />

a natural hierarchy with narrow zones for<br />

circulation and wide zones for reading<br />

rooms. The delineation of load-bearing<br />

brick vertical structure, supporting spanning<br />

engineered timber horizontal structure is<br />

used to reinforce the organisational scheme.<br />

This creates an underlying pattern of warp<br />

and weft that the architects hope can be<br />

understood intuitively by people using the<br />

building.<br />

3<br />

3 Horizontal timber<br />

structure to reinforce<br />

the organisational<br />

scheme<br />

4 Engineered timber<br />

was used to reduce<br />

embodied carbon<br />

dioxide in the<br />

construction<br />

5 The timber window<br />

tracery will weather<br />

over time to become<br />

silvery grey<br />

The materiality and form of the new library<br />

are derived both from its context and from<br />

the college’s brief to make a highly durable<br />

and sustainable building. The older college<br />

buildings are of load-bearing brick, with<br />

timber floors and gabled pitched roofs<br />

structures. Brick chimneys animate the<br />

skyline and stone tracery picks out the<br />

fenestration. Niall McLaughlin Architects<br />

tried to make the new building from this set<br />

of architectural elements. They used timber<br />

instead of stone for the window tracery,<br />

which will weather over time to become<br />

silvery grey like stone colour. They worked<br />

carefully with their builders to find a variety<br />

of bricks that would match the tapestry-like<br />

quality of the older College buildings. At the<br />

same time, the New Library at Magdalene<br />

College is a modern building that employs<br />

passive ventilation strategies to minimise<br />

energy in use, and engineered timber<br />

structure to reduce carbon embodied in its<br />

construction.<br />

The New Library won the 26th RIBA Stirling<br />

Prize in 2022.<br />

4 5<br />

22 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


Warm,<br />

peaceful,<br />

tranquil<br />

PROJECT: Tonami Public Library<br />

LOCATION: Toyama, Japan<br />


MIKAMI Architects and<br />

Oshita Architects & Engineers<br />

AREA: 3,342.62m 2<br />

PHOTOGRAPHY: Kouji Horiuchi<br />

COMPLETION: November 2020<br />

1 1 A nighttime view of the<br />

library’s huge roof<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 23


The Tonami Public Library is a public<br />

library located in Tonami city, Toyama<br />

prefecture in Japan, facing the Sea<br />

of Japan. The countryside of Tonami<br />

has inherited a breathtaking rural<br />

landscape known as the ‘scattered<br />

villages’. The exterior of the main<br />

building conveys the reality of<br />

azumadachi there, a term which refers<br />

to a traditional Japanese house style.<br />

The concept of a ‘one-room library<br />

under a big roof’ was born from this<br />

image.<br />

The massive roof, like the large,<br />

gentle waves depicted, is a modern<br />

interpretation of azumadachi and a new<br />

landmark for Tonami city. The building<br />

is also positioned so that the road on<br />

the west side is parallel to the low<br />

eaves and the interior of the building<br />

is visible. The ceiling of this gently<br />

undulating main roof is approximately<br />

1,900m 2 and is finished with a design<br />

consisting of slender cedar planks.<br />

The total length of the cedar planks<br />

is 42km. The library is enveloped in<br />

the scent and warmth of dense wood,<br />

giving visitors a sense of peace and<br />

tranquility in a forest of books.<br />

<strong>In</strong>side the building, the ceiling inverts<br />

with the gentle waves of the main roof,<br />

connecting the two levels as one. The<br />

sloping ceiling on the north side of the<br />

building evokes a sense of liveliness.<br />

As one moves toward the back, the<br />

slope of the ceiling becomes gentler,<br />

and everyone, from children to the<br />

elderly, is enveloped by the warmth of<br />

1<br />

24 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


dense wood and natural light pouring<br />

in through the high windows. The<br />

facing staircase leading to the upper<br />

floor connects the upper and lower<br />

spaces, allowing visitors to freely view<br />

the entire interior from the second<br />

floor.<br />

<strong>In</strong> the interior, the combination of<br />

wood and poured concrete creates<br />

a calm reading space, while the<br />

tulip-patterned carpet — the flower<br />

representing Tonami city — and the<br />

tulip design evokes refreshment after<br />

studying.<br />

<strong>In</strong> addition, when sitting on a sofa-type<br />

reading chair while facing the street, the<br />

wooden ceiling can rest visitors’ eyes<br />

after a long day of reading. The ceiling,<br />

which extends to the eaves, leads the<br />

eye outside, allowing the viewer to enjoy<br />

the glass-paned windows. Meanwhile,<br />

a kids space allows the interior to be<br />

shared with the exterior world through<br />

the windows. WIA<br />

2 The one-room library under a big<br />

roof concept<br />

3 The wooden ceiling rests visitors’<br />

eyes after a long day of reading<br />

4 The library is enveloped in the<br />

scent and warmth of dense wood<br />

2 3<br />

4<br />

WOOD IN ARCHITECTURE • ISSUE 1– <strong>2023</strong> 25


Timber<br />

construction<br />

business:<br />

How to make<br />

it a success story<br />

By Peter Hartmann, South East Asia market responsible,<br />

and Michael Postulart, senior consultant, Schuler Consulting<br />

navigate through the jungle of project<br />

requirements, and implement<br />

construction projects from design to<br />

production.<br />


MARKET<br />

Many entrepreneurs have recognised<br />

that the future lies in timber<br />

construction. Both investors who come<br />

from the classical object construction<br />

with mineral building materials as<br />

well as non-industry stakeholders are<br />

looking for their place in the market.<br />

Those who build with wood now are<br />

moving with the trend, for timber<br />

construction offers answers to modern<br />

man’s question of sustainable and<br />

affordable living space. By 2050, more<br />

than two billion additional individuals<br />

are expected to seek a roof over their<br />

heads. With the housing industry<br />

coping with this major task, wood can<br />

help to go the extra mile. <strong>In</strong> housing<br />

densification, wood as a building<br />

material is already better than other<br />

materials due to its properties, such as<br />

lower weight and higher stability.<br />

The race is on: One prestigious<br />

project follows the next. The current<br />

tallest timber building at 85.4m-tall,<br />

Mjøstårnet, based in the town of<br />

Brumunddal, <strong>In</strong>nlandet, Norway, will<br />

soon surrender its place to the next<br />

record chaser, the Rocket in the city<br />

of Winterthur, Switzerland, which is<br />

scheduled to reach the 100m mark in<br />

2026. With timber construction, many<br />

want to reach new heights. Multi-storey<br />

buildings are often intended not only<br />

to set new construction standards,<br />

but also to serve as an example of<br />

urban living. The wooden giants are<br />

unique, but they have one thing in<br />

common: They are complex. From<br />

vision to implementation, there are<br />

several hurdles to overcome. Schuler<br />

Consulting can help companies<br />

But it is not only the building material<br />

itself that is appealing. Strengthened by<br />

the social demand for green building,<br />

timber construction is developing out<br />

of its niche and into a real movement.<br />

<strong>Wood</strong> is also a showcase candidate in<br />

terms of climate friendliness. While<br />

conventional construction emits<br />

up to 600kg of CO2 per tonne of<br />

cement, the wood used in multi-storey<br />

buildings in timber construction saves<br />

more CO2 than is emitted during the<br />

construction project. <strong>In</strong> the case of<br />

hybrid construction methods, with<br />

a combination of elements made of<br />

wood and wood-based materials as<br />

well as elements made of, for instance,<br />

concrete, it is the ratio that counts —<br />

every component that is not made of<br />

concrete saves CO2 emissions.<br />

For example, a single-family house<br />

binds about 40 tonnes of CO2 and<br />

26 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


requires only half as much CO2 in production<br />

as a concrete building. This already makes<br />

timber construction attractive today, but<br />

especially in the long term, also from a<br />

business perspective, since lower CO2<br />

emissions consequently mean less CO2 tax.<br />

The possibilities of timber construction are<br />

expanding step by step. Even bigger, even<br />

higher or even more sustainable: There are<br />

always new benchmarks. Building with wood<br />

is attractive for many, such as for residents<br />

and for politicians, who must also set new<br />

framework conditions in the building sector to<br />

comply with the agreed climate agreements,<br />

not least for economic reasons. However, in<br />

timber construction, there have so far been few<br />

standards to fall back on when implementing<br />

complex projects such as multi-storey<br />

buildings or housing developments reports. On<br />

the one hand, this makes the market attractive,<br />

as there is a lot of design scope for architects,<br />

investors and engineers. It invites investors to<br />

think big and, of course, to build high. On the<br />

other hand, due to their complexity, projects in<br />

multi-storey construction place high demands<br />

on project management and project execution.<br />

This is noticeable, among other things, in<br />

the fact that companies from the timber<br />

construction sector are increasingly looking for<br />

strategic advice. As such, Schuler Consulting’s<br />

task as project engineers is then to look<br />

for lean ways in the project to implement<br />

the visions of the timber constructors<br />

economically and efficiently. To approach<br />

the question of how to become successful in<br />

timber construction, especially in large-scale<br />

projects, we share a few practical tips from our<br />

own experience.<br />




Know your product: Every project starts with<br />

an idea, which can quickly grow in complexity.<br />

It is important to define the building project<br />

clearly from the beginning. Firstly, this means<br />

knowing your product and what you want<br />

to get out of it at the end of the project, and<br />

secondly, making a detailed business case.<br />

A business case is necessary to make one’s<br />

The great timber construction boom is also due to the possibilities of automation and a higher degree<br />

of prefabrication<br />

vision economically tangible and to place it on<br />

a firm foundation that will try to withstand all<br />

risk assessments in the best-case scenario.<br />

At the beginning of the project there is always<br />

the question of the product: What is to be<br />

built, how high, what is the vision in terms of<br />

sustainability and economic viability, and more.<br />

Then there is risk assessment by the project<br />

management. These are many questions that<br />

have to be clarified at the beginning to start the<br />

project cleanly.<br />

Know your stakeholders: It is also necessary<br />

to have a top-down view of the goal at the<br />

beginning and not lose sight of it throughout<br />

the entire project course. This means knowing<br />

the requirements of all the people involved,<br />

such as architects, the building physicists<br />

and technical building planners, logisticians<br />

and buyers. Each of them brings a catalogue<br />

of requirements and wishes that need to<br />

be sorted, structured and prioritised. Often,<br />

classic conflicting goals between the different<br />

technical planners — fire protection, sound<br />

insulation, thermal insulation, statics, building<br />

services, architecture — have to be coordinated<br />

and aligned with the project goal. Also, new<br />

on board here is the production planner, who<br />

wants a product that can be manufactured<br />

as highly automated as possible to an<br />

economically feasible extent.<br />

As project managers, Schuler plays a kind<br />

of conductor in a construction and factory<br />

planning project, bringing together or<br />

‘orchestrating’ the concerns of the different<br />

planners in such a way that the end result is a<br />

product that can be produced smartly.<br />

Small changes, big impact: Team size is<br />

crucial for successful project management.<br />

While small teams create a fast and agile<br />

working environment that also delivers results<br />

and implements changes at short notice, large<br />

teams can bring the necessary manpower to<br />

check changes down to the last detail. Even<br />

small changes in construction have a great<br />

impact in other areas: If the thickness of the<br />

timber frame construction is changed, this<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 27


Defining the building<br />

project clearly<br />

from the beginning,<br />

knowing your<br />

product, make one’s<br />

vision economically<br />

tangible<br />

impacts on the statics; if another<br />

layer is added to the wall structure,<br />

such as to improve the building’s<br />

physical properties, the additional<br />

work steps and thus the entire cycle<br />

time in the coordinated prefabrication<br />

must be adjusted. Such changes also<br />

have a further impact on fire and<br />

noise protection, as well as thermal<br />

insulation — for example, if the dew<br />

point slips into an unfavourable range<br />

as a result of the change.<br />

<strong>In</strong> large teams, there are enough<br />

specialist planners who can produce<br />

comprehensive designs for this. The<br />

challenge is to keep the threads<br />

in hand and bring them together<br />

properly. The more players there<br />

are in the game, the more views and<br />

opinions from different disciplines<br />

come up. This brings opportunities and<br />

risks. The project manager’s task is to<br />

choose the right path, to develop the<br />

most target-oriented idea, and to take<br />

the entire team along on this path.<br />

Logistics planning: The crucial<br />

question in all projects is logistics. It is<br />

often easier to manufacture the timber<br />

elements on-site, in the production<br />

environment, than to transport the<br />

elements to the construction site.<br />

The larger the projects, the greater<br />

the advantages of sophisticated<br />

logistics. Thus, a marginal topic that<br />

is inconspicuous at the beginning<br />

often gains a lot of attention in the<br />

projects. One of the reasons for this is<br />

that logistics is one of the major cost<br />

drivers in the value chain. With the<br />

progressive increase in CO2 taxation<br />

and the associated rise in transport<br />

costs, the pressure for optimised<br />

logistics is growing. Particularly large<br />

production volumes will result in a<br />

high number of loading cycles, which<br />

require smart and often individual<br />

loading concepts. Here, Schuler<br />

can develop concepts tailored to<br />

the customer with the surrounding<br />

logistics in the production and<br />

warehouse environments.<br />

Certificates do not just hang on the<br />

wall: The issue of sustainability is<br />

becoming increasingly important in<br />

construction projects. Many insurance<br />

companies, funds and investors attach<br />

importance to building certification.<br />

Through certification, builders<br />

and investors hope for greater<br />

competitiveness in the real estate<br />

market and higher returns over<br />

the entire lifecycle of the property.<br />

Over the last decades, various<br />

national as well as international<br />

methods and models have been<br />

developed, such as the German<br />

Sustainable Building Council (DGNB)<br />

certification, the Leadership in<br />

Energy and Environmental Design<br />

(LEED) rating system, or the<br />

BREEAM certification by the Building<br />

Research Establishment. What do<br />

these topics have to do with factory<br />

planning? Depending on the model,<br />

the manufacturing process of the<br />

building elements flows into the<br />

certification with different weighting.<br />

That means CO2 emissions, waste,<br />

transports, and others are a direct<br />

lever that have a positive or negative<br />

effect on the certification, depending<br />

on the process and construction<br />

design.<br />

Another and often decisive point<br />

is the element construction. The<br />

certification goals are linked to<br />

various point systems that have<br />

a practical effect on the element<br />

construction — for example, which<br />

fasteners are used and how well<br />

they enable recycling, or what the<br />

energy requirements of the property<br />

are, which is to say, how good the<br />

combination of thermal insulation<br />

and building services must be. These<br />

issues influence the production and<br />

assembly processes. For this reason,<br />

it is important to have made the<br />

basic decisions at the beginning of<br />

the planning process, as explained in<br />

tip number one: What is my vision?<br />

How sustainable do I want to be?<br />

Which certification do I strive for and<br />

with which goal achievement? What<br />

is in the lead — efficiency or cost,<br />

producibility, sustainability or design?<br />

All these issues are considered in the<br />

roadmap of a planning project.<br />

28 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


Raise the automation level: <strong>In</strong><br />

addition to sustainability goals and<br />

construction details of the elements,<br />

other guard rails are important in<br />

the project. It should be defined<br />

from the beginning what the degree<br />

of prefabrication and automation<br />

should be in the later production.<br />

The great timber construction boom<br />

is also due to the possibilities of<br />

automation and a higher degree of<br />

prefabrication. But a mere shift of<br />

value creation from the construction<br />

site to the production hall is no<br />

longer sufficient. Skilled workers<br />

are also very difficult to recruit in an<br />

orderly industrial environment on the<br />

production floor. Since this problem<br />

will not be alleviated and the general<br />

trend is towards automation anyway,<br />

a high degree of automation should<br />

be aimed for here. This increases the<br />

complexity of the project, but with<br />

the right product and an efficient and<br />

automated production, there is the<br />

possibility of successfully creating<br />

housing in the future with planning<br />

certainty, despite challenges such as<br />

the shortage of skilled workers and<br />

the energy crisis.<br />

Know the market developments:<br />

The timber construction market<br />

is dynamic, so it is particularly<br />

important to observe current<br />

developments and to be aware<br />

of innovations in good time, such<br />

as in certification. Risks and<br />

opportunities must be derived from<br />

what is happening in the market<br />

and their effects on the project<br />

must be assessed. For example, a<br />

look into the distant future offers<br />

hope that rising construction costs<br />

will reduce the requirements for a<br />

building, especially in the area of<br />

affordable housing. Currently, the<br />

requirements are still very high, but<br />

a change must take place here in<br />

perspective. A stronger consideration<br />

of timber construction in the<br />

standards compared to conventional<br />

construction would also create<br />

relief in fire and noise protection.<br />

Optimisations in these areas could<br />

further increase the attractiveness<br />

of building with wood by simplifying<br />

constructions, thus creating a step<br />

towards affordable housing. Current<br />

risks for timber construction projects,<br />

however, are the currently long<br />

delivery times of machinery suppliers.<br />

The machine manufacturers are<br />

working to capacity and are facing a<br />

procurement crisis for raw materials<br />

and machine components, which<br />

means that longer delivery times<br />

should be planned for, especially for<br />

larger plants.<br />


Strategic production development<br />

often looks frighteningly complex<br />

at the outset, taking into account<br />

all stakeholders, constraints<br />

and regulations. However, when<br />

considering the long lifecycle of real<br />

estate or processes in the construction<br />

industry, holistic planning is necessary<br />

to be able to produce sustainably<br />

and efficiently. <strong>In</strong> the end, the aim is<br />

to deliver sustainable and affordable<br />

housing to the end customer with<br />

increased efficiency and profitability,<br />

and thus to operate successfully in the<br />

market. Those who want to take off in<br />

Michael Postulart, senior consultant,<br />

Schuler Consulting<br />

timber construction therefore set the<br />

course for success through strategic<br />

and efficient project management. And<br />

that is necessary, because there is a lot<br />

going on in the industry.<br />

The constant race to build the next<br />

tallest wooden skyscraper shows<br />

how competitive the market is.<br />

Timber construction will continue to<br />

gain significant shares in the coming<br />

years. The timber construction boom<br />

will continue, even if the general<br />

construction boom, especially for<br />

single-family houses, is somewhat<br />

declining currently. Timber<br />

construction will hopefully quickly<br />

replace classic construction of using<br />

concrete and CO2-intensive cement<br />

as the predominant construction<br />

method. Even so, it will not be<br />

possible to do without cement and<br />

concrete completely. We should limit<br />

ourselves to the sensible components,<br />

as the hybrid construction method<br />

demonstrates.<br />

Timber construction business is and<br />

will remain popular. To be successful<br />

in it, Schuler Consulting offers support<br />

— whether the project concerns the<br />

production of single-family homes, a<br />

multi-storey wooden building, or of a<br />

housing development project. WIA<br />

Peter Hartmann, South East Asia market<br />

responsible, Schuler Consulting<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 29


Compliance with<br />

North American<br />

composite wood<br />

formaldehyde<br />

emission rules<br />

By Tsang HingWo, global information and innovation manager, SGS<br />

(MDF), oriented strand board (OSB), and<br />

laminated timber.<br />



Formaldehyde is often used as the<br />

binding agent in composite wood<br />

products because it is effective and<br />

inexpensive. However, formaldehyde<br />

emissions higher than 0.1 parts per<br />

million (ppm) in the air can cause watery<br />

eyes, a burning sensation in the eyes,<br />

nose and throat, coughing, wheezing, skin<br />

irritation and nausea.* It has also been<br />

shown that exposure to formaldehyde<br />

can cause cancer.* This has led to several<br />

countries introducing legislation to<br />

restrict emissions from composite wood<br />

products.<br />

<strong>In</strong> an increasingly regulated market, how<br />

can manufacturers and suppliers ensure<br />

their products meet North American<br />

regulatory standards for formaldehyde<br />

emissions?<br />

The market for composite wood<br />

products is growing. Most homes<br />

now contain several products made<br />

from composite woods, from furniture<br />

to laminate flooring. According to<br />

Allied Market Research, the North<br />

American composite wood market is<br />

projected to rise from US$736m in<br />

2016 to around $1,876m in <strong>2023</strong>.*<br />

This popularity stems from the fact<br />

that composite wood materials are<br />

more sustainable, hard-wearing, and<br />

can be easily moulded and shaped<br />

at lower temperatures, making it<br />

cheaper to work with and better for<br />

the environment. For consumers,<br />

this means that one material type<br />

can create a variety of products with<br />

multiple looks and designs.<br />


This term covers a range of fabricated<br />

wood products. Fibres, sawdust and<br />

wood veneers are bound together<br />

using adhesives or plastics to create<br />

a new material. Types of composite<br />

wood include plywood, fibreboards<br />

like medium-density fibreboard<br />



<strong>In</strong> 2010, then-US President Barack<br />

Obama signed into law the Formaldehyde<br />

Standards for Composite <strong>Wood</strong> Products<br />

Act. The US Environmental Protection<br />

Agency (EPA) then published its final rule<br />

in December 2016 to reduce exposure<br />

to formaldehyde emissions from certain<br />

wood products. The EPA regulation aligns<br />

with California Air Resources Board<br />

(CARB) requirements.*<br />

Under the terms of this legislation, all<br />

composite wood products imported,<br />

manufactured or sold in the US need<br />

to conform to these requirements<br />

since June 2018. The one exception is<br />

laminated products that are not exempt<br />

from the meaning of hardwood plywood<br />

(HWPW), which must comply from 24 Mar<br />

2024.*<br />

<strong>In</strong> 2021, the Canadian Government<br />

published ‘Formaldehyde Emissions<br />

from Composite <strong>Wood</strong> Products<br />

30 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


Regulations’ (SOR/2021-148), aligning<br />

the country’s standards with the US<br />

Toxic Substances Control Act Title<br />

VI ‘Formaldehyde Standards for<br />

Composite <strong>Wood</strong> Products’ (TSCA Title<br />

VI). Canada’s regulations have come<br />

into force on 7 Jan <strong>2023</strong>, but with<br />

requirements for laminated products<br />

not applying until 7 Jan 2028.*<br />

Both US and Canadian laws set<br />

requirements for testing, recordkeeping,<br />

reporting and labelling. <strong>In</strong> the<br />

US, since 22 Mar 2019, importers of all<br />

composite wood products, whether as<br />

panels or incorporated into component<br />

parts or finished goods, have also<br />

been required to provide an import<br />

certification.<br />

1<br />

The advantages of composite wood<br />

materials mean that the market for<br />

products made from them is growing.<br />

To succeed in the competitive North<br />

American market, manufacturers<br />

and suppliers must ensure their<br />

products conform to US, Canadian,<br />

and if they operate in California, CARB<br />

requirements.<br />

To meet certification and CARB<br />

requirements, manufacturers<br />

can look towards certification<br />

and inspection bodies like SGS, a<br />

testing, inspection and certification<br />

company that provides services to<br />

help manufacturers and suppliers of<br />

composite wood products successfully<br />

access US and Canadian markets. They<br />

can cover a range of product types,<br />

including children’s toys, composite<br />

wood panels, flooring, countertops<br />

and picture frames. Solutions<br />

should conform to strict regulatory<br />

requirements, using large chamber<br />

(ASTM E1333) or small chamber<br />

(ASTM D6007) methodologies with<br />

services including US Formaldehyde<br />

Emissions Certification and CARB<br />

Certification Services. WIA<br />

*References are available on request.<br />

2<br />

3<br />

1 Composite wood<br />

products like<br />

plywood require<br />

formaldehyde as<br />

a binding agent<br />

2 Formaldehyde<br />

used to bind<br />

wood fibres to<br />

create OSB<br />

3 Too much<br />

formaldehyde can<br />

cause damage<br />

to the eyes,<br />

nose and throat,<br />

and even cause<br />

cancer<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 31


EDGE Suedkreuz Berlin<br />

LOCATION: Berlin, Germany<br />

ARCHITECTURE FIRM: Tchoban Voss<br />

Architekten<br />

BUILDING TYPE: Commercial<br />



HESS Timber, Knauf Elements<br />

PHOTOGRAPHY: Ilya Ivanov<br />

TEXT: PEFC <strong>In</strong>ternational<br />

1<br />

EDGE Suedkreuz Berlin is a new seven-storey<br />

office complex comprised of two joined<br />

buildings, the Carré office and the smaller<br />

Solitaire building, with a total floor area of<br />

32,000m 2 . The complex has been built using<br />

a modular hybrid-timber construction. Each<br />

building has six floors and is connected<br />

by an underground car park. The result is<br />

allegedly the largest modular timber-hybrid<br />

construction project in Germany and one of<br />

the largest in Europe.<br />

The buildings were designed by Tchoban Voss<br />

Architekten, who worked with CREE Buildings<br />

and structural engineers from Buro Happold.<br />

Approximately 3,350m³ of Programme for the<br />

Endorsement of Forest Certification (PEFC)-<br />

certified spruce was used for the supporting<br />

elements, ceiling beams, walls and windows.<br />

The decision to choose timber was integral<br />

to achieving environmental and sustainability<br />

targets set by the client.<br />

The smaller of the two buildings, the Solitaire,<br />

is an elongated free-standing building which<br />

continues the line of the facade of the larger<br />

office building. The latter, the Carré, is a<br />

quadrangle-type structure with an irregular<br />

trapezoidal footprint. Since the summer of<br />

2022, the building has served as the German<br />

headquarters of Swedish energy supplier<br />

Vattenfall.<br />

The wall elements were made regionally in the<br />

German town of Neuruppin, while the ceiling<br />

elements were produced in Lower Saxony<br />

state. Altogether there are 1,190 timberhybrid<br />

ceiling elements carried by 1,280<br />

glulam facade supports and 445 timber wall<br />

elements with a total area of 16,000m 2 .<br />

The heart of the Carré building is a spacious,<br />

light-filled atrium. A two-storey entrance lobby<br />

with a 7m height faces the plaza in front of<br />

the building. The 26m-high atrium is covered<br />

by a transparent ethylene tetrafluoroethylene<br />

(ETFE) foil roof, supported by a timber-truss<br />

construction. A central highlight is the four<br />

tree-like shapes of different heights which<br />

grow skywards under the foil roof as if in a<br />

greenhouse.<br />

The structures are linked by filigree steps with<br />

white railings, which lead via platforms to<br />

32 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


the adjacent floors of offices. The fifth floor<br />

has a sky lounge with panoramic windows<br />

and a spacious external terrace. <strong>In</strong> every<br />

part of the building — from the supports,<br />

beams, windows, and doors to the cladding<br />

and railings — timber is visible, adding a<br />

natural, clear feel and bringing nature into the<br />

individual spaces.<br />

The hybrid combination of timber and<br />

concrete saved up to 80% of CO2 per square<br />

metre of floor area. Low construction weight,<br />

short shell construction times, high reliability<br />

in planning and costs, and durability are other<br />

advantages of this construction approach.<br />

Particular emphasis was placed on using<br />

materials that can be recycled wherever<br />

possible.<br />

2<br />

EDGE Suedkreuz Berlin is the first<br />

building in Germany to be uploaded to the<br />

MADASTER material database for building<br />

construction. This material passport allows<br />

the materials used to be reused and recycled,<br />

enabling precise monitoring of ecological<br />

sustainability. The building also received<br />

an overall German Sustainable Building<br />

Council (DGNB) compliance rating of 95.4%,<br />

making it a sustainable architecture project<br />

in Germany. DGNB is a German sustainability<br />

accreditation. The building also received the<br />

DGNB Diamond award for design quality as<br />

well as Germany’s first WELL Core & Shell<br />

Gold certificate.<br />

3<br />

1 Four tree-like shapes of<br />

different heights at the Carré<br />

2 PEFC-certified spruce was<br />

used for the supporting<br />

elements<br />

3 The hybrid combination<br />

of timber and concrete<br />

saved up to 80% of CO2<br />

per square metre of floor<br />

area<br />

Sergei Tchoban, partner at Tchoban Voss<br />

Architekten, said: “EDGE Suedkreuz Berlin<br />

is not just an ensemble of buildings. For me,<br />

the project is and remains a prototype of a<br />

new way of thinking. <strong>In</strong> the construction of<br />

the buildings, the focus was on reducing the<br />

weight and thus the CO2 footprint as much<br />

as possible while simultaneously combining<br />

the aesthetics of the building with an ethical<br />

approach to nature. Emphasis was placed<br />

on using materials that can be recycled<br />

according to the cradle-to-cradle principle.<br />

The prefabrication of the building components<br />

and their possible repeated use ensure a<br />

sustainable building system that makes it<br />

possible to create impressive spaces and<br />

future-oriented working environments.” WIA<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 33


Aurum: Modern, sustainable<br />

architecture embraced by<br />

historic surroundings<br />

The dimensionally stable Lunawood<br />

Thermo<strong>Wood</strong> was chosen as the wood<br />

material for this building in Turku,<br />

Finland, which achieved<br />

an Excellent BREAAM<br />

Environmental rating.<br />

1<br />

Turku’s new modern university building is a<br />

project where the area’s history embraces<br />

contemporary architecture. Aurum, built for<br />

the Faculty of Science and Engineering of Åbo<br />

Akademi University and the Department of<br />

Chemistry of the University of Turku, integrates<br />

into the culturally significant surroundings,<br />

especially with its material choices.<br />

The project’s lead architect, Piia Viitanen<br />

from Aihio Architects, described that the<br />

design work of Aurum was guided<br />

by environmental responsibility, and<br />

this was considered in all the design<br />

solutions. She wanted to use genuine<br />

and natural materials that celebrate their<br />

characteristics while creating a unique<br />

atmosphere. As a result, the chosen<br />

materials generated strong dialogue and<br />

contrast: silky and partly rugged concrete,<br />

transparent glass, and natural Lunawood<br />

Thermo<strong>Wood</strong>.<br />


Aurum’s entrance that leads to the atrium<br />

space — the building’s heart and common<br />

lobby — is the gem of the entire block.<br />

The facade uses similar white wall tiles as<br />

the surrounding buildings but in smaller<br />

size. <strong>In</strong> contrast to that, the entrance<br />

uses over 1,000 Lunawood Thermo<strong>Wood</strong><br />

battens in an upward-curving shape that<br />

imbues an impressive and natural look to<br />

the space.<br />

34 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


2<br />

3<br />

“We wanted to use authentic materials<br />

as the colour source, such as transparent<br />

glass, cast-in-place concrete with both<br />

polished and unpolished surfaces, and wood<br />

to bring added warmth and atmosphere,”<br />

explained Viitanen. “This sets high technical<br />

requirements for the materials because the<br />

colour comes from the material itself and<br />

therefore must be of high quality in terms<br />

of their technical standards. As the batten<br />

cladding continues from exterior walls to<br />

interior surfaces through a glass wall, it was<br />

extremely important that the same colour<br />

tone continues from out to indoors.”<br />

<strong>In</strong>doors, the Lunawood Thermo<strong>Wood</strong> was<br />

left untreated and it retains the warm<br />

signature colour, haptic feel and the natural<br />

fragrance of the wood. Outdoors, the battens<br />

were treated with UV-protected surface<br />

treatment agent to maintain the brown<br />

colour. The coherent batten look seamlessly<br />

integrates the whole and enables the unity<br />

of the architecture and style throughout the<br />

building. Dimensionally stable Lunawood<br />

Thermo<strong>Wood</strong> battens allow long parallel lines<br />

and curved lines to continue from outdoors<br />

to the seven-storey interior atrium space,<br />

as the same Lunawood product can be used<br />

in both purposes. According to Lunawood,<br />

over 1,800m³ of the Lunawood Thermo<strong>Wood</strong><br />

batten wall was installed — a total of 7,270<br />

pieces over 18,000m.<br />

The atrium space was designed for shared<br />

living, group work and entertainment, and the<br />

horizontal wood trim supports this by evening<br />

out the soundscape and reverberation time<br />

of the space. Also, the wood material brings<br />

warmth and softness to the lobby area as a<br />

counterweight to technical study spaces, such<br />

as laboratories.<br />



Viitanen emphasised that the dimensional<br />

accuracy and precision in installation was<br />

a crucial factor when choosing the wood<br />

material for the building.<br />

“After analysing a large number of wooden<br />

materials, we concluded that no other<br />

material offered technical properties that<br />

would allow us to achieve the required level<br />

of dimensional accuracy and stability when<br />

installing the material, but also in the coming<br />

years. <strong>In</strong> fact, Lunawood’s Thermo<strong>Wood</strong> was<br />

the only product that met these requirements.<br />

Outdoors, the wood must stay dimensionally<br />

stable, and indoors in installations the ends<br />

of the battens had to extend evenly, with only<br />

a tolerance of 2mm allowed for the space<br />

between them.”<br />


Sustainability and consideration of ecological<br />

values were also important factors when<br />

1 The entrance of Aurum that leads into the atrium<br />

space is lined with Lunawood Thermo<strong>Wood</strong><br />

(Image: Wellu Hämäläinen)<br />

2 The wood material brings warmth and softness to<br />

the lobby area (Image: Lunawood)<br />

3 <strong>In</strong>stalling Thermo<strong>Wood</strong> requires no resin, as<br />

claimed by Lunawood, and the entire lifecycle of<br />

the wood is sustainable (Image: Lunawood)<br />

selecting project’s wood material. As the<br />

whole lifecycle of Lunawood Thermo<strong>Wood</strong><br />

is sustainable, and since the installation of<br />

Thermo<strong>Wood</strong> is resin-free, it supports the<br />

values of the University of Turku and its<br />

position as a responsible leader in society.<br />

Aurum’s design and implementation sought<br />

an Excellent BREEAM environmental rating.<br />

The BREEAM system helps to design and<br />

build a building with the smallest possible<br />

environmental footprint. This was taken into<br />

account in both material selection and space<br />

efficiency, as well as in LVISA solutions.<br />


Luna SHP 42x92 is a Thermowood batten used<br />

primarily for facades, solar shades, interiors<br />

and other decorative surfaces. It is beautiful,<br />

durable, suitable for all climates, and requires<br />

low maintenance. It creates a connection<br />

between urban life and nature and will be<br />

naturally weathered over time when exposed<br />

to UV light, becoming silvery in colour. WIA<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 35


Sylva: Prefabricated,<br />

modular mass timber<br />

elements in one kit<br />

Can you explain what Sylva aims to<br />

achieve?<br />

Matthew Linegar: Sylva is a kit of<br />

customisable prefabricated building<br />

elements manufactured from mass<br />

timber comprising walls, floors, roofs,<br />

stairs, beams and columns. Because<br />

every Sylva element is tailor-made, it is<br />

possible to build anything from multistorey<br />

residential buildings, commercial<br />

office buildings, large industrial building<br />

and even schools.<br />

Nanyang Technological University, Academic Building South, Asia’s largest mass engineered timber<br />

project in Singapore (Image: Steeltech <strong>In</strong>dustries)<br />

ARCHITECTS: Toyo Ito<br />

& Associates, Architects,<br />

and RSP Architects<br />

Planners & Engineers<br />

Mass timber is becoming increasingly popular<br />

worldwide, but the construction industry is<br />

highly risk-averse. New and innovative ways<br />

of building and green technologies have to<br />

demonstrate that engineering and regulation<br />

requirements can be met before they become<br />

mainstream. Stora Enso, in response, has<br />

introduced Sylva to address those concerns<br />

directly. Matthew Linegar, head of product<br />

management at Stora Enso, shares more.<br />

By Yap Shi Quan<br />

Sylva solves six major issues in the<br />

construction industry today by: lowering<br />

the environmental impact — where the<br />

industry is responsible for 39% of all<br />

CO2 emissions, which we now know are<br />

the cause of climate change — mitigating<br />

the labour shortage, being more costefficient,<br />

reducing construction times,<br />

simplifying designing with wood, and<br />

boosting health and wellness for tenants<br />

or users. There are more side benefits,<br />

but these are the immediate, direct<br />

advantages.<br />

Why develop Sylvia as a kit?<br />

Linegar: The construction industry is<br />

changing: Labour is scarce, coordination<br />

among building trades is complex, and<br />

the demand for green construction is<br />

growing rapidly. <strong>In</strong> response, developers<br />

are seeking new ways to reduce on-site<br />

labour, shorten construction timelines,<br />

and build more sustainably. <strong>In</strong>creasingly,<br />

these developers are moving away from<br />

traditional building material suppliers<br />

and towards companies who can<br />

deliver prefabricated building elements<br />

manufactured off-site, paired with expert<br />

design and installation coordination<br />

services.<br />

Sylva elements are lightweight and high<br />

load-bearing, and because they are easy<br />

to work with, it is possible to mix and<br />

match with existing building materials.<br />

For example, existing buildings made<br />

from reinforced concrete can often be<br />

extended with additional floors made<br />

from Sylva elements without the need to<br />

36 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


strengthen the foundations due to the<br />

lighter weight nature of wood. The kits<br />

also enable spaces to be repurposed<br />

over time. <strong>In</strong>stead of knocking down a<br />

building after it has fulfilled its purpose,<br />

it is possible to repurpose it without<br />

major renovations. When a Sylva<br />

building reaches its end of life, the<br />

wooden elements can be dismantled<br />

easily, with parts reused or recycled<br />

with minimised impact on the planet.<br />

SITE: Stora Enso Mill,<br />

Gruvön, Sweden<br />


ENSO: WiEHAG<br />

ARCHITECT: Tengbom<br />

Can you elaborate on the entire<br />

consumption process, from ordering<br />

and manufacturing to delivering and<br />

installing Sylva on-site?<br />

Linegar: Stora Enso connects with<br />

architects, builders, planners and<br />

various stakeholders at different entry<br />

points of the construction process.<br />

Our aim is to enable all the players to<br />

optimise the use of wood in a way that<br />

is as easy as possible for them.<br />

We have developed building concepts<br />

for residential, industrial, office and<br />

school buildings. These concepts apply<br />

the Design for Manufacturing and<br />

Assembly method (DfMA) to align the<br />

design and delivery process for a more<br />

predictable and optimal outcome. We<br />

have also optimised them to create<br />

the best-performing, low-carbon and<br />

cost-effective building solutions based<br />

on our products from Stora Enso’s Sylva<br />

kit. As a result, you can design and<br />

build low-carbon and cost-effective<br />

buildings of all typologies and scales for<br />

a specific project’s needs.<br />

Once the design has been determined,<br />

customers can use our digital tools and<br />

services to work out the dimensions of<br />

the walls, columns and beams before<br />

the final international foundation class<br />

(IFC)-model, or 3D model, is made. This<br />

can streamline construction efficiencies<br />

and costs because it essentially creates<br />

a virtual model with all the specific<br />

measurements of the cut-outs for<br />

windows, doors and specifications<br />

for the wood that will be visible and<br />

exposed in the building. We can tell<br />

you, for example, what is the most<br />

efficient and economical use of Sylva<br />

glue-laminated timber (glulam) beams<br />

and columns in a building.<br />

The finalised, processed model is then<br />

sent to Stora Enso for optimisation.<br />

Contractors and architects can maintain<br />

full control from their electronic<br />

dashboard, and confirm that everything<br />

is correct before production starts.<br />

Once the order is confirmed Stora Enso<br />

cooperates with setting delivery plans<br />

and decides how different elements<br />

should be placed during transportation.<br />

We make sure that each piece arrives<br />

just-in-time.<br />

How compliant is Sylva with national<br />

building codes and regulations?<br />

Linegar: One of the reasons Sylva is so<br />

popular is that we have already done<br />

so much of the work behind the scenes<br />

to ensure that each component can<br />

easily meet building codes regulations<br />

with the correct design, coatings<br />

and installation for every detail —<br />

such as thermal, acoustic, seismic<br />

and fire issues, and other structural<br />

considerations. Even seasoned<br />

architects that have worked with wood<br />

for a long time are turning to Sylva<br />

because these topics are so complex<br />

that it can be hard to keep up with the<br />

latest requirements. With Sylva you<br />

have that assurance that can not only<br />

meet the criteria, but do so in a way<br />

that will result in a construction project<br />

that is profitable and attractive too.<br />

Additionally, Sylva is flexible, so it can<br />

be used with other building materials,<br />

clad or left unclad, depending on the<br />

typology and use.<br />

The wood used in Sylva kits<br />

originates from sustainably managed<br />

European forests. Like all Stora<br />

Enso wood products, the wood is<br />

third-party certified by traceability<br />

and chain of custody systems, like<br />

Forest Stewardship Council (FSC),<br />

the Programme for the Endorsement<br />

of Forest Certification (PEFC), or<br />

both. Furthermore, the energy<br />

used to manufacture Sylva is very<br />

low. Sylva cross-laminated timber<br />

(CLT) products are produced with<br />

renewable electricity or fossil-free<br />

energy in our European production<br />

units.<br />

Developers are<br />

increasingly<br />

looking for<br />

prefabricated,<br />

modular building<br />

elements that are<br />

assembled off-site<br />

(Image: Kjell<br />

Andersson)<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 37


As part of our sustainability ambition,<br />

Stora Enso is committed to achieving a<br />

net-positive impact on biodiversity in<br />

our own forests and plantations by 2050<br />

through active biodiversity management.<br />

Working towards this net-positive goal,<br />

we have begun to work within and<br />

beyond the forest sector to improve<br />

biodiversity, through knowledge-sharing<br />

and active participation in formulating<br />

new policies and standards.<br />

What is Stora Enso’s current position<br />

and role and in the mass timber<br />

industry?<br />

Linegar: We are one of the world’s<br />

largest CLT producers and one of<br />

the largest sawnwood producers in<br />

Europe. We continue to invest in a more<br />

sustainable construction value-chain and<br />

recently inaugurated one of the world’s<br />

most modern production sites for CLT.<br />

Regarding traditional wood products,<br />

we are one of the largest suppliers of<br />

sawn wood in Europe with a global reach<br />

with more than 40% sales in overseas<br />

markets.<br />

Currently, Sylva is only available<br />

in Europe and Australia — regions<br />

where the mass timber movement<br />

is becoming mainstream. What are<br />

Stora Enso’s plans to bring Sylva to<br />

Asia, or to other parts of the world?<br />

Linegar: Our capacity to serve<br />

markets in Europe, Japan, Australia,<br />

and North America will increase by<br />

approximately 40%, enabling us to<br />

meet the growing demand in green,<br />

low-carbon construction. Sylva<br />

products, such as CLT by Stora Enso<br />

or LVL, are available everywhere. We<br />

have already delivered significant<br />

volumes to Singapore for instance.<br />

How can we tailor mass timber<br />

elements — and by extension,<br />

Sylva — to suit Southeast Asia’s<br />

tropical climate?<br />

Linegar: We have experience in<br />

timber construction in a range of<br />

weather conditions, from cold,<br />

snowy, and rainy winters in the<br />

Nordics and the UK, to humid tropical<br />

weather in Singapore. To build a<br />

sound building, which maintains a<br />

pleasant internal temperature, it<br />

is necessary to have good design,<br />

and a material with low inertia may<br />

be a good design option. <strong>Wood</strong> is a<br />

structural material with the lowest<br />

inertia, which means it heats up<br />

or cools down quickly; it allows<br />

ventilation and the release of energy<br />

as soon as temperatures are a little<br />

lower.<br />

Stora Enso’s automated coating<br />

line, being built in the town of<br />

Ybbs, Austria, will further enhance<br />

the value and quality of the Sylva<br />

components by offering high-quality<br />

water-based coatings, protecting<br />

them against moisture, sunlight,<br />

insects, and fire. This will result<br />

in shorter construction times,<br />

decrease costs for construction<br />

companies, and provide added<br />

value and improved product quality.<br />

Thus, Sylva is one of the most<br />

carefully designed wood products<br />

on the market today. WIA<br />

PROJECT: Elementary<br />

School Hallwang<br />

LOCATION: Austria<br />


LP architektur<br />



With Sylva, users<br />

can design and build<br />

low-carbon and costeffective<br />

buildings<br />

of all typologies<br />

and scales (Image:<br />

Albrecht Imanuel<br />

Schnabel)<br />

38 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


Communicating with mass<br />

timber: <strong>Wood</strong>en telecom<br />

towers by EcoTelligent<br />

How can we expand the uses of mass timber beyond residential<br />

or commercial constructions? Recognising its eco-friendliness,<br />

structural durability, and aesthetic properties, EcoTelligent<br />

manufactures telecom towers with mass timber,<br />

aiming to decarbonise the telecommunication sector.<br />

Gyöngyi Mátray, CEO of EcoTelligent, tells us more<br />

about the whole enterprise.<br />

By Yap Shi Quan<br />

An Ecopol tower in Italy<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 39


How did EcoTelligent come about?<br />

Gyöngyi Mátray: Fifteen years ago, our<br />

engineers realised that there was a need for<br />

wooden structured telecommunication towers.<br />

While installing new steel and concrete towers<br />

in residential areas, the continuous negative<br />

feedback from locals made them rethink<br />

telecom tower structures. After a few years of<br />

material and construction testing, they came<br />

up with an alternative to steel telecom towers<br />

in 2010: The first wooden structured tower was<br />

raised. The design got a very positive reception<br />

and encouraged the inventors to continue<br />

their work on a sustainable and visually more<br />

acceptable model.<br />

Eventually, after many phases we established<br />

EcoTelligent in 2017, moved the technology to<br />

this company, and carried on the development<br />

work in Finland where there is a long history<br />

and knowledge of timber construction and fast<br />

development of telecommunication technology.<br />

What are the different types and features of<br />

EcoTelligent towers?<br />

Mátray: <strong>In</strong> our portfolio, there are rooftop<br />

solutions called Barbican for city centres<br />

on top of high buildings, used mainly for<br />

5G technology; ground-based towers or<br />

green field towers called Ecopol, which are<br />

30-40m-tall, used mostly in the countryside or<br />

outside settlements; and street towers called<br />

Castellum, which are between 15-25m-tall,<br />

used in city parks or inside residential areas.<br />

There are several thousands of new sites under<br />

construction yearly only in Europe. These sites<br />

require various kinds and heights of tower or<br />

poles.<br />

Compared to steel, what are the advantages<br />

of building telecom towers with wood?<br />

Mátray: Our alternative solutions are low-carbon<br />

and climate friendly. Compared to steel and<br />

concrete, the CO2 footprint of these towers<br />

are considerably lower. Our main construction<br />

materials are engineered wood like glued and<br />

laminated wooden products. We also utilise the<br />

characteristics of a circular economy when we<br />

use products from surplus production. As you<br />

already know, wood is a renewable resource. It<br />

is a natural carbon sink or biological sequester,<br />

which means that the wooden plates we use<br />

1<br />

contain CO2 by nature and capture CO2.<br />

EcoTelligent uses wooden raw material that<br />

originate from responsibly managed forests.<br />

This way, we can ensure that the wood we<br />

use is meant for industrial use, and that it was<br />

harvested responsibly.<br />

Our clients also told us that our wooden<br />

tower structures are appreciated by local<br />

residential areas because of the construction<br />

material, which contributes to a natural feel,<br />

and because of their aesthetic and beautiful<br />

design. Our products are also appreciated<br />

for their tailored designs. They are also<br />

welcomed by the authorities because they are<br />

alternatives for sensitive areas like national<br />

parks or protected sites.<br />

Does EcoTelligent use laminated veneer<br />

lumber (LVL) only? What about other types of<br />

engineered wood, such as cross-laminated<br />

timber (CLT) or glue-laminated timber<br />

(glulam)?<br />

Mátray: We use other engineered wood as<br />

well. We provide these low-carbon alternative<br />

solutions by applying wood construction<br />

technology, which is a rapidly developing area<br />

in the science of sustainable construction. We<br />

will continue to follow the development of this<br />

scientific field in the future. For each product<br />

we develop, we will monitor its greenhouse<br />

gas emission from the construction phase. To<br />

attribute even more value to our products, we<br />

are applying for carbon-neutral or -negative<br />

verifications to our future products. At the same<br />

time, our development work focuses on reducing<br />

the carbon footprint even more in future<br />

products.<br />

What kinds of structural or engineering<br />

considerations did EcoTelligent have to<br />

account for when building telecom towers<br />

with wood?<br />

Mátray: Our tower solutions challenge the<br />

commonly used steel or concrete structures<br />

without compromising the strength and<br />

resistance [required by construction authorities<br />

and regulations]. The structures and strength<br />

of the construction materials meet the<br />

requirements of European standards, similar<br />

to how steel and concrete towers need to meet<br />

these standards. As for fire resistance, we use<br />

the same wooden products used for tall wooden<br />

buildings — which is to say, our telecom tower<br />

materials meet the same fire-resistant standards<br />

used for multi-storey wooden buildings.<br />

How receptive are businesses in replacing<br />

steel telecom towers with wooden ones?<br />

Mátray: It has been quite a journey so far. But<br />

I think the climate situation made it clear that<br />

we need sustainable solutions in every field.<br />

Now there are significant companies from<br />

the telecom field contacting us and asking for<br />

cooperations. It will give us possibilities to<br />

build telecom support structures, like towers<br />

and poles, with wood worldwide. The amount,<br />

however, is hard to say.<br />

40 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


2 3<br />


TOWERS<br />

Tower infrastructure operator<br />

Vantage Towers plans to<br />

build two wooden structured<br />

telecommunication towers in<br />

Germany in Q1 <strong>2023</strong>. The new<br />

Ecopol tower by EcoTelligent will be<br />

constructed in suitable locations.<br />

Vantage Towers aims to attract as<br />

many tenants as possible to each of<br />

its sites. For the Ecopol towers, up<br />

to four mobile network operators<br />

can host their antennas at the sites.<br />

They have an expected lifespan<br />

of 30 years and are protected<br />

from environmental influences<br />

by a weather-resistant protective<br />

coating. To blend in even better<br />

with the existing landscape, the<br />

coating can basically be chosen in<br />

any colour. To provide the required<br />

load bearing capacity, the Ecopol<br />

series is additionally reinforced<br />

with a steel structure on the inside<br />

and is typically suitable for use in<br />

moderate wind zones.<br />

Vivek Badrinath, CEO of<br />

Vantage Towers, said: “With our<br />

infrastructure, we are already<br />

shaping digitalisation in Europe with<br />

a special focus on sustainability and<br />

the fulfilment of high corporate and<br />

social requirements. With the Ecopol<br />

wooden structured towers, we succeed<br />

in this in two respects: On the one<br />

hand, we protect the environment and<br />

reduce our CO2 footprint. On the other,<br />

we increase the acceptance of our<br />

infrastructure among the population<br />

due to the natural, aesthetic design.”<br />

If the two pilots are successful, the<br />

wooden structured towers could<br />

also be used at other locations in<br />

other markets of Vantage Towers in<br />

the future. For this purpose, Vantage<br />

Towers and EcoTelligent are in talks<br />

for a more extensive framework<br />

agreement.<br />

Vantage Towers is working on new<br />

technologies and materials to optimise<br />

its infrastructure and make it more<br />

sustainable. Considering rising<br />

commodity prices, wood is gaining<br />

more relevance as a renewable building<br />

material, while playing a role in the fight<br />

against global climate change.<br />

Mátray concluded: “With the<br />

ongoing 5G expansion, thousands<br />

of telecommunication towers are<br />

currently being planned and built<br />

across Europe. It is therefore<br />

increasingly important to consider<br />

emissions in this sector. As a<br />

renewable resource and natural<br />

carbon sink, wood is a responsible<br />

and more sustainable alternative for<br />

building digital infrastructure.” WIA<br />

Images: EcoTelligent<br />

Gyöngyi Mátray, CEO, EcoTelligent<br />

1 Mass engineered<br />

timber plates are<br />

just as durable<br />

as steel and<br />

concrete, but<br />

with the ability to<br />

sequester CO2<br />

2 View of the Ecopol<br />

tower from above<br />

3 The construction<br />

phase of an<br />

Ecopol tower<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 41


Glulam columns<br />

for a veranda<br />

PROJECT: 1/3 House<br />

LOCATION: Øksendal, Norway<br />


Rever & Drage Architects<br />

DESIGN TEAM: Tom Auger, Martin<br />

Beverfjord, Eirik Lilledrange<br />


Brødrene Gjershaug<br />


PHOTOGRAPHY: Tom Auger<br />

This detached house was built for a young<br />

couple in the Norwegian municipality of<br />

Sunndal, who wanted to build a small home<br />

they could afford with limited funds. Both<br />

saw the need to think simple, especially due<br />

to economic concerns, but at the same time<br />

wanted to think about the future, so there<br />

would be no big leaps for changes as their<br />

family size changed.<br />

The insulated part of the building has two<br />

floors, both with an area of 50m 2 . The<br />

uninsulated utility space, the outdoor space<br />

under the roof, has about twice that area. The<br />

former part responds to the need the couple<br />

has for living space today, and it will probably<br />

be able to accommodate a family increase<br />

of one or two children. The latter part has<br />

potential for expansion. The veranda functions<br />

as a storage room, garage, workshop, banquet<br />

hall and not least, as a space for butchering<br />

deer. The windows in the insulated section<br />

are organised in a traditional way, albeit with<br />

a somewhat larger format than usual in such<br />

buildings, while the hall or veranda has a more<br />

industrial and temporary design.<br />

The floorplan of the insulated part is organised<br />

around a warm core on both floors. On the<br />

ground floor the entrance, kitchen and living<br />

room encircle the laundry room, while on the<br />

second floor the storage space, bedroom,<br />

second living room and TV room are arranged<br />

around the bathroom. The front door faces the<br />

courtyard while the back entrance is from the<br />

hall or veranda via the laundry room.<br />

42 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


1<br />

2<br />

3<br />

4<br />

The roof over the utility space is held up by<br />

tilted glue-laminated timber (glulam) columns.<br />

These are built into the wall panels but help<br />

define the openings towards the landscape<br />

views. Under this roof one can get an indoor<br />

and outdoor feeling — the space is both<br />

open and closed at the same time. Due to its<br />

expressive form, there is a dramatic framing of<br />

views in different directions. The utility space<br />

has a scale somewhere between housing<br />

and industrial, and the experience alternates<br />

between large and small.<br />

Because of the simplistic design, the building<br />

appears a little abstract. The similarity<br />

between concept model and the finished<br />

building is striking. From the driveway, the<br />

building is dominated by the insulated part<br />

while the utility space disappears behind.<br />

Seen from the sides, the relationship<br />

between the two is balanced: one is big and<br />

light while the other is small and heavy.<br />

One interesting thing about this building is<br />

that in the future it may end up resembling a<br />

completely traditional local farmhouse once<br />

all the potential area has been converted. As<br />

such, something that started as an unusual<br />

building will gradually develop to become<br />

more traditional. The only remaining traces<br />

will be the tilted glulam columns from the<br />

former veranda. These will be built into<br />

the exterior walls and only appear in the<br />

window openings, in a way reminiscent of<br />

the transept chapel buttress of Gloucester<br />

Cathedral. WIA<br />

1 The veranda<br />

2 The wall panels define<br />

the openings towards the<br />

landscape views<br />

3 Glulam columns built<br />

into the wall panels<br />

4 The 1/3 House can<br />

end up resembling a<br />

farmhouse once all the<br />

potential area has been<br />

converted<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 43

DESIGN<br />

Escapes – The<br />

landscapes of the soul:<br />

<strong>Wood</strong>-dye veneers<br />

by TABU<br />

TABU, the Italian specialist in wood<br />

dyeing, has launched a collection<br />

of 23 natural dyed veneers called<br />

“Escapes – The landscapes of the<br />

soul”, made with different wood<br />

species such as oak, bolivar, American<br />

walnut, eucalyptus, maple, plane,<br />

and also in variants such as ash burl<br />

and madrona burl. All wood materials<br />

used are FSC-certified. The collection<br />

is divided into five moodboards which<br />

reflect the various dimensions of the<br />

spirit and lifestyles possible with wood<br />

and colour designs.<br />


The Elegantia moodboard embodies<br />

elegance, a palette carefully tailored in<br />

Italian tradition. Exclusive and sought<br />

after, the materials used — plane<br />

medullary ray, American walnut and<br />

Herringbone wood — recall ancient<br />

atmospheres and aim to create new,<br />

unexpected sensations. The dark,<br />

striking colours of the collection<br />

contrast with light backgrounds,<br />

achieving understated timelessness,<br />

classic yet capable of an elegance<br />

full of character and class. The toned<br />

grey shades combine with the curated<br />

colour accents, evoking atmospheres<br />

of life and valuable memories.<br />

ETEREA<br />

An interior decorated with the Eterea<br />

moodboard, using eucalyptus and<br />

maple, aims to be an intimate and<br />

welcoming place, at the heart of<br />

inner nature. It is a dimension for<br />

users to find themselves in the<br />

quiet and tranquility of their most<br />

private moments, to be enjoyed with<br />

the people they love. All around,<br />

the collection’s light tone-on-tone<br />

colours can create simple, delicate<br />

shapes. The soft and light sounds<br />

of nature accompany the light wood<br />

shades with semi-transparent<br />

and natural fabrics, and soft floral<br />

fragrances.<br />


Isolabella evokes visuals of glowing<br />

lights over the lake or sea, or the<br />

infinite depth in the colour of the<br />

waves. This palette embraces the<br />

colours of life, intense yet graceful,<br />

and echoes the freedom and peace<br />

enjoyed while sailing toward the<br />

horizon in search of new dawns and<br />

sunsets, pristine beaches and wild<br />

coasts never seen before. It also<br />

urges users to regain their interior<br />

balance by embracing nature, leaving<br />

behind everyday life. The Isolabella<br />

moodboard is born out of the glowing<br />

lights over sea and colours — using<br />

ultramarine blue bolivar from the<br />

collection — that inspire moments of<br />

freedom for sailors of life, those who<br />

sense the call of adventure, to feed<br />

their inner peace.<br />


The Montefeltro is inspired by the<br />

intimate atmosphere of ancient<br />

libraries, the Renaissance ‘Studioli’,<br />

down to the timeless class of the<br />

Victorian clubs in the late 19th century.<br />

It aims to recall hidden gems made<br />

of precious wood inlays, exclusive<br />

discreet milieux where elegance<br />

reigns in every detail, among timeless<br />

objects of the finest detail and<br />

craftsmanship. The moodboard takes<br />

advantage of the deep brown shades<br />

of exotic woods, oak and tobacco<br />

nuances, and the reflections of the<br />

eucalyptus and the plane medullary<br />

ray from the collection. At the hearth,<br />

the moodboard uses accents of<br />

Renaissance green, the colour of<br />

Mona Lisa’s dress, which symbolises<br />

prosperity and wealth.<br />


The Purpurea moodboard, using soft<br />

volutes of madrona burl combined with<br />

walnut and oak, evokes a fascinating,<br />

delicate yet intense dream. It is<br />

immersed in a flower garden, savouring<br />

the emotions of nature that manifests<br />

in an explosion of colours and forms.<br />

Purpurea aims to recall an exclusive,<br />

fleeting yet memorable moment,<br />

calling for users to contemplate and<br />

linger, to preserve and cherish —<br />

suspended, as if listening to nature, in<br />

stillness and peace.WIA<br />

44 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

DESIGN<br />

1<br />

2<br />

3<br />

4<br />

1 Elegantia: Elegance in grey scale, using<br />

plane medullary ray, American walnut and<br />

herringbone wood<br />

2 Eterea: The soft three-dimensionality of the fibre<br />

in eucalyptus and maple<br />

3 Isolabella: Bolivar in ultramarine blue<br />

4 Montefeltro: Figured eucalyptus, oak, bolivar,<br />

and plane medullary ray for a strong and<br />

sophisticated mood<br />

5 Purpurea: A mood embellished by the soft<br />

volutes of the madrona burl, combined with<br />

walnut and oak<br />

5<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 45

DESIGN<br />

1 CLIENT: Ramis Promociones<br />

LOCATION: Palma, Mallorca, Spain<br />


DESIGN: OHLAB / oliver hernaiz<br />

architecture lab<br />


Bartolomeu Tous<br />


CONSULTANT: HIMA Estructuras<br />



AMM Technical Group<br />


José Manuel Busquets, Anne Vogt<br />

LANDSCAPE: Jonathan Bell<br />

PHOTOGRAPHY: José Hevia<br />

Paseo Mallorca 15, the new residential<br />

complex located in Paseo Mallorca, the<br />

tree-lines promenade overlooking the<br />

Riera water course running through the<br />

heart of the city of Palma, Mallorca,<br />

Spain, is set to become a city landmark<br />

due to its architecture, sustainability,<br />

energy efficiency, urban integration,<br />

quality of materials, interior design and<br />

level of comfort.<br />

Paseo<br />

Mallorca 15<br />

The facade, consisting of sliding panels<br />

made of wooden slats, acts as a solar<br />

filter to create effects of changing<br />

light and shade on the homes, making<br />

the most of the sun efficiently and<br />

all year round. According to OHLAB,<br />

the projects have been designed in<br />

accordance with Passivhaus standards<br />

to aim to achieve maximum energy<br />

efficiency and a heating and airconditioning<br />

demand of 15kWh/m 2 per<br />

year. This means a reduction of almost<br />

90% in terms of air heating and cooling<br />

requirements in comparison with a<br />

conventional building, resulting in low<br />

energy costs for the owner and for the<br />

planet. This construction method falls<br />

within the nearly zero energy building<br />

(nZEB) standard for consumption, a<br />

standard approved by the EU.<br />

On entering the building, visitors are<br />

greeted by a green wall of Spanish<br />

46 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

DESIGN<br />

2 3<br />

4<br />

cane, also scientifically known as<br />

Arundo Donax, typical of Mediterranean<br />

riverbeds, as a nod to the Riera of<br />

Paseo Mallorca opposite the building.<br />

The green wall leads them out onto the<br />

inner courtyard, where they are met by<br />

an oasis of vegetation and calm. The<br />

inner courtyard, with its different levels,<br />

acts as an inner lung of vegetation and<br />

trees that continues upwards until it<br />

reaches the landscaped terraces with<br />

pools on the fourth, sixth and eighth<br />

floors of the building.<br />

The courtyard garden features a<br />

waterfall that cascades to the floor<br />

below, cooling the courtyard in the<br />

summer through evapotranspiration<br />

and creating a relaxing sound. This<br />

courtyard also connects with below,<br />

providing lighting and vegetation to the<br />

basement which houses the residents’<br />

pool, gym and spa, transforming it into<br />

a unifying vertical axis that links the<br />

building’s vegetation, and allows crossventilation<br />

through the garden for all<br />

the homes.<br />

The residents’ spa area, with walls<br />

and floors finished in natural stone,<br />

includes a heated indoor pool, steam<br />

bath and changing rooms. Next to the<br />

pool is the gym, with large windows<br />

overlooking the courtyard garden.<br />

The outside of the building is defined<br />

by two types of facades. A permeable<br />

skin made of wooden slats filters the<br />

sun and plays with the light and shade<br />

in the day areas of the homes. Another,<br />

more solid, stone facade protects the<br />

bedrooms.<br />

The first type of cladding is on the<br />

side overlooking Paseo Mallorca,<br />

which is the sunniest part, where the<br />

day areas of the homes are located.<br />

This area has a double facade with<br />

1 The penthouse<br />

2 Full view of the<br />

building with its<br />

wooden facade<br />

3 Entrance<br />

mailboxes<br />

4 Entrance<br />

intercom<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 47

DESIGN<br />

large windows for residents to take<br />

advantage of the views, enjoy the<br />

numerous deciduous trees and the<br />

winter sun. This facade is protected<br />

by a second sensitive skin consisting<br />

of moving panels of wooden slats<br />

that block out the sun in the summer,<br />

make the most of the sun in the winter<br />

and mark the transition between the<br />

home and its surroundings. It is an<br />

organic, permeable and changing layer,<br />

an exterior reflection of its interior,<br />

a solar filter to modulate light and<br />

shade, optimised through solar studies,<br />

which adapts to the different climate<br />

needs and draws upon the tradition<br />

of Majorcan pergolas and shutters.<br />

Combined with cross-ventilation and<br />

a heat recovery system, it is key to<br />

ensuring maximum energy efficiency.<br />

The second type of cladding,<br />

meanwhile, is found on the perimeter<br />

areas, facing the quieter streets, where<br />

the sleeping areas of the homes are<br />

situated. This is a solid facade that<br />

provides the necessary protection and<br />

defines the area containing the private<br />

areas. Different textures and rhythms<br />

imposed will find, in their own diversity,<br />

the unity of the whole. The material<br />

balances between the negatives and<br />

positives, creating a landscape of<br />

casings with changing textures.<br />

The selection of natural and local<br />

materials, highlighting the essence<br />

of the Mediterranean, was important<br />

for the OHLAB team. A palette of fine<br />

materials, such as solid doors made of<br />

local stone or pieces of aged bronze,<br />

characterise the interiors of the homes<br />

at Paseo Mallorca 15. Finishes have<br />

been selected for their quality, taking<br />

every detail, texture and smell into<br />

account.<br />

The penthouses at Paseo Mallorca 15<br />

on different levels are urban havens<br />

above the city, with landscaped<br />

terraces and private mini-pools from<br />

where residents can admire the<br />

panoramic views of Palma rooftops and<br />

the three-lined walk along Riera.<br />

Paseo Mallorca 15 has been awarded<br />

the Best Use of Timber Award Prize<br />

by the World <strong>Architecture</strong> Festival in<br />

December 2022, which is supported by<br />

the Programme for the Endorsement of<br />

Forest Certification (PEFC). WIA<br />

5 6<br />

5 Apartment interior<br />

6 Bathroom<br />

48 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


The finished prototype of SVES, and how the hollow spaces can be pumped with fire retardant foam<br />

Sandwiched Variable<br />

Eggcrate Structure:<br />

Reconstituted timber<br />

component for wall<br />

and flooring use<br />

Using mass timber in Singapore can be financially and<br />

environmentally costly. Pan Yi Cheng, developer of Sandwiched<br />

Variable Eggcrate Structure (SVES), a flooring and wall module<br />

prototype made using reconstituted timber, believes that<br />

reconstituted timber and prefabrication can be solutions.<br />

By Yap Shi Quan<br />

The construction industry is responsible for a<br />

majority of global greenhouse gas emissions.<br />

But even within the industry, construction<br />

of small residential houses or shophouses<br />

contributes to a large percentage of these<br />

emissions.<br />

“If we want to lower the overall emissions<br />

in the building industry, we need to target<br />

the mass of the building stock, which are<br />

residential homes,” Pan Yi Cheng, a registered<br />

architect and creative director of Produce, an<br />

architecture and design studio, told Panels &<br />

Furniture Asia.<br />

Mass timber can be one solution. However,<br />

Singapore is not very receptive to mass<br />

timber, which is booming in popularity<br />

in western countries, perhaps for good<br />

reason: Adherence to EU building codes,<br />

and the freight and shipping costs of using<br />

European timber, add to the already huge<br />

amount of resources needed in construction.<br />

Additionally, it is disallowed to use mass<br />

timber in residential projects, unless there is<br />

a sprinkler system installed — and that adds<br />

even more expenses.<br />

Aiming to address these issues, Pan<br />

developed the Sandwiched Variable Eggcrate<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 49


Structure (SVES), a flooring and wall<br />

module that aims to replace precast<br />

concrete floor slabs, built using<br />

homogeneous reconstituted timber<br />

(HRT) developed by Onewood.<br />

1<br />



As its name suggests, the SVES has<br />

an eggcrate structure sandwiched in<br />

between two panels. The eggcrate<br />

structure is formed using a mould —<br />

made using a computerised numerical<br />

control (CNC) machine — that presses<br />

laminated layers of wood fibres into the<br />

eggcrate-like shape. There are two types<br />

of SVES: The wall module uses a single<br />

directional eggcrate structure that allows<br />

conduits and wirings to pass through the<br />

hollow space, and the flooring module<br />

uses a double directional structure that<br />

allows higher durability and strength.<br />

Currently, the SVES withstands 1.5kN<br />

of standing force. Furthermore, once<br />

fire retardant foam is pumped into the<br />

hollow spaces, the SVES can become a<br />

Class 0 component, which means it can<br />

be used in residential houses since it can<br />

slow the spread of fire.<br />

1 SVES is<br />

made using<br />

reconstituted<br />

timber, which is<br />

a dense material<br />

made of 70%<br />

wood fibres and<br />

30% binder<br />

2 An SVES floor<br />

component<br />

can withstand<br />

up to 1.5kN of<br />

standing force<br />

3 Testing how<br />

much load an<br />

SVES panel can<br />

hold<br />

2<br />

3<br />

SVES is made entirely with Onewood’s<br />

HRT, which aims to be a sustainable<br />

alternative to hardwood timber by using<br />

wood fibres from tree plantations that<br />

are bound together using a water-based<br />

binder. Pan estimated that HRT is<br />

roughly 70% of wood fibres, and 30% of<br />

the binder.<br />

Using reconstituted timber addresses<br />

the multiple issues mentioned earlier<br />

that plague Singapore’s mass timber<br />

industry. Since Onewood sources wood<br />

fibres from plantations around the<br />

region, such as Malaysia, manufacturing<br />

SVES will not incur huge freight and<br />

shipping costs, unlike importing<br />

engineered timber from Europe.<br />

Furthermore, HRT uses wood fibres from<br />

plantation timber that only requires 5-7<br />

years compared to mass engineered<br />

timber which uses solid lumber that<br />

50 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


4 5<br />

requires a longer harvest period of<br />

around 30 years rotation. The density<br />

of reconstitute timber also makes the<br />

SVES resistant to termites.<br />

But that does not mean reconstituted<br />

timber, and by extension SVES, can<br />

be used immediately for construction,<br />

since Singapore allows engineered<br />

timber from Europe or New Zealand<br />

to be used in high-rise projects.<br />

Pan elaborated: “Since Singapore<br />

subscribes to the EU building code,<br />

you need to make sure the material<br />

complies with the building code<br />

through certification and testing, and<br />

that takes a very long time. And they<br />

are many different certifications to go<br />

through which are expensive.”<br />

Even so, SVES is developed with the<br />

goal of using it for low-rise projects,<br />

like residential houses. “The idea<br />

is that we can change the building<br />

type with SVES, and we do not need<br />

columns and beams anymore, since we<br />

are not doing high-rise construction,”<br />

added Pan. “I’m looking at a maximum<br />

of two-and-a-half-storey building.”<br />


As a Design for Manufacturing and<br />

Assembly (DfMA)-trained architect,<br />

Pan and his studio developed the<br />

SVES with prefabrication in mind.<br />

The SVES modules can be fabricated<br />

and manufactured off-site, before<br />

being delivered to the construction<br />

site and installed onto the building<br />

itself. Furthermore, the mould used to<br />

press the laminated veneers into an<br />

eggcrate structure can be reused again<br />

to produce more eggcrate structures,<br />

allowing the mass production of SVES<br />

modules.<br />

Although prefabrication has a negative<br />

connotation in the architecture<br />

sector since it seemingly allows only<br />

cookie-cutter designs, Pan wanted<br />

to explore how to achieve design<br />

freedom alongside prefabrication and<br />

mass customisation. Other important<br />

aspects to prefabrication are its ecofriendliness<br />

and economy.<br />

For instance, speaking about another<br />

residential project he is currently<br />

working on, a mass timber, twostorey<br />

detached house or bungalow<br />

in Sentosa, Singapore, Pan described<br />

how even though mass timber<br />

solutions seem costlier than concrete<br />

or steel structures in Singapore, the<br />

overall cost, which takes into account<br />

construction time and labour, is<br />

actually cheaper. For the bungalow<br />

he is working on, Pan mentioned<br />

that it only requires “less than four<br />

weeks” to complete the on-site<br />

installation of the wooden structure.<br />

Prefabrication therefore saves on time<br />

and manpower.<br />

“There is an economy of scale here,<br />

where I am looking at componentbased<br />

timber products and doing<br />

different column, wall, or beam types. I<br />

am giving architects all the kit of parts<br />

[of the wooden building components],<br />

which they can take and create<br />

different design forms. I come from a<br />

design background, and I am looking at<br />

the possibility of mass customisation<br />

so that in the end, architects get more<br />

flexibility out of my solutions,” said Pan.<br />

WHAT’S NEXT?<br />

Currently, the proof of concept and<br />

prototype for SVES are done, and<br />

what’s left are the certifications and<br />

testing. This can be achieved with pilot<br />

testing. Pan needs to test the SVES<br />

components in a building, ensuring<br />

they are safe and ready for use, and<br />

these tests can only be done in South<br />

East Asian countries where the pilot<br />

project will be nearer to the source of<br />

timber.<br />

Pan and his studio Produce are also<br />

looking for Singapore grants to further<br />

support his tests, and he is also<br />

exploring alternatives to sprinkler<br />

technology, such as mist systems<br />

which can slow the spread of flames on<br />

mass timber surfaces. However, that<br />

would require several governmental<br />

organisations in the water and building<br />

industries to change current regulations<br />

and codes, and to change their mindset<br />

about fire regulations. Otherwise,<br />

certifications to ascertain the ecofriendliness<br />

of SVES, such as Singapore<br />

Green Label Certificate or Forest<br />

Stewardship Council (FSC) certification,<br />

or to ascertain the SVES’ durability and<br />

fire resistance, such as Durability Test<br />

EN 113-2 (2020) and EN 350 (2016)<br />

and British Standard – Surface Spread<br />

of Flame Test Report BS 476: Part 7:<br />

1997, are still needed before the SVES<br />

is market ready. WIA<br />

4 How the flooring<br />

module of the<br />

SVES is formed<br />

using a mould<br />

5 How the wall<br />

module of SVES<br />

is formed<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 51


The Circus<br />


Hitoshi Saruta/CUBO design<br />

architect<br />

LOCATION: Chiba, Japan<br />

PRINCIPAL USE: Vacation house<br />

COMPLETION: September 2022<br />

SITE AREA: 988.97m 2<br />

BUILDING AREA: 280.37m 2<br />


Masaki-lab<br />


‘Spending time with cars’ is the<br />

concept behind The Circus vacation<br />

house: It is intended as a fun retreat<br />

for the car-loving client and their<br />

friends. <strong>In</strong> contrast to a typical house<br />

with a built-in garage, the aim was<br />

to blur the boundaries between<br />

people, cars, and rooms in a relaxed<br />

environment.<br />

<strong>In</strong>spired by a circus tent, the simple<br />

but bold structure is made up of<br />

a large 24-sided volume and an<br />

independent volume inside shaped<br />

like a large, round table that forms<br />

the second storey. The core that<br />

supports the tent has no posts,<br />

but instead maintains its tension<br />

through slanted outer walls.<br />

The client’s desire for a house<br />

that could easily and flexibly be<br />

used in various ways gave rise<br />

to the circular plan. Because the<br />

52 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


1<br />

2<br />

3<br />

1 The entrance into The Circus<br />

2 The design is inspired by a circus tent<br />

3 Stairs leading up to the second storey<br />

design has no dead-ends and<br />

allows people and cars to move<br />

freely throughout the first storey,<br />

it accommodates various layouts<br />

while providing an extreme version<br />

of the ‘impracticality’ often sought in<br />

vacation homes.<br />

The structure uses conventional<br />

construction materials to keep costs<br />

low, while advanced pre-cut timber<br />

technology and precision steel<br />

hardware manufacturing technology<br />

enable the unusual form. The first<br />

storey is a ‘garage living’ space<br />

shared by people and cars, with<br />

functionality concentrated in the core<br />

and outer rim. The second storey is a<br />

private space containing the owner’s<br />

bedroom and a central jacuzzi with a<br />

waterfall shower.<br />

Viewed from below, the frame of<br />

the house evokes an open paper<br />

umbrella, an intentional reference<br />

to Japanese design. The client has a<br />

playful personality and suggested fun<br />

ideas that the architects incorporated<br />

throughout the house, and on<br />

weekends it is filled with car-loving<br />

friends. Like a grown-up version of the<br />

secret hide-outs that Japanese people<br />

built on empty lots as children, the<br />

project was “as much fun to design<br />

as it is to inhabit”, as the architects<br />

declared. WIA<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 53


Harder than hardwood:<br />

<strong>Wood</strong>os presents <strong>Wood</strong>ura<br />

Solid wood floors at high foot traffic areas<br />

or areas with high levels of activity are often<br />

susceptible to indentation. Heels, dropped<br />

objects, wear and tear marks from running<br />

are culprits of damaging hardwood floors.<br />

However beautiful and eco-friendly such<br />

floors can be, it will not matter if they are not<br />

resilient to foot traffic.<br />

Välinge Flooring has therefore developed a<br />

surface technology that reportedly offers three<br />

times the impact protection of a traditional<br />

hardwood floor while being more sustainable.<br />

Called <strong>Wood</strong>ura, floors applied with this<br />

surface technology can provide consumers an<br />

aesthetic, real wood floor with the durability<br />

and water resistance typically associated only<br />

with plastic or polyvinyl chloride (PVC) floors.<br />


According to flooring distributor <strong>Wood</strong>os,<br />

<strong>Wood</strong>ura is created by Välinge Flooring’s<br />

technology that presses the timber’s top and<br />

bottom layers to a high-density fibreboard<br />

(HDF) core with heat and pressure-infused<br />

timber powder. The powder will fill up the<br />

natural openings of the wood, so there is no<br />

need for putty filling. Due to the heat and<br />

pressure fusion of the timber top layer to the<br />

HDF core at pore level, the surface is denser<br />

and more durable than untreated timber.<br />

As a result, floors installed with <strong>Wood</strong>ura<br />

technology can achieve a Janka hardness<br />

1<br />

2<br />

3<br />

4<br />

54 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>



rating of 3,030, whereas solid or engineered<br />

European oak timber flooring with a wear layer<br />

of 2mm or more generally achieves a Janka<br />

hardness of 1,300.<br />

The top layer is then finished with a<br />

commercially warranted UV cured coating.<br />

A complete <strong>Wood</strong>ura floor therefore consists<br />

of six layers: The UV cured coating is at the<br />

top, followed by the top real wood veneer,<br />

the timber powder, the HDF core, the timber<br />

powder again, and the bottom real wood<br />

veneer. The veneers can be made using oak,<br />

ash, and walnut, and in 11 different shades.<br />

By using a fraction of the hardwood top<br />

surface, <strong>Wood</strong>ura floors produce up to 10<br />

times more flooring from the same tree. This<br />

is because the top and bottom layers of the<br />

timber are made from real wood veneers<br />

rather than thickly sawn solid timber, and<br />

hence more flooring can be sustainably<br />

extracted from the raw material.<br />

“Sustainability is all about making more from<br />

less and <strong>Wood</strong>ura is a perfect example of<br />

this,” said Tim Hayton, regional manager of<br />

<strong>Wood</strong>os.<br />

<strong>Wood</strong>ura floors are also installed with<br />

Välinge’s developed 5G Dry fold-down locking<br />

technology that waterproofs surfaces and<br />

offers easier installation, and 5G Climb<br />

technology which allows the floor to be<br />

installed on walls by adding a small plastic<br />

clip. WIA<br />

1 Ash <strong>Wood</strong>ura in Earth<br />

Grey colour<br />

2 Ash <strong>Wood</strong>ura in<br />

Powder White colour<br />

3 Walnut <strong>Wood</strong>ura in<br />

Natural colour<br />

4 Oak <strong>Wood</strong>ura in<br />

Mineral Grey colour<br />

5 Oak <strong>Wood</strong>ura in Hard<br />

Smoked colour<br />

6 Walnut <strong>Wood</strong>ura in<br />

Terra Brown colour<br />

5 6<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 55


2022: Challenging year<br />

for global laminate<br />

flooring sector<br />

and a 24.5% increase. Belgium, Finland and<br />

the Netherlands are among the countries that<br />

suffered the most from the crisis in western<br />

Europe, with Belgium experiencing a 34.7%<br />

decrease to 6 million m² sold, Finland with<br />

a 34.2% decrease to 2 million m², and the<br />

Netherlands with a 33.5% decrease to 14<br />

million m². For eastern Europe, the region was<br />

hit harder than its western counterpart as<br />

sales volume fell by 24% to 107.7 million m²<br />

sold compared to 2021. Ukraine, Macedonia<br />

and Kosovo suffered the most, with Ukraine<br />

decreasing by 55% to 3.8 million m² sold,<br />

Macedonia by 48.6% to 235,357m², and Kosovo<br />

by 47% to 1.26 million m².<br />

North America was the least impacted<br />

compared to other regions in the world, with a<br />

setback of only 2.4% increase of sales volume<br />

to 29.2 million m². However, the Canadian<br />

market faced a drop of 37% with 8.09 million<br />

m² sold in 2022. <strong>In</strong> contrast, Latin America<br />

suffered the most as the sales volume was<br />

halved, clocking a 51% fall compared to 2021<br />

with 11.2 million m² sold. Chile was the most<br />

affected market in Latin America, recording a<br />

67% decrease to 4.46 million m². EPLF’s sales in<br />

Africa declined by 33% to 3.85 million m² sold<br />

in 2022. Asia also witnessed a 34% decrease<br />

to 21.5 million m². The situation is similar in<br />

Oceania with a drop of 16% to 3 million m².<br />

The market of laminate floorings declined<br />

in 2022 after a series of successful years.<br />

Members of the European Producers of<br />

Laminate Flooring (EPLF) have experienced<br />

difficulties which translated to sales volume<br />

that showed an overall downturn in most<br />

regions. This is mainly due to the global energy<br />

crisis that followed after the Russia-Ukraine<br />

conflict, which has led to inflation.<br />

The EPLF total sales volume for 2022<br />

amounted to roughly 367 million m², a<br />

decrease of 24% compared to 2021. Most<br />

regions are hit by this trend, with Latin America<br />

being hit the most with 11 million m², a 51%<br />

decrease compared to 2021. Asia-Pacific<br />

witnessed a 32.5% decrease in sales to<br />

24.5 million m².<br />

<strong>In</strong> 2022, sales volume in western Europe<br />

decreased by 22% to 179 million m² sold. A<br />

majority of the countries in the region have<br />

been affected by the international upheaval,<br />

with the exception of Andorra, who recorded<br />

a 5% increase, Cyprus with a 4% increase,<br />

Iceland with a 10% increase, and Monaco<br />

However, some countries stood out from the<br />

rest. EPLF members managed to increase their<br />

sales figures in Salvador with 235.5%, Panama<br />

with 226%, Brazil with 117%, Cape Verde with<br />

655%, and Madagascar with 23% in Africa, as<br />

well as Iraq with 131%, the Philippines with<br />

49%, and Malaysia with 40%.<br />

Despite supply issues and higher energy costs<br />

that the sector has faced, EPLF members<br />

are confident that they will soon return to<br />

sales figures similar to those of 2021 when<br />

consumers’ enthusiasm for remodelling boosted<br />

the purchase of laminate flooring during the<br />

pandemic. WIA<br />

56 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

FIT-OUTS<br />

The sycamore tree<br />

permeates five storeys<br />

Sycamore<br />

tree hung<br />

in hotel lobby<br />


PROJECT: Grand Emily Hotel lobby<br />

DESIGN: YOD Group<br />

LOCATION: Vynnyky, Lviv, Ukraine<br />

AREA: 550m 2<br />

COMPLETED: 2022<br />

PHOTOGRAPHY: Yevhenii Avramenko<br />

Grand Emily Hotel is part of the new Emily Resort<br />

in Vynnyky town near Lviv, Ukraine. The largescale<br />

installation with the hung-up sycamore in<br />

the hotel atrium aims to be the iconic image of the<br />

whole complex.<br />

The tree permeates five storeys. Its organic<br />

silhouette creates a contrast with the rhythmical<br />

geometry of the walls, horizontal lines of the<br />

floors, verticals of boards on the wall covering,<br />

and diagonals of metal banisters on the stairs.<br />

Hotel guests can lie on a round leather pouf in<br />

the hall and get a unique emotional experience of<br />

contemplating the sycamore tree from under its<br />

roots.<br />

The designers at YOD Group rejected the idea of<br />

a massive chandelier in the atrium in favour of a<br />

meaningful installation. A tree means connection<br />

with roots and family values, growth, and<br />

development, strong bar, and flexible branches. It<br />

connects the earth and space. The sycamore tree<br />

was carefully cleaned, dried, and stabilised before<br />

being hung. They scanned its shape in a 3D format<br />

to have in their visualisations this exact tree.<br />

They did not create photo zones in their projects<br />

to avoid excessive decorativeness. <strong>In</strong>stead, they<br />

designed some unique elements that support<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 57

FIT-OUTS<br />

the general concept of a place. Such<br />

solutions attract eyes and become<br />

natural photo points: There are five<br />

different parts of the sycamore tree<br />

from the different floors of Grand Emily<br />

Hotel, such that guests can get five<br />

photo zones at the same time.<br />

YOD Group also aimed to get visual<br />

lightness and tell the story about the<br />

morning breeze that passed on the<br />

lake surface and combed the reeds.<br />

They created this experience with the<br />

structure of the wooden boards, fixed<br />

by Thermory, that they used for the wall<br />

covering of the hall. Every board is fixed<br />

into a movable groove. It is possible<br />

to change the pattern on the wall by<br />

moving the first board in the row.<br />

1<br />

2<br />

1 The interior<br />

reflects the local<br />

nature and<br />

surrounding<br />

landscape<br />

2 A person can<br />

feel relaxed and<br />

natural in such<br />

a setting, as<br />

though they are<br />

part of the entire<br />

structure<br />

3 The front desk<br />

4 Every wooden<br />

board on the wall<br />

covering is fixed<br />

into a movable<br />

groove<br />

The designers chose natural pale<br />

colours, honest materials, and<br />

touchable surfaces. The interior reflects<br />

the local nature and surrounding<br />

landscape, which they named as the<br />

terroir design.<br />

Frank Lloyd Wright, the classic of<br />

American design at the beginning of<br />

the 20th century, established the idea<br />

of organic architecture. It proclaims<br />

that a building should be relevant to<br />

its natural context and blend in with<br />

its surroundings. The terroir design is<br />

the YOD Group’s development of this<br />

approach into interior design.<br />

3 4<br />

Volodymyr Nepiyvoda, designer and<br />

founder of YOD Group, said: “We<br />

borrow the term from the wine industry.<br />

The terroir stands for the complex of<br />

environmental factors that affect a<br />

wine’s unique character. It would have<br />

a different character if this certain<br />

vine had grown in a different place. It<br />

is totally like that with our design. It<br />

reflects a local context and is relevant<br />

only where it was grown. Such interiors<br />

resonate with the surroundings and<br />

extend it. A person feels relaxed and<br />

natural in such a place as they are also<br />

the element of an entire structure.” WIA<br />

58 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>

FIT-OUTS<br />

Yamagiwa Osaka<br />

showroom and office<br />

The louvres of the showroom<br />

can be adjusted freely<br />


LOCATION: Osaka, Japan<br />


Yuko Nagayama and Associates<br />

CLIENT: Yamagiwa<br />

PRINCIPLE USE: Showroom<br />

PHOTOGRAPHY: Nobutada Omote<br />

<strong>Architecture</strong> firm Yuko Nagayama<br />

and Associations was commissioned<br />

to design a new Osaka showroom<br />

for lighting manufacturer Yamagiwa.<br />

Drawing inspiration from the company’s<br />

logo, a symbol of radiating light<br />

designed by Yusaku Kamekura, the<br />

architects decided to construct the<br />

space from assemblages of fine lines.<br />

<strong>Wood</strong>en louvres are used on the ceiling<br />

while vertical louvres reminiscent of<br />

paper shoji screens serve as partitions<br />

that let in soft light. Polished brass rods<br />

embedded in the flooring and stucco<br />

walls catch the light from fixtures and<br />

glimmer like gold threads in Japanese<br />

brocade, representing light beams. As<br />

Yamagiwa expands its reach as a global<br />

brand from Japan to the world, this<br />

new showroom expresses exquisite<br />

craftsmanship and the play of light and<br />

shadow in an ambiance that is both<br />

neutral and distinctly Japanese.<br />

Because the showroom displays<br />

lifestyle products focused on lighting,<br />

the architects used several strategies<br />

to create a homelike, human feel.<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 59

FIT-OUTS<br />

1<br />

1 The ceiling can<br />

be flattened to<br />

create a large<br />

public area<br />

2 The office<br />

3 <strong>Wood</strong>en louvres<br />

in closer view<br />

2<br />

For instance, both the angle of the<br />

wooden ceiling louvres and the<br />

position of the vertical blinds can be<br />

freely adjusted, softly segmenting<br />

the space and allowing each area to<br />

have a different atmosphere. During<br />

events, the ceiling can be flattened<br />

to create a large public area, and by<br />

adjusting the display areas frequently,<br />

the showroom can provide a fresh<br />

experience to customers each time<br />

they visit.<br />

3<br />

To the rear of the showroom is an<br />

office. Because Yamagiwa also sells<br />

office lighting and furniture, this office<br />

sometimes functions as a showroom.<br />

Part of the office ceiling is visible<br />

from the main showroom, allowing<br />

customers to see the office lighting<br />

while also making the showroom feel<br />

larger because the ceiling extends<br />

past its boundaries. The ambient office<br />

lighting is programmed such that the<br />

colour temperature changes according<br />

to the time of day, and is designed<br />

to harmonise with the showroom<br />

lighting for a pleasant overall light<br />

environment. Features such as booths<br />

for video conferencing and counter<br />

tables that flexibly accommodate<br />

shifting staff numbers come together<br />

in an office design that can adapt to<br />

diverse work styles. WIA<br />

60 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


Workspace Design<br />

Show <strong>2023</strong>:<br />

The future of<br />

workspaces<br />

One of the event highlights includes<br />

Workspace Design Talks, a series of<br />

discussions for attendees to learn<br />

from a diverse group of speakers on<br />

topics such as workplace strategy,<br />

wellness, and sustainability.<br />

The line-up consists of architects,<br />

designers, and workplace<br />

specialists who have worked<br />

with influential companies and<br />

organisations around the world,<br />

including MVRDV, Fokkema &<br />

Partners, UNStudio, Powerhouse,<br />

D/DOCK, HofmanDujardin, MVSA,<br />

de Architekten Cie, Tetris, and Ditt<br />

Officemakers. A number of real<br />

estate professionals from end-user<br />

occupiers will also share their<br />

insights, featuring companies such<br />

as Booking.com, ING, Ernst & Young,<br />

Rabobank, Ericsson, Just Eat, Miro,<br />

Philips, CBRE and Cushman &<br />

Wakefield.<br />

<strong>In</strong> addition to the conference, the<br />

show will also feature several brands<br />

from the Netherlands and across<br />

Europe, including Vitra, <strong>In</strong>terface,<br />

<strong>In</strong>terstuhl, Vepa, Expormim, Kettal,<br />

1 Workspace Design<br />

Talks hosts a series<br />

of discussions about<br />

workplace strategy,<br />

wellness, and<br />

sustainability<br />

2 The 2021 edition<br />

gathered architects,<br />

interior designers,<br />

workplace<br />

consultants, and<br />

facility managers<br />

2<br />

1<br />

From 11-12 Oct <strong>2023</strong> at the RAI<br />

Amsterdam Convention Centre in<br />

Amsterdam, the Workspace Design<br />

Show <strong>2023</strong> is catered for professionals<br />

in commercial interiors and anyone<br />

passionate about workspace design.<br />

Workspace Design Show is a trade<br />

exhibition in the UK and Benelux region<br />

where architects, interior designers,<br />

workplace consultants, and facility<br />

managers come together to exchange<br />

ideas, insights, and innovations in<br />

workplace design. This event will offer<br />

opportunities to meet and network with<br />

industry professionals, get inspired by<br />

the latest trends and ideas, and explore<br />

new products and services from<br />

industry brands.<br />

Mute, Girsberger, Tarkett, OCS+,<br />

Rockwool, Occony and De Blick, who<br />

will transform the show floor into an<br />

array of feature spaces that allows<br />

visitors to interact, touch, feel and<br />

experience design.<br />

“At Workspace Design Show, we are<br />

passionate about creating a platform<br />

for professionals to discover the<br />

latest trends, network with peers,<br />

and learn from experts in the field.<br />

With our exciting line-up of speakers,<br />

workshops, and participating brands,<br />

we are confident that attendees will<br />

leave the event feeling inspired and<br />

equipped with new knowledge and<br />

ideas,” said Esha Bark-Jones, show<br />

director for Workspace Design Show<br />

in London and Amsterdam. WIA<br />

Images: Marek Sikora<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 61


BEX Asia <strong>2023</strong><br />

timber, prefabricated mechanical<br />

electrical and plumbing (Prefab MEP),<br />

prefabricated prefinished volumetric<br />

construction (PPVC), modular<br />

construction and other tools that<br />

improve construction productivity will<br />

also be showcased.<br />

The linchpin of the event is dedicated<br />

to the latest sustainable built<br />

environment products. There will<br />

be a series of technical seminars<br />

by exhibitors which aim to impart<br />

knowledge not just about their<br />

products and applications, but also<br />

to educate attendees on how they<br />

should approach the complex equation<br />

of building better and greener while<br />

maintaining profitability.<br />

BEX Asia is also launching the Built<br />

Environment Leaders’ Summit, a<br />

new conference format that gathers<br />

between 150-200 decision-makers<br />

from built environment firms and aims<br />

to inspire cross-industry and interdisciplinary<br />

innovation. Specifically, it<br />

BEX Asia 2022<br />

gathered over 9,000<br />

visitors and 168<br />

participating brands<br />

from 48 countries or<br />

regions<br />

The global construction and<br />

architecture sector is expected to<br />

record an annual average growth of<br />

4.5% from <strong>2023</strong>-2026, with South East<br />

Asia expected to hit a market value of<br />

US$343,905 in 2026.<br />

<strong>In</strong> South East Asia, the built<br />

environment is complex and diverse<br />

with each country facing its own<br />

unique challenges. However, there<br />

are a few common issues. For<br />

instance, COVID-19 has increased<br />

the importance of healthy buildings,<br />

leading to research and innovations on<br />

indoor air quality and intelligent facility<br />

management. Cost pressure from<br />

supply chain disruptions, increasing<br />

energy costs and labour shortages<br />

means that the industry needs to find<br />

ways to increase productivity, such<br />

as building information modelling<br />

(BIM) and robotics. Also, with South<br />

East Asia’s rapid urbanisation and<br />

governments’ commitment to COP<br />

targets, the built environment industry<br />

is also under a lot of scrutiny to build<br />

better and greener.<br />

To support the transformation of the<br />

built environment industry in South East<br />

Asia and solve these challenges, BEX<br />

Asia <strong>2023</strong>, a built environment trade<br />

show set to take place from 6-8 Sep<br />

<strong>2023</strong> at the Sands Expo & Convention<br />

Centre in Singapore, will focus on<br />

three areas: digital technologies,<br />

advanced construction, manufacturing<br />

and assembly technologies, and<br />

sustainability.<br />

From 6D BIM and photogrammetry<br />

to <strong>In</strong>ternet of Things (IoT) and 3D<br />

scanning, visitors can expect digital<br />

technologies that allow every part<br />

of the built environment value chain<br />

to collaborate more effectively<br />

from planning and construction<br />

to maintenance. Products such as<br />

construction robots, mass engineered<br />

will bring key thinkers and speakers<br />

from outside the built environment<br />

industry to share how they have solved<br />

challenges that are similar to what<br />

the industry is facing currently — for<br />

example, using case studies from the<br />

automotive industry for challenges in<br />

modular construction and advanced<br />

manufacturing. More details will be<br />

released in the coming months.<br />

Visitors can also expect wood-based<br />

exhibitors and solutions. BEX Asia<br />

2022 featured several wood-related<br />

exhibitors such as Eurasia Architectural<br />

Products which carried a range of<br />

timber acoustics panel, and Coast<br />

Fraser Enterprises which is an export<br />

and distribution firm of softwood and<br />

hardwood lumber and logs. This year,<br />

BEX Asia <strong>2023</strong> aims to explore more<br />

companies engaged in the business of<br />

reclaimed timber, hoping to inspire the<br />

industry to make greater use of this<br />

under-served market. WIA<br />

62 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong>


<strong>2023</strong><br />

MARCH<br />

<strong>In</strong>terzum Guangzhou<br />

28 – 31<br />

Guangzhou, China<br />

Salone del Mobile<br />

18 – 23<br />

Milan, Italy<br />

Architect’23<br />

25 – 30<br />

Bangkok, Thailand<br />

APRIL<br />

MAY<br />

<strong>In</strong>terzum Cologne<br />

09 – 12<br />

Cologne, Germany<br />

INDEX Dubai<br />

23 - 25<br />

Dubai, United Arab Emirates<br />

Project Qatar<br />

29 – 01 June<br />

Doha, Qatar<br />

JUNE<br />

Design Shanghai<br />

08 – 11<br />

Shanghai, China<br />

Malaysian <strong>Wood</strong> Expo<br />

18 – 20<br />

Kuala Lumpur, Malaysia<br />

South China <strong>In</strong>ternational <strong>In</strong>dustry Fair<br />

27 – 29<br />

Shenzhen, China<br />

JULY<br />

Archidex<br />

26 – 29<br />

Kuala Lumpur, Malaysia<br />

AUGUST<br />

China Architectural Design Expo<br />

03 – 06<br />

Shanghai, China<br />


03 – 06<br />

Shanghai, China<br />


52nd CIFF Shanghai <strong>2023</strong><br />

05 – 08<br />

Shanghai, China<br />

2024<br />


Workspace Design Show <strong>2023</strong><br />

11 – 12<br />

Amsterdam, Netherlands<br />


China Yiwu <strong>In</strong>ternational<br />

Forest Products Fair<br />

01 – 04<br />

Zhejiang, China<br />


The Big 5 Global<br />

04 – 07<br />

Dubai, UAE<br />

Cairo <strong>Wood</strong>show <strong>2023</strong><br />

07 – 10<br />

Cairo, Egypt<br />

The Big 5 Saudi<br />

03 – 06<br />

Riyadh, Saudi Arabia<br />

MARCH<br />

BEX Asia<br />

06 – 08<br />

Singapore<br />

FIND Design Fair Asia<br />

21 – 23<br />

Singapore<br />

WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong> 63



Advertiser<br />

Page<br />

Advertiser<br />

Page<br />

American Hardwood Export Council<br />

OBC<br />

Smart Furniture Solutions & Mass Timber Vietnam 5<br />

American Lumber 9<br />

Softwood Export Council<br />

IFC<br />

Baillie Lumber 7<br />

Technik Associates, <strong>In</strong>c<br />

IBC<br />

Kuang Yung Machinery Co.,Ltd 11<br />

<strong>Wood</strong> <strong>In</strong> <strong>Architecture</strong> House Ad 64<br />

Malaysian <strong>Wood</strong> Expo 1<br />

Scan to download<br />

WIA <strong>Issue</strong> 1, <strong>2023</strong> ebook<br />

FOLLOW<br />

US NOW!<br />

@wood.ia<br />

WIA-HPHorizontal-Socialmedia-2021.indd 1<br />

64 WOOD IN ARCHITECTURE • ISSUE 1 – <strong>2023</strong><br />

23/8/22 2:31 PM





SBM-1300-H6<br />

SBM-1300-H6<br />

<br />

<br />

Double Sided Cutting<br />

Double Boring and Sided Milling<br />

Cutting<br />

Boring Machine<br />

and Milling<br />

Machine<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

<br />

Designed For Solid <strong>Wood</strong> Furniture / Door / Flooring Production,<br />

Designed Kitchen Cabinet, For Solid and <strong>Wood</strong> Functiona Furniture For / High Door Precision / Flooring Sizing, Production,<br />

Boring, Milling .<br />

Kitchen Cabinet, and Functiona For High Precision Sizing, Boring, Milling .<br />



L-CLASS<br />

L-CLASS<br />

DET-4000-L6<br />

DET-4000-L6<br />

<br />

Double End Tenoner<br />

Double End Tenoner<br />

CLT 6,000 mm <br />

CLT Special machine for CLT material such as flooring, ceiling and wall panel 6,000 mm <br />

Special max. working machine width for up CLT to 6,000 material mm such or more. as flooring, ceiling and wall panel<br />

max. working width up to 6,000 mm or more.<br />

SD-700A<br />

SD-700A<br />

Auto. Edge Banding Machine<br />

Auto. Edge Banding Machine<br />

PVC (softforming) 0.4-1.2 mm<br />

PVC For PVC melamine and veneer edge banding (softforming) job. Edging thickness: 0.4-1.2 0.4-1.2 mmmm.<br />

For PVC melamine and veneer edge banding (softforming) job. Edging thickness: 0.4-1.2 mm.

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!