Publisher – Zanda Author - Bill Wallis Contents Terms of use ...... 5 Foreword ...... 6 Introduction ...... 8 Book on a page...... 10 Chapter 1 – The influence of Australian Architecture on Door Hardware ...... 12 The Arts and Crafts movement ...... 12 Australian Arts and Crafts Churches ...... 13 Modern architecture ...... 13 Residential architecture and discrete climates ...... 13 Queenslanders, beach houses and wool sheds ...... 14 Federation houses, bungalows and post-war housing development ...... 14 Structuring an Australian architecture? ...... 15 Chapter 2 - A brief history of door handles ...... 18 Chapter 3 - An architectural & philosophical context ...... 22 Chapter 4 - Famous Architects who have influenced door handle design ...... 27 Chapter 5 – Materials used in door hardware past and present ...... 30 Brass ...... 30 Zinc alloys ...... 31 Stainless Steel ...... 32 Aluminium ...... 33 Glass ...... 34 Timber ...... 34 China/ceramic ...... 34 Cast bronze ...... 34 Chapter 6 – How is a handle made? ...... 37 Forging ...... 37 Surface preparation ...... 37 Coating ...... 37 Quality Control ...... 37 By products/Waste ...... 37 Die casting ...... 38 Clamping ...... 38 Injection ...... 39 Cooling ...... 39 Ejection ...... 39 Trimming ...... 40

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 2 Chapter 7 - The finishing and coating process ...... 42 Metal plating (electroplating) ...... 42 Brushed Metal ...... 42 Buff Polishing ...... 42 Metal Grinding ...... 43 Metal Vibratory Finishing ...... 43 Sand Blasting ...... 43 Powder Coating ...... 43 Hot Blackening ...... 43 Anodizing ...... 43 Bronzing ...... 44 Chapter 8 – Types of finishes ...... 46 Introduction ...... 46 Finish variations – in products ...... 46 Finish variations – from different manufacturers & suppliers ...... 46 Finish variations – door and cabinet hardware ...... 46 The different finishes available ...... 47 Chapter 9 – Australian architectural styles ...... 53 Introduction to the mainstream styles ...... 53 Post Modern ...... 53 Retro ...... 53 Victorian ...... 54 Contemporary...... 54 Classical...... 54 Neo Classical ...... 55 Art Deco ...... 56 Georgian ...... 57 Federation/Queen Anne (1895-1915) ...... 57 Chapter 10 – Australian handles and their architectural styles ...... 60 Chapter 11 – Study of an iconic Australian brand ...... 67 The Visca brand ...... 67 The Astron Brand ...... 68 The Futura brand ...... 71 The Triad brand ...... 73 The Jura Brand ...... 74 Zanda Pull Handle Brand ...... 75 Chapter 12 - Care & Maintenance ...... 78

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 3 Introduction ...... 78 Brass ...... 78 The high polish of Brass products are often treated with a clear protective coating to provide durability. Brass, like sterling silver, will gradually tarnish and take on an antique appearance. Atmospheric conditions, caustic agents such as paints, or scratches from sharp objects may cause the protective coating to crack or peel causing spotting and discolorations...... 78 Stainless Steel ...... 78 Aluminium ...... 78 Zinc alloy ...... 79 Chapter 13 - The Future ...... 81 Architectural styles of the future ...... 81 Electronics - a brave new world ...... 83 Infection control ...... 84 The use of timber ...... 86 Will wooden skyscrapers be the new norm? ...... 86 3D Modelling ...... 87 Farewell the round doorknob: Is Vancouver's ban a sign of things to come for Australia? ...... 88 Facial recognition security & other developments ...... 90 Will drones and computers replace architects? ...... 92 Will flat pack homes be the way of the future? ...... 95 Ethics – is a binding code needed? ...... 97 Conclusion ...... 98 Free online test ...... 98 Glossary of Terms ...... 99 Bibliography ...... 105 Useful links & Sources ...... 105

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 4 Terms of use

© Zanda Architectural

Author – Bill Wallis

Publisher – Zanda Architectural 7 Bellows Street, Welshpool, WA, 6056

Published - October 2016 Revision 12

Terms of use The author and Zanda Architectural (Zanda) disclaims all liability for any statements or information that is erroneous or incomplete contained in any brochure, datasheet or in any other communication relating to any product Zanda sells, supplies, manufactures or otherwise deals with.

Although Zanda endeavours to provide useful information, the buyer or reader is responsible for independently satisfying itself as to the information provided. Zanda does not guarantee that any goods or information will be fit for purpose or suitable for any particular application or use. It is the reader’s responsibility to independently determine the suitability of any information and to test and verify the same.

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo copy, recording or any other information storage and retrieval system, without prior written consent from the publisher.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 5 Foreword

This book has been written because, to the knowledge of the writer, no such study exists that specifically analyses and identifies the architectural styles of door hardware. There are thousands of books on architectural styles per se – they traverse houses, flats, commercial, cutlery, furniture, cars, landscaping and industrial – you name it, it is there. But nothing devoted to a work of art (the door handle) that is as old as the building itself. Why? Is it like the wheel - an invention so profound, so revolutionary - that we use it for our benefit without ever offering up a prayer of thanks to the genius who designed it? Or is it like the air we breathe, subconsciously we taste it, savour it and depend on it but rarely discuss it nor does it cross our minds that without it all of humanity would expire within 10 to 15 minutes! Or perhaps electricity? A source of energy that revolutionised the world and made our everyday lives change immensely for the better. Yet the only time we ever give it a thought, is when the power goes off or our power bill comes! In those circumstances of course, our language does not always reflect the huge benefit that this necessity provides! Yes, the door handles in our buildings are the same – seldom thought of until they don’t work! Give this some thought though. A door handle is the first thing you touch when you enter a building and the front entrance is the first thing you apprehend from the street. A smart front entrance can increase the value of a residence by up to ten percent because of the ‘first perception’ phenomena. The place where you enter is the window to the soul of what’s inside and the door handle is the nexus between the senses and the physical experience. Not only is it the nexus - it embodies art, security, form and function. Whilst the exterior of a beautiful house can be admired, inspected and discussed. In addition to these experiences, a beautiful handle can also be touched. There is something about the feel of a beautiful handle, lovingly designed, manufactured, finished and packed. There is something of the spirit of the designer still residing - exuding something of the artisan, a sense of spirit and satisfaction. Take Johannes Potente (1908 – 1987) who designed the famous classic door handle No 1020. He spent his entire career designing beautiful handles – from 1922 to 1972! He was an anonymous designer, sitting alone in his workshop carefully crafting his door handles and concentrating on the substance of the handle, not the style.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 6 The 1020 was one of the first handles to be cast in aluminium, a material that was just becoming available in 1950. The unique qualities of aluminium, its lustre and light weight, add to the form that Potente developed. This is the kind of commitment to design perfection that is seen in hundreds of handles today. How many handles are there in the world today - billions? Multiply that by the number of hours spent designing and crafting each and every one of them. Wow - trillions of hours of love and dedication have been devoted to this art of arts? The toil of a Potente, the genius of a Wittgenstein and the patience of a Gropious are seen in them one and all. Is it not then a full vindication for a dedicated treatise to be written in honour of the door handle? Yes indeed!

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 7 Introduction

In order to properly treat the subject of architectural design and door hardware, and by way of context, a brief overview of the history of architecture in Australia is necessary. Architects in Australia have created some of the most unusual and outstanding buildings in the world. Internationally recognised Australian icons include buildings like the Sydney Opera House (architect Jørn Utzon) and the new Parliament House in Canberra (architect Romaldo Giurgola). Distinctive Australian architecture is also recognisable in the rural icons of 'the Queenslander', the 'wool shed' and the 'beach house' which have developed in response to climate, history, place and identity. Characteristically, these designs used local materials as well as corrugated iron and emphasised space and light as well as a connection to the landscape. Yet there is very little available information on the subject of the architecture of door hardware itself. There is much on general architecture, door design, house design and all sorts of other components that make up a dwelling, but on door handles – virtually nothing of substance exists. Sydney Opera House That is not to say that architectural styles have (architect Jørn Utzon) not influenced the design of door handles – far from it! Nor is it to say that Australian architects have not put their talents to the task with respect to the design of the handle. Almost every architectural style and period boasts a multitude of door handle designs after its image. Architecture, is the art and technique of designing and building, as distinguished from the skills associated with construction. The practice of architecture is employed to fulfil both practical and expressive requirements, and thus it serves both utilitarian and aesthetic ends. Although these two ends may be distinguished, they cannot be separated, and the relative weight given to each can vary widely. Because every society—whether highly developed or less so, settled or nomadic—has a spatial relationship to the natural world and to other societies, the structures they produce reveal much about their environment (including climate and weather), history, ceremonies, and artistic sensibility, as well as many aspects of daily life.

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Palace of Versailles, France. Eric Pouhier The characteristics that distinguish a work of architecture from other man- made structures are (1) the suitability of the work to use by human beings in general and the adaptability of it to particular human activities, (2) the stability and permanence of the work’s construction, and (3) the communication of experience and ideas through its form. All these conditions must be met in architecture. The second is a constant, while the first and third vary in relative importance according to the social function of buildings. If the function is chiefly utilitarian, as in a factory, communication is of less importance. If the function is chiefly expressive, as in a monumental tomb, Some of the most exquisite utility is a minor concern. ironmongery can be found on old In some buildings, such as churches buildings and places of worship. and city halls, utility and communication may be of equal importance. Hence some of the most beautiful and exquisite door handles can be found on olden day churches and holy places. Now you can Go to book on a page if you want the fast facts, or proceed to chapter one to read this book in depth.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 9 Book on a page

What do you want to know? Find out fast by clicking on one of the links below. Helpful hint: At the end of each section you can click on a link that brings you right back to this page.

Foreword

Introduction

The influence of architecture on door hardware

The history of door handles

Architecture and philosophy

Materials used in door hardware

How is a handle made?

The finishing process

Types of finishes

Australian architectural styles

Australian door handle styles

Zanda door handle styles

Care & maintenance

The future

Conclusion

Free online test

Glossary of terms

Useful links and resources

Helpful hint: Test your knowledge by taking the Free online test

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 10

Chapter 1 The influence of Australian

Architecture on Door Hardware

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 11 Chapter 1 – The influence of Australian Architecture on Door Hardwarei Take a stroll amongst historic buildings today and you will notice the ornate hardware that decorates front entries everywhere from baroque to gothic and from art décor to Georgian. Probably the most famous, in a world context, being the front door of 10 Downing Street. Many of the first buildings in Australia were constructions associated with the immediate needs of the colonies. Port Arthur settlement and Point Puer (juvenile prison) were designed by the convict architect Henry Laing. The Round House in Fremantle, built in 1831 as a gaol, was the first permanent building in the colony of Western Australia. Early public buildings were constructed around the importance of influencing community and civic identity. There was a sentimental attachment to the idea of public space with a city square ringed by great civic buildings 'to the glory of god and humanity'. In the founding of the first buildings in Australia, a duality of approaches existed: those which dominated the landscape and those designed to blend in. The Arts and Crafts movement

The English Arts and Crafts movement had an influence on the architecture of Australia, from the late 1800s, where the style of building was adapted to the Australian landscape and conditions. English Arts and Crafts houses in Australia feature strong lines and some subtle gothic touches with a high level of attention to detail. Blackwood House. Image courtesy of the State Several English Arts and Crafts style houses have Library of Victoria been built in neighbourhoods around Canberra. Blackwood House in Melbourne was designed

and built in an Arts and Crafts style by Butler and Ussher in 1891. Redleaf is a large house in Sydney, built in 1899 to an English Arts and Crafts style by Howard Joseland. After several alterations over the years that did not fit with the English Arts and Crafts style, it was restored to its original style and is now heritage listed.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 12 Australian Arts and Crafts Churches

Maryborough Town Hall designed by Robin Dods. Image courtesy of the

Maryborough City Council [amalgamated into the Fraser Coast Regional Council].

Some Australian churches of the early 1900s also reflect the English Arts and Crafts style. These include the All Saints' Church, Tamrookum and the Maryborough Town Hall, both in Queensland and designed by the architect Robin Dods. Alexander North (1858–1945) was also influential in designing churches around Australia, particularly in Tasmania, such as St Stephen's Anglican Church in Wynyard. He developed an individual style similar to that of his English Arts and Crafts contemporaries and used native flora and fauna for many of his motifs. Modern architecture In Australia in the 1900s, the use of new materials and technology coincided with a flood of utopian ideas about what it meant to be modern. While physical function was seen as important, it also needed to be balanced by an emotional, spiritual and social sense, often influenced by the ideals of the Australian Arts and Crafts movement to reflect on something that was uniquely Australian. Australia's modern residential architecture also reflects this change with architects using new environmental materials and producing designs that address social needs. Residential architecture and discrete climates Early Australian residential architecture was a response to the Australian landscape and the climate with its unique flora and fauna, intense sunlight and dappled shadows. Early buildings needed to respond to these discrete climatic elements.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 13 Queenslanders, beach houses and wool sheds The early houses of Queensland were characterised by broad verandas shaded by gracefully curved expanses of corrugated roofing iron, tall stumps, lattice, and roof ventilators. These qualities had the effect of cooling the house, allowing for breezeways, and allowed for the run off of tropical down pours. Sam Hood (1872- Shutters were also effective against the rages of 1953), Family with car cyclones. & Queenslander house, Constructions which had fully opening walls 1920's. Courtesy of the were often essential for cooling down the State Library of New buildings. This was developed in early beach South Wales. PICMAN houses. Similarly the pitch of a roof varies PXE 789 (v.10). according to the latitude and climate of the region. Overlapping layers of roofs are used so that air can move between the layers. Like lattice-work verandahs on 'the Queenslanders', slats can be found in many 'wool sheds' or 'shearing sheds' to prevent the sun heating up the building. In modern day constructions, slats are set at particular angles as screens for sun control allowing for entry of light in winter or cool seasons and excluding it in the heat of summer. Slatted floors used in wool sheds were also used as verandahs in tropical areas to encourage air flow. Modernist Australian architecture has also used these innovations for their design and practical appeal. They can be seen in sub-tropical and tropical Australia in northern New South Wales and throughout Queensland, the Northern Territory and the Kimberley. The Australian architect Glenn Murcutt has adopted all these practices 'in building houses that float above the land' – buildings which 'touch the earth lightly'. This phrase, an Aboriginal saying from Western Australia, is used by Glenn Murcutt to convey the idea that buildings should not disturb nature more than necessary. Murcutt was named the Pritzker Architecture Prize Laureate 2002, the only Australian to be so recognised. Federation houses, bungalows and post-war housing development The ornate Federation Federation house in house, built mainly between Cairns, 1914. Image 1900 and 1914, was a sign courtesy of the State of prosperity - an Australian version of the English Library of Edwardian house. Queensland: 196394. Federation houses were

detached, with gardens, and

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 14 with Australian motifs and a roof of terracotta tiles with detailed fretwork in the roof gables and windows. Many houses had a sunrise motif in the front gable as a sign of the dawning of a new century. Add-ons and renovations with heritage restraints were a constant experience of living in a federation house. By the First World War (1914–1918), there was a shortage of tradesmen and materials. The cost of houses had to be reduced, so the ceilings were lowered to create 'bungalows', houses which were built between 1915 and 1940. Gone was most of the detail, and a plainer style lead lighting was put into the front windows. Post-war housing (1950s and 1960s) could be made from anything, varying from either weatherboard, asbestos cement or brick veneer. Redevelopments were anything from three storey, walk-up flats to town houses, villas and dual occupancies. It was this development which the Australian architect and critic, Robin Boyd referred when he described the Australian suburbs as 'the ugliness of bad conscious design'. Structuring an Australian architecture? The desire for people to express their identity through a building is very powerful but understanding and describing who we are is never easy. Mainstream Australia has this problem of its own identity ... what, who are we? They desperately hold on to the English model of housing for example, and this fascination that they have, or obsession with this Federation. (Dillon Kombumerri, architect) Gregory Burgess, architect for the Kata Tjuta Uluru - Kata Tjuta cultural centre at Uluru, described his design Cultural Centre. process as both listening and collecting stories Courtesy of the from different Anangu people who each carried a different fragment of the same story and also Department of the 'listening to the wind in the casuarinas and ... Environment, the desert oaks'.

This process continued until one of the elder men said, 'you've got all our stories now, we've rounded them up, got them in the yard for you, you're inside, now do it, draw it.' Burgess responded by building massive walls that linked the project parts and making all the walls from the sand at the site. ‘The columns are small ephemeral shade structures, often made with an upturned desert oak trunk with the roots above.' You know, if we set out to design an architecture that's Australian we're in trouble ... The important thing is that we address the issues, we address the landscape, we address the brief, we address the place. If we address

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 15 those things and do them rationally and poetically at the same time, we must be getting somewhere. (Murcutt) The history and scope of Australian identity can be seen in the range of its buildings - from both the austere and also grand regent style colonial architecture through the practical minimalism of Australian modernism to a post-colonial world which incorporates the Indigenous experience of country. This is reflected in the 2006 submissions from Australia to the Venice Biennale. These buildings range from 'industrial woolsheds to shipwreck lookouts, from riverside apartments to rural art spaces' - of different scales, types and uses. 'The projects were selected to highlight eight different aspects of our contemporary urban landscape and demonstrate creative architectural responses to Australian conditions.' Go to book on a page

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Chapter 2

A brief history of door handles

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 17 Chapter 2 - A brief history of door handlesii

What is a door handle?

Currently, there are about 108 million existing doorways in Australia, with about two million new ones added every year – that’s a lot of handles! Lever handles (as opposed to knobs) are the easiest for most people to use and are mainly what are used in today’s dwellings. Door handles have been made of many materials, including wood, ceramic, glass, plastic and different types of metal. Brass is one of the most popular materials because of its excellent resistance to rust. The average door handle is 120mm in length with a projection of 50mm and a rose diameter of either 50 or 60mm. The basic components are the lever, the inner rose, outer rose, shank, and spindle. The lever is grasped by the hand. The shank is the projecting stem of the lever and contains a hole or socket to receive the spindle. The rose is a round plate or washer that forms a lever socket and is adapted for attachment to the surface of a door. The lever is attached to the spindle, a metal shaft that turns the latch of the lock. Door handle history They are items we rarely think about, but door handles have been in use for centuries, although America began manufacturing them in the 1850's. Wooden doors and door handles first appeared around 5,000 years ago, as evidenced by paintings in the ... ·

tombs of wealthy

Egyptians. The oldest known lock was found by archaeologists in the Khorsabad Lock system in ancient Mesopotamia palace ruins near Nineveh. The lock was estimated to be 4,000 years old. It was a forerunner to a pin tumbler type of lock, and a common Egyptian lock for the time. This lock worked using a large wooden bolt to secure a door, which had a slot with several holes in its upper surface. The holes were filled with wooden pegs that prevented the bolt from being opened.iii

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 18 Locks and keys were known of long before the birth of Christ. They are mentioned frequently in the Old Testament and in mythology. In the Book of Nehemiah, chapter 3, it is stated that when repairing the old gates of the City of Jerusalem - probably in 445 B.C. - they "set up the doors thereof, and the locks thereof, and the bars thereof." At this time, locks were made of wood. They were large and crude in design; yet their principle of operation was the forerunner of the modern pin-tumbler locks of today. Sufficient to add, if they had locks, they had handles. Solomon refers to them in the Book of the Canticles Chapter 5 verse 5; “and my hands dropped with myrrh, and my fingers with sweet smelling myrrh, upon the handles of the lock”. This was written in B.C. 1012.iv However, for most of the population, hides or textiles served as door covers. Excavations have revealed that Roman and Babylonian civilizations used door hinges and door handles have been unearthed in Africa that date from the Ancient Egyptian era.

In the middle Ages, people lived in one big room, but from the late 1500s royal palaces, followed by courtiers’ and gentry’s homes, were altered to create individual rooms. As in Egypt, the spaces were at first separated by woven hangings, then replaced with wooden doors hung from basic hand- forged strap hinges supported by bolts fixed directly into the Decorative door hardware, including stonework of the door knobs, emerged after the Centennial opening. These wooden doors Exposition of 1876 sometimes featured wooden bars with leather or hand- forged latches.

From 1830 to 1873, over 100 U.S. patents were granted for door knobs. Pressed glass and cut glass door knobs were popular. China or ceramic knobs were mainly imported from France and England until the first U.S. patent was granted for making door knobs out of potter’s clay. Cast metal knobs were introduced around 1846. Wooden knobs were common, but were phased out as composite metal knobs were introduced. The main body was made out of iron or steel, covered entirely or in part with a veneer of bronze or brass. Decorative door hardware, including knobs, emerged after the Centennial Exposition of 1876.v

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Although it is difficult to provide an exact date of when door knobs first came into use, the first documentation of the invention of a door knob was in 1878. The U.S. Patent Office received a submission made for improvements on a door-closing device by an African American inventor named Osbourn Dorsey. Door knobs and door handles are now a vital part of modern doors!vi Back in colonial days, door handles were constructed out of wood or string to form a basic latch. The traditional round door handle made an appearance in the late-eighteenth century. Door hardware was almost exclusively imported until decorative door handles were displayed at the Centennial Exposition of 1876. Early door handles were made of a wide variety of materials. Glass knobs (either made of pressed or cut glass), wooden knobs, and ceramic knobs were popular through the nineteenth century into the first decade of the twentieth century. Knobs made of metal were typically made of several soldered pieces, until the mid-1850's when the casting process was developed. The Victorian era produced a profusion of decorative cast bronze, or brass, door handles. Over 1,000 antique door handle designs from this period have been catalogued by collectors. Locking devices on door handles are a necessity, and processes to machine steel locks were utilized starting in 1896. Modern door handle sets feature spring locks, dead bolts, or electronic devices that require a key code or combination. Go to book on a page

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Chapter 3 The Door handle – an architectural and philosophical context

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 21 Chapter 3 - An architectural & philosophical context The door handle, one of the smallest of architectural elements, can exert the most powerful of impacts. Architecture is usually seen as an art expressed through space and light, as if it were somehow apart from our bodies. Yet it is our sense of touch which introduces us to the building. It is the weight, solidity and texture of the handle which guides us across the threshold, which gives us our first impression of the architecture. Like the building itself, the handle is not a static object but a small piece of sculpture which bears the traces and memories of use, abuse and the lives of those who have briefly touched it. The door handle is also more than a function object that has to arrange optics and haptics in a special way: it represents the haptic-physical contact with a house’s architecture. And although you may only have it in your hands for seconds, sometimes not using it for days, the haptic is as crucial as the optic. Furthermore, material and surface play an important role. Functionally seen, the door handle is straightforward since it is only supposed to perform a turn of maybe 40 degrees. More has never been required for a door handle! Yet, door handles tell you the whole cultural and stylistic history. Try to buy a “purely functional“ door handle – you won’t be able to do that since door handles always consist of a lot of psychology. What was it about handles—door-handles, axe-handles, the handles of pitchers and vases—that transfixed thinkers in Vienna and Berlin during the early decades of the twentieth century, echoing earlier considerations of handles in America and ancient Greece? One famous door hardware designer was Ludwig Wittgenstein although it wasn’t his usual occupation! He is known as an influential philosopher of the 20th century, but he gets no love for his contribution to modern door handle design. TheWittgenstein handle, designed in 1927, is considered the model for every subsequent tubular handle. It’s a The Wittgenstein handle, designed in simple l-shaped steel lever, but 1927

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 22 Wittgenstein designed several variations—all of which appear in a single house in Vienna.vii Ludwig Wittgenstein abandoned philosophy after publishing his celebrated Tractatus Logico-Philosophicus in 1921. He took up gardening instead, in a monastic community on the outskirts of Vienna, where he camped out for a few months in a tool shed. It was in part to draw him back into “the world” that his sister Margarete (Gretl) invited him to join the architect Paul Engelmann in designing her new house, a rigorous Modernist structure that, much changed, now houses the Bulgarian Embassy. Wittgenstein’s participation in the project was relatively limited, his biographer Ray Monk maintains (though Engelmann himself, from professional modesty or perhaps ambivalence about the final product, claimed the collaboration was more extensive): His role in the design of the house was concerned chiefly with the design of the windows, doors, window-locks and radiators. This is not as marginal as it may at first appear, for it is precisely these details that lend what is otherwise a rather plain, even ugly, house its distinctive beauty. The complete lack of any external decoration gives a stark appearance, which is alleviated only by the graceful proportion and meticulous execution of the features designed by Wittgenstein. To details like the door-handles, in particular, Wittgenstein accorded what Monk calls “an almost fanatical exactitude,” driving locksmiths and engineers to tears as they sought to meet his seemingly impossible standards. The unpainted tubular door-handle that Wittgenstein designed for Gretl’s house remains the prototype for all such door-handles, still popular in the twenty- first century. (Thomas Bernhard was surely evoking his idol, Wittgenstein, when he told a friend that the only way to find an exact replacement for a broken window-handle would be to find another, identical broken window- handle.) Monk argues, more than once, that this design project brought Wittgenstein “back” to philosophy. Viennese society is central for Monk, who reproduces Klimt’s portrait of Gretl, and notes that she introduced her brother to an influential professor of philosophy at the University of Vienna. “Through working for Gretl,” he writes, “Wittgenstein was brought back into Viennese society and, eventually, back Wittgenstein designed the door into philosophy.” hardware for Gretl’s house It is doubtful however that the return to philosophy was prompted by social connections, which were always a

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 23 mixed bag for the antisocial Wittgenstein. It is perhaps safer to believe that the prompt was in the handle. For when Wittgenstein returned to philosophy, the idea that drove him beyond all others was that the nature of language had been misunderstood by philosophers, “including,” he noted winningly, “the author of the Tractatus.” Words did not, he had come to believe, primarily provide a picture of life (the word “snake” representing, or sounding like, an actual snake); they were better conceived of as a part of the activity of life. As such, they were more like tools. (We do things with words, as J. L. Austin famously argued, things like, from a list of Wittgenstein’s, “thanking, cursing, greeting, and praying.”) “Think of the tools in a tool-box,” Wittgenstein wrote in his epochal Philosophical Investigations (1953). “There is a hammer, pliers, a saw, a screw-driver, a rule, a glue-pot, glue, nails and screws. The functions of words are as diverse as the functions of these objects.” Words may look similar, especially when we see them in print. “Especially when we are doing philosophy!” The analogy Wittgenstein drew was precisely with handles. It is like looking into the cabin of a locomotive. We see handles all looking more or less alike. (Naturally, since they are all supposed to be handled.) But one is the handle of a crank which can be moved continuously (it regulates the opening of a valve); another is the handle of a switch, which has only two effective positions, it is either off or on; a third is the handle of a brake-lever, the harder one pulls on it, the harder it brakes; a fourth, the handle of a pump: it has an effect only so long as it is moved to and fro. It is the utility of handles that Wittgenstein insists on here. The pump don’t work cause the vandals took the handles. This utility of handles had also caught the attention of the pioneering German sociologist Georg Simmel, but he thought utility was only half the story. In his brilliant 1911 essay “The Handle,” Simmel argued that the handle of a vase bridges two worlds, the utilitarian and the non-utilitarian. A vessel, according to Simmel, “unlike a painting or statue, is not intended to be insulated and untouchable but is meant to fulfil a purpose—if only symbolically. For it is held in the hand and drawn into the movement of practical life.” Thus the vessel stands in two worlds at one and the same time: whereas reality is completely irrelevant to the “pure” work of art and, as it were, is consumed in it, reality does make claims upon the vase as an object that is handled, filled and emptied, proffered, and set down here and there. This dual nature of the vase is most decisively expressed in its handle. For Emerson, too, handles had a dual nature. “All things have two handles,” he wrote in his American Scholar address, “beware of the wrong one.” Stanley Cavell notes that this gnomic admonition “itself has two handles.” Apart from the familiar reminder that there are two sides to every argument, Emerson

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 24 urges scholars not to unmoor themselves in their thinking from what he called, in another essay, “the city and the farms.” In Cavell’s summary of Emerson (whom Wittgenstein was reading during his military service in World War I), effective thinking and writing require, on the part of the scholar, a certain “doubleness, of worlds, of words,” a straddling of the practical and philosophical worlds, like Simmel’s handle. Scholars have long assumed that Emerson—who evasively names his source as “the old oracle”—found his aphorism about the two handles in the Enchiridion (handbook, or manual), attributed to the Greek stoic philosopher Epictetus. But it is more likely that he filched them (like Dylan’s handle-vandal) from a more immediate source, Thomas De Quincey’s 1827 essay “On Murder Considered as One of the Fine Arts”: Is there some unfinished business here? Was there, for example, any significance to Wittgenstein’s parenthetical joke about handles resembling one another, like brothers and sisters? “We see handles all looking more or less alike. (Naturally, since they are all supposed to be handled.)” For Wittgenstein, those handles seem to come momentarily alive; they’re animated.viii Walter Gropious, another famous architect who has influenced handle design, came up with a handle in the early 1920s. It was intended as the model of the machine produced aesthetic of the Bauhaus. Used on modernist buildings throughout Europe, their deceptively simple geometry, all based on the circle and the square, was the first commercially successful product to emerge from the Bauhaus.ix Yet look at those handles now. Scuffed from years of Walter Gropious - use, overpainted, repaired, they stand as exquisite Architect reminders of the exigencies of use and the impossibility of perfection. Yet they remain beautiful, intrinsic elements of the architecture, inseparable from the moment in which they were conceived yet layered with the patina of time. Ideal design is to create small moments of hand-held architecture which reveal something about the time in which they were made but which are capable of absorbing the use and wear and accumulating a patina which makes them far richer than they ever were when they were new. Go to book on a page

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Chapter 4 Famous Architects who have influenced door handle design

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 26 Chapter 4 - Famous Architects who have influenced door handle designx

Whilst it is very rare to find Architects who have specialised in the design of door hardware, there are some famous names that are worthy of credit because of the impact they have had on the world of door hardware design. Some have already been referred to.

Walter Gropius was born in 1883 and to this day is regarded as one of the leaders of classic Bauhaus design. He studied architecture at the beginning of the twentieth century before entering the design bureau of Peter Behrens in 1907, along with Mies van der Rohe and Corbusier. As an independent architect and industrial designer, Walter Gropius went on to design the famed Gropius door handle, which was first produced by S.A. Loevy in 1923.

Wilhelm Wagenfeld was born in Bremen and remains one of the most famous representatives of the Bauhaus school. He designed the famous WG24 lamp and was also responsible for a number of other original designs for Braun, Rosenthal and WMF. In 1928, Wagenfeld designed the WD28 door handle for S.A. Loevy, together with a matching window handle, which at the time was only produced in small numbers.

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Ferdinand Kramer was born in 1898. As an architect and designer, he was an adherent of functionalism and an ardent follower of the principle “form follows function”. Kramer primarily created interior fittings which suited the kind of small-dimensioned rooms that dominated in the first half of the twentieth century. He conceived a timeless, purpose based design with low production costs. This conical door handle was designed in 1925.

Ludwig Wittgenstein, born in 1889, was a famous Austrian-British philosopher. It was due to his artistic talent and his interest in architecture and design that he decided to design and construct a residence in Vienna for his sister Margarethe in 1926 –1928. His original creations included the pair of door handles pictured, fashioned from a round rod especially for this house.

The door handles designed by Ludwig Wittgenstein for his sister’s house

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Chapter 5 Materials used in door hardware past and present

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 29 Chapter 5 – Materials used in door hardware past and present

To give context on the subject of architecture and door hardware we should consider the subject of how door hardware is made and the materials that it is made from as both are critical in the approach to both form and function. A brief historyxi Australian doorknob designs and materials have changed throughout the years. In colonial times the first door hardware was made out of wood, and involved simple latches and strings. Round knobs first appeared around the time of independence. Decorative hardware, including knobs, emerged after the Centennial Exposition of 1876. Before this time, most door hardware was imported; 95% in 1838. Before 1846, metal knobs were made from two pieces brazed together or three pieces soldered together. Cast metal knobs were introduced around 1846. In the late 1800s, composite metal knobs were introduced as a less expensive knob. The main body was made out of iron or steel, covered entirely or in part with a veneer of bronze or brass. During the last half of the nineteenth century, many patents were issued regarding the spindle methods of attaching metal knobs for lock use, as well as designs for ornamenting these knobs. In 1870, a compression casting method was introduced that accelerated ornamentation of hardware. Around 1900, cast metal and glass knobs were introduced that incorporated ball bearings in the shanks of doorknobs. In operation, the knob shank rotated on sets of ball bearings fitted in the hardened steel cones. This reduced friction, assured closer adjustment, and eliminated endplay of the knobs. Other materials popular during the early 1900s included bronze and porcelain. Most doorknobs come with some type of locking device. Machine processes for steel locks were first introduced in 1896. Today, the most common type of privacy lock is the spring lock, which uses a simple round, push button located in the centre of the knob to control the bolt. It is easy to operate with a finger, closed fist, or elbow. Some locks come with both a spring lock and a dead bolt, which is operated by a key. Other locks have become more sophisticated, and use some sort of electronic device, such as a programmable computer chip that identifies users. Brass Most doorknobs are made of metal, with one of the most common type being brass. The term brass refers to a group of alloys that contain a combination of varying amounts of copper and zinc. The material is usually received as a rod or billet of suitable diameter and is machine cut to the required length. The raw material must conform to standards developed by

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 30 the Australian Standards of Testing and Materials regarding physical, mechanical, chemical, thermal, and microstructural properties for each specific process.

Zinc alloysxii Composition of Zinc Alloy Zinc alloys, sometimes known as Zamac, are Material one of the most versatile engineering materials. No other alloy provides the % Zamac 2 combination of strength, toughness, rigidity, Aluminium 3.5-4.3 bearing performance, and economic castability. Precision, quality, and repeat performance are Copper 2.5-3.0 distinct zinc alloy advantages. Zinc Alloys are Magnesium 0.02-0.05 made up of a number of metal components including aluminium, copper, magnesium, iron, Iron (max) 0.1 lead, cadmium, tin, nickel and zinc. See chart Lead (max) 0.005 on the right for the various metals that make up Zamac No 2 (a grade of Zinc Alloy) Cadmium (max) 0.004

Tin (max) 0.003 Strength Zinc alloys offer high strengths (up to 60,000 Nickel (max) -- p.s.i.) and superior elongation for strong Zinc Bal. designs and formability for bending, crimping and riveting operations. RoHS Compliant ✓

Toughness Zinc alloys provide significantly higher impact resistance than that of cast aluminium, plastic, and grey cast iron.

Flexibility Virtually any part configuration can be moulded using zinc. High casting fluidity, regardless of part configuration, allows for thinner wall sections to be cast in zinc compared to other metals.

Precision Tolerances Zinc alloys are castable to closer tolerances than other metal or plastics. Thus reducing or eliminating secondary operations or machining. "Net Shape" or "Zero Machining" are major advantages of miniature zinc castings.

Easy Finishing Zinc castings are readily polished, plated, painted, chromated or anodized for decorative and/or functional service.

Long Mold Life Low casting temperatures result in less thermal shock and extended life for zinc die casting molds. Mold life can often be more than 10 times that of an aluminium injected mold.

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Clean and Recyclable Zinc is among the cleanest melting materials available. Zinc metal is non- toxic. Scrap is a reusable resource which is efficiently recycled. Zinc alloys provide excellent strength and extreme fluidity allowing for thin walls and ready finish. Stainless Steel Stainless steel, any one of a family of alloy steels usually containing 10 to 30 percent chromium. In conjunction with low carbon contents, chromium imparts remarkable resistance to corrosion and heat.

Other elements such as nickel, molybdenum, titanium, aluminium, niobium, copper, nitrogen, sulphur, phosphorus, and selenium may be added to increase corrosion resistance to specific environments, enhance oxidation resistance, and impart special characteristics.xiii

Stainless-steel equipment in a dairy where corrosion resistance is critical © Mark Yuill/Shutterstock.com

Features The many unique values provided by stainless steel make it a powerful candidate in materials selection. Engineers, specifiers and designers often underestimate or overlook these values because of what is viewed as the higher initial cost of stainless steel. However, over the total life of a project, stainless is often the best value option. Benefits Corrosion resistance Lower alloyed grades resist corrosion in atmospheric and pure water environments, while high-alloyed grades can resist corrosion in most acids, alkaline solutions, and chlorine bearing environments, properties which are utilized in process plants. Fire and heat resistance Special high chromium and nickel-alloyed grades resist scaling and retain strength at high temperatures.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 32 Hygiene The easy cleaning ability of stainless makes it the first choice for strict hygiene conditions, such as hospitals, kitchens, abattoirs and other food processing plants. Aesthetic appearance The bright, easily maintained surface of stainless steel provides a modern and attractive appearance. Strength-to-weight advantage The work-hardening property of austenitic grades, that results in a significant strengthening of the material from cold-working alone, and the high strength duplex grades, allow reduced material thickness over conventional grades, therefore cost savings. Ease of fabrication Modern steel-making techniques mean that stainless can be cut, welded, formed, machined, and fabricated as readily as traditional steels. Impact resistance The austenitic microstructure of the 300 series provides high toughness, from elevated temperatures to far below freezing, making these steels particularly suited to cryogenic applications. Long term value When the total life cycle costs are considered, stainless is often the least expensive material option. Sustainability Stainless steel is one of the most sustainable material choices available to decision makers.

Mechanical Properties Chart – Stainless Steel In Australia the most (Annealed condition) commonly used grade Tensile Yield Elonga Hardness of stainless steel is 304. Strength Strength tion However, it is Stainless ksi MPa ksi MPa 410 70 483 45 310 25 B80 recommended that 316 430 75 517 50 345 25 B85 marine grade is a safer 304 84 579 42 290 55 B80 option given the harsh 316 84 579 42 290 50 B79 Australian conditions and the fact that the Elongation in 2" (50.80 mm) majority of Australians Hardness in Rockwell B live near the coast.

Aluminiumxiv

The silvery-white chemical element aluminium ranks among the most industrially important metals. Except for magnesium and beryllium, it is the lightest structural metal and is highly ductile, capable of being cast, rolled, stamped, drawn, machined, or extruded.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 33 Moreover, it is corrosion resistant, and heat reflective. Although aluminium is soft and has relatively low tensile strength in its pure form, it can be made much harder and stronger if alloyed with copper, magnesium, or zinc. Aluminium is more widely used than any other metal except iron and steel.

Aluminium alloys have a far wider range of applications. Aluminium-copper alloys, which have mechanical properties superior to those of certain forms of steel, are employed extensively as structural components of buildings, aircraft, space satellites, railroad cars, and boats.

Aluminium-manganese alloys exhibit exceptional resistance to weathering and corrosion and so are commonly used for door handles, siding, roofing, window frames, and other construction hardware.

Some interesting facts and statistics about aluminium

 Protects satellites from the harsh environment of space.  Used in one of the world's tallest buildings --- the Sears Tower in Chicago, Illinois.  Provides attractive, minimum-maintenance, highly durable door hardware, exteriors, roofs, curtain walls, ceilings, floors, escalators, lobbies and staircases in skyscrapers and commercial buildings throughout the world.  Revolutionized the construction of computer hardware, exhibit displays for trade shows, scientific instruments, and a constantly expanding array of home appliances, consumer products, and building materials.  Considered environmentally safe, producing few, if any, harmful effects on land, air, or water

Glass Glass knobs were rare until a faster and cheaper manufacturing method was developed based on pressing. Pressed glass knobs were popular from 1826- 1850, followed by cut glass through 1910. Timber Wooden knobs, whilst probably the first material used for handles were mass produced in the late 1800s but were phased out after 1910 when more efficient materials were introduced. China/ceramic China or ceramic knobs were mainly imported from France and England until the mid-1800s, when the first U.S. patent was granted for making knobs out of potter’s clay. Cast bronze Many of the Victorian doorknobs were made of cast bronze with ornamental patterns. During this period, a dozen major companies and many smaller firms produced hundreds of patterns of ornamented hardware, in addition to cast and wrought metal, glass, wood and pottery knobs. From 1830-1873,

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 34 there were over 100 U.S. patents granted for knobs. Collectors have catalogued over 1,000 antique doorknob designs into 15 types based on shape, material, and design pattern. The best grade of knobs during this period were usually made from cast bronze or brass. Go to book on a page

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Chapter 6 How is a handle made?

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 36 Chapter 6 – How is a handle made? Though there are several processes used for door handles, including casting where a molten metal is poured into a mould, brass doorknobs are typically forged. Forging is a process in which heated metal is forced into shaped dies under very high pressure. Forging can produce products having superior strength, toughness, reliability, and quality (up to 250% stronger than castings). Forging can also be more efficient and economical. Forging 1 The billet must first be heated to 1,400° F (759.9° C) in a gas-fired furnace to soften the metal. The billet is then placed in a specially designed set of steel dies that are shaped to conform to the profile of the product being made. A press applies high pressure to force the heated billet into the die cavity, where the billet now takes the shape of the doorknob. 2 After the doorknob is ejected from the press, it is cooled, trimmed to size, tempered, and cleaned to remove heat scale produced during the process. Surface preparation 3 Next, the doorknob goes through a series of finishing steps. Separate coining, milling, drilling, and tapping processes produce a surface ready for the polishing operation. One or more buffing steps are used to achieve a brilliant finish. Coating 4 For further protection, an organic or inorganic coating is applied using several different processes. Organic coatings include polyurethanes, acrylics, and epoxies. Because the solvents used in organic coatings can produce hazardous materials and quality problems, manufacturers are turning to inorganic coatings based on inert metals. These are applied using electroplating or physical vapour deposition (PVD). 5 PVD applies a coating produced by sputtering and thermal evaporators in an airtight chamber. The chamber is evacuated to high vacuum pressures (less than one millionth of an atmospheric pressure) by a series of pumps. A thin coating is deposited one molecule at a time. For successful PVD, the brass surface must first be extensively cleaned in a series of washing and agitating tanks, followed by electroplating with semiprecious materials. Quality Control The raw material must be of suitable composition for the forging process, as required by Australian Standards. Various process parameters throughout the manufacturing process are monitored and controlled to ensure the final product meets quality standards. The finished doorknob is inspected for dimensions, surface finish, and other properties. Some of these properties may have to conform to certain building codes. By products/Waste Since forgings are designed to approximate final part shape, little waste is produced compared to other processes. The forging process also results in

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 37 uniformity in composition, dimensions, and structure from piece to piece and lot to lot, which also minimizes rejects. Die castingxv Die casting is a manufacturing process that can produce geometrically complex metal parts through the use of reusable molds, called dies. The die casting process involves the use of a furnace, metal, die casting machine, and die. The metal, typically a non-ferrous alloy such as aluminium or zinc, is melted in the furnace and then injected into the dies in the die casting machine. There are two main types of die casting machines - hot chamber machines (used for alloys with low melting temperatures, such as zinc) and cold chamber machines (used for alloys with high melting temperatures, such as aluminium). After the molten metal is injected into the dies, it rapidly cools and solidifies into the final part, called the casting. The steps in this process are described in greater detail in the next section.

A typical die casting machine used for handle production

Process cycle The process cycle for die casting consists of five main stages, which are explained below. The total cycle time is very short, typically between 2 seconds and 1 minute. Clamping - The first step is the preparation and clamping of the two halves of the die. Each die half is first cleaned from the previous injection and then lubricated to facilitate the ejection of the next part. The lubrication time increases with part size, as well as the number of cavities and side-cores. Also, lubrication may not be required after each cycle, but after 2 or 3 cycles, depending upon the material. After lubrication, the two die halves, which are attached inside

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 38 the die casting machine, are closed and securely clamped together. Sufficient force must be applied to the die to keep it securely closed while the metal is injected. The time required to close and clamp the die is dependent upon the machine - larger machines (those with greater clamping forces) will require more time. This time can be estimated from the dry cycle time of the machine. Injection - The molten metal, which is maintained at a set temperature in the furnace, is next transferred into a chamber where it can be injected into the die. The method of transferring the molten metal is dependent upon the type of die casting machine, whether a hot chamber or cold chamber machine is being used. The difference in this equipment will be detailed in the next section. Once transferred, the molten metal is injected at high pressures into the die. Typical injection pressure ranges from 1,000 to 20,000 psi. This pressure holds the molten metal in the dies during solidification. The amount of metal that is injected into the die is referred to as the shot. The injection time is the time required for the molten metal to fill all of the channels and cavities in the die. This time is very short, typically less than 0.1 seconds, in order to prevent early solidification of any one part of the metal. The proper injection time can be determined by the thermodynamic properties of the material, as well as the wall thickness of the casting. A greater wall thickness will require a longer injection time. In the case where a cold chamber die casting machine is being used, the injection time must also include the time to manually ladle the molten metal into the shot chamber.

Cooling - The molten metal that is injected into the die will begin to cool and solidify once it enters the die cavity. When the entire cavity is filled and the molten metal solidifies, the final shape of the casting is formed. The die cannot be opened until the cooling time has elapsed and the casting is solidified. The cooling time can be estimated from several thermodynamic properties of the metal, the maximum wall thickness of the casting, and the complexity of the die. A greater wall thickness will require a longer cooling time. The geometric complexity of the die also requires a longer cooling time because the additional resistance to the flow of heat. Ejection - After the predetermined cooling time has passed, the die halves can be opened and an ejection mechanism can push the casting out of the die cavity. The time to open the die can be estimated from the dry cycle time of the machine and the ejection time is determined by the size of the casting's envelope and should include time for the casting to fall free of the die. The ejection mechanism must apply some force to eject the part because during cooling the part shrinks and adheres to the die. Once the casting is ejected, the die can be clamped shut for the next injection.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 39 Trimming - During cooling, the material in the channels of the die will solidify attached to the casting. This excess material, along with any flash that has occurred, must be trimmed from the casting either manually via cutting or sawing, or using a trimming press. The time required to trim the excess material can be estimated from the size of the casting's envelope. The scrap material that results from this trimming is either discarded or can be reused in the die casting process. Recycled material may need to be reconditioned to the proper chemical composition before it can be combined with non-recycled metal and reused in the die casting process.

A typical example of how a product is produced and the method by which the final part is processed by trimming.

The selection of a material for die casting door handles is based upon several factors including the density, melting point, strength, corrosion resistance, and cost. The material may also affect the part design. For example, the use of zinc, which is a highly ductile metal, can allow for thinner walls and a better surface finish than many other alloys. The material not only determines the properties of the final casting, but also impacts the machine and tooling. Materials with low melting temperatures, such as zinc alloys, can be die cast in a hot chamber machine. However, materials with a higher melting temperature, such as aluminium and copper alloys, require the use of cold chamber machine. The melting temperature also affects the tooling, as a higher temperature will have a greater adverse effect on the life of the dies. Go to book on a page

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Chapter 7 The finishing and coating process

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 41 Chapter 7 - The finishing and coating processxvi

Metal finishing is used to treat the exterior of a metal product by applying a thin complementary layer to its surface. There are numerous types of metal finishing processes that can be used for finishing handles. In this guide, we will review the major finishing methods, as well as applications and considerations for choosing a metal finishing process. Some of the general advantages of applying this finishing treatment to a metal product include:

 Increased durability  Improved decorative appeal  Higher electrical resistance  Higher chemical resistance  Higher tarnish resistance  Potential for vulcanization

Metal plating (electroplating) This a process where is a chemical bath is used to coat or alter the surface of a substrate with a thin layer of metal, such as nickel or PTFE. The electroplating method generates an electric current to coat the substrate, while electroless plating employs an autocatalytic process in which the substrate catalyses the reaction.

Metal plating provides a number of advantages as a finishing process. It can improve a product’s durability, corrosion resistance, surface friction, and exterior appearance. It is also a useful option for coating other metals. In high-volume production runs, a barrel-finishing machine is a fast and efficient plating solution. However, plating machines are generally not suited for smoothing out surface defects.

Brushed Metal Unlike plating, brushed metal finishing is an effective method for removing surface imperfections. These finishing machines create a uniform, parallel grain surface texture to smooth out a product’s exterior. An abrasive belt or wire brush is usually employed to achieve this effect. In addition, the singular direction of the belt or brush can create slightly rounded edges perpendicular to the grain.

Buff Polishing This process provides a smooth, non-textured finish by means of a cloth wheel to buff the handles surface, resulting in a high, glossy sheen. The process is often used where lustre and smoothness is required and has the added advantage of tending to round out any sharp edges of a handle.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 42 Metal Grinding Grinding uses friction, attrition and/or compression to smooth out a metal product’s surface using different levels of finite smoothness.

Most metal grinding machines consist of a substrate within a rotating drum. Rod mills are used to make metal rods, while semi-autogenous grinding (SAG) mills and autogenous grinding mills smooth copper, gold, platinum and silver.

Metal Vibratory Finishing Vibratory finishing machines are used to deburr products and remove sharp edges. The product is positioned inside a drum filled with abrasive pellets and a substrate, then apply tumbling vibration to create a uniform random texture. The machine’s cycle speed and magnitude of vibration are usually variable, allowing effective treatment for a range of small- to large-sized parts.

Sand Blasting This process (also known as bead blasting) forces sand, steel shots, metal pellets or other abrasives into a substrate at high speed. This results in a smooth, clean product texture, particularly in soft metals. This process is often used prior to powder coating.

Powder Coating Powder coating applies a decorative finish that is similar to paint, but with greater durability. The process involves melting dry plastic powder onto the metal to produce a textured, matte, or glossy coating. It is also highly effective in removing surface defects.

Hot Blackening This process spreads a thin layer of black oxide onto a product’s surface to create a matte black finish with high abrasion resistance. It is a high- temperature process in which the product is inserted into a series of tanks containing cleaners, caustics, and coolants. Hot blackening is most commonly used in black iron products.

Anodizing Anodizing is an electrochemical process that converts the metal surface into a decorative, durable, corrosion-resistant, anodic oxide finish. Aluminium is ideally suited to anodizing, although other nonferrous metals, such as magnesium and titanium, also can be anodized.

The anodic oxide structure originates from the aluminium substrate and is composed entirely of aluminium oxide. This aluminium oxide is not applied to the surface like paint or plating, but is fully integrated with the underlying

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 43 aluminium substrate, so it cannot chip or peel. It has a highly ordered, porous structure that allows for secondary processes such as colouring and sealing.

Anodizing is accomplished by immersing the aluminium into an acid electrolyte bath and passing an electric current through the medium. A cathode is mounted to the inside of the anodizing tank; the aluminium acts as an anode, so that oxygen ions are released from the electrolyte to combine with the aluminium atoms at the surface of the part being anodized. Anodizing is, therefore, a matter of highly controlled oxidation— the enhancement of a naturally occurring phenomenon. Anodized finishes have made aluminium one of the most respected and widely used materials today in the production of thousands of consumer, commercial and industrial products including door hardware. Bronzingxvii Bronzing is the process of coating an object of wood, plaster, clay, or other substance to give it the colour and lustre of bronze. Dutch metal, an alloy of 80 percent copper and 20 percent zinc, is frequently used for bronzing. The metal is prepared as a thin foil and then powdered. This powder may be applied directly to objects that have been sized with a spirit lacquer or gold size, or the powder may be combined with spirit lacquer thinned with amyl acetate and the mixture painted on with a brush. Various shades of colour may be obtained chemically; the natural golden colour of Dutch metal can be heightened by applying spirit lacquer coloured with dragon’s blood, a resin obtained from plants. Go to book on a page

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Chapter 8 Types of finishes

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 45 Chapter 8 – Types of finishes

Introduction There are numerous types of metal plating finishes available today – far too many to list. There are flat finishes such as mat with black being a current favourite. The list below provides the most common finishes used and specified in Australia today. There are the newer antique finishes that deliver the unique aesthetic of an aged finish for the discerning hardware connoisseur. These are intended to simulate the natural and inconsistent qualities that come with tarnish and age, Antique Brass and Antique Nickel finishes are the result of carefully handcrafted process that have been thoroughly refined. Finish variations – in products Antique Brass and Antique Nickel finishes will maintain their original appearance and are not considered “living” finishes. When considering Antique Finishes, the user should be aware these finishes will exhibit variation in colour and shade just as an actual tarnished piece of brass or nickel would show. Curved and shaped surfaces will show greater contrast and highlights of golden brass or shiny nickel as shown above. Slight variations can also be expected from one piece to the next. Finish variations – from different manufacturers & suppliers When choosing new hardware, options are key. Variation in finish from brand to brand is inevitable. Company A’s brushed nickel may look completely different to company B’s brushed nickel. It is therefore very important that specifiers and consumers are aware of this when selecting products. Finish variations – door and cabinet hardware One other problem relates to matching the door hardware with the cabinet hardware. Mostly there is no coordination of door and cabinet hardware selection. The builder normally supplies the door hardware and the cabinet maker supplies the cabinet hardware. Where this often plays out is when the two are finally put together and the discrepancy is noticed. By then it is always too late and the end user is often left dissatisfied.

Therefore be aware of this and where possible, it is by far the best option to ensure that the door hardware and cabinet hardware are selected from the one manufacturer. This ensures consistency in both style and finish.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 46 The different finishes availablexviii

Gold tones Bright Brass finish A highly reflective, warm golden sheen for a vintage appeal. Bright Brass is common in older, colonial homes—particularly those styled during the 1990s. The widespread availability of Bright Brass makes it easy to find and, therefore, easy to match with other hardware, fixtures and accessories, too.

Satin Brass finish Bold without being over the top, with the perfect amount of understated style. Satin Brass can be considered the “modern brass alternative.” It stems from the Victorian Era and offers a more refined take on the rustic look of unfinished brass.

Antique Brass finish

Rich brown hues and golden undertones in a warm, welcoming appearance. The Antique Brass finish closely resembles the look of natural brass and is undeniably Victorian, with hints of Colonial Era style occasionally peeking through.

Silver tones.

Bright Chrome finish A mirror-like finish for a contemporary or retro setting. Bright Chrome finds its inspiration in the Art Deco movement and the jazzy style of the roaring 20s, but is able to seamlessly transition into the minimalist approach of the 1930s and 40s as well. It rarely scratches, fades or deteriorates.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 47 Satin Chrome finish Its subtle lustre is edgy and alluring, but never grandiose. Satin Chrome has a moderately contemporary look and feel that takes its origins from the Bauhaus style movement. Considered to be a highly amenable finish, it is often used in commercial applications.

Polished Nickel finish Its adaptability allows it to blend into nearly any décor without being overlooked. Polished Nickel was inspired by the timeless sophistication of the Victorian Era. It is made from solid nickel and can change its colour and appearance with a simple change of lighting.

Satin Nickel finish

The brushed silver hues flatter and complement any décor style. Satin Nickel saw its rise to popularity alongside the Victorian and Mid-Century Modern design movements. It prefers to live among bold, geometric shapes and patterns, bright solid colours and edgy, unconventional furniture.

Distressed Nickel finish Textured and full of character. Its antique, rustic look is unique to each piece. Distressed Nickel has a rustic vibe that is reminiscent of the Old World; today, the finish is growing increasingly popular and can be seen in urban lofts in cities across the globe.

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Antique Pewter A historic, brushed door knob finish that is full of charm.

Bronze-to-black tones.

Oil-Rubbed Bronze finish Perfect for rustic, down-to-earth living spaces. The Oil-Rubbed Bronze finish is suited for a touch of Old World character — blending seamlessly into Mediterranean and Tuscan settings.

Aged Bronze finish Warm, copper tones that break through a darker, aged exterior. Aged Bronze is a traditionally inspired finish that finds its style rooted in the Victorian Era, but also heavily in the Arts & Crafts movement—Aged Bronze works exceptionally well with ornate, handmade, craftsman-style furnishings.

Matte Black finish Its striking, versatile appearance bridges traditional and modern styles. Matte Black has never been more fashionable—catering to a modern look that takes style cues from Bauhaus homes, wrought iron fences and fixtures made by blacksmiths in the Colonial Era.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 49 Other colours The chart below contains some other colours available in the metal finishing process

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 50 Dulux powder coating finishesxix Most door hardware and accessories can be powder coated. This is becoming very popular with consumers due to the huge scope this gives to design options and adaptability.

These are just a few of the numerous powder coating colours available to specifiers and consumers from just one company. For more information go to the Dulux website at http://duluxpowders.com.au/find-an- applicator/colour/

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Chapter 9 Australian Architectural Styles

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 52 Chapter 9 – Australian architectural styles

Introduction to the mainstream styles Australian architectural styles are far too numerous to all be covered here. This book will confine itself to the mainstream architectural styles since Australian colonisation that have affected the design of door and cabinet hardware. They are set out here in no particular order and relate to a huge selection of different styles of door hardware. Post Modern This design style came about as a direct reaction to Modernism. It tries to address the starkness and simple forms of its predecessor. It rejects the functional, minimal use of materials and the lack of embellishment represented by Modernism. As a result, Post Modern designs draw on past architectural styles to create a more eclectic aesthetic, often making use of unexpected and combined design Vanna Venturi House by Robert materials. Venturi and Denise Scott Brown, completed in 1964, has been described as the first postmodern building

Retro Retro design is a term used to describe culturally outdated or aged trends and fashions from the overall post-modern past, which have since made a resurgence within a contemporary context. These designs take their overall inspiration, shapes and colours from the mid-twentieth century when bright and bold furnishings were introduced. Rounded and curved edges and shapes of furniture are often used to achieve a retro look. The picture is an example of the style.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 53 Victorian A Victorian design style is generally defined by highly embellished and intricately patterned interiors. Rich and warm colours were used to enhance patterns and moldings. Raised and varying textures were often used side by side to create visual interest and depth in an interior. Victorian furniture made use of carved and decorated surfaces and were fairly large in size. The Great Exhibition of 1851 displayed the end products in a showcase which was itself a triumph of 19th-century engineering. The Crystal Palace (pictured above) designed by Sir Joseph Paxton was lavish with Victorian innovations - iron-frame construction, sheet glass, and integral heating. Its use of prefabrication and standardisation was

a pointer to the future. Contemporary Contemporary style (pictured right) can be defined as the uses and function of line. It is found in architectural details, the use of bold blocks of colour and the simplicity and uncluttered look of furniture. Interiors generally showcase space and not things, and this is achieved in a sophisticated and subtle manner. Focus on texture, colour and shapes enable a contemporary interior to remain sleek and fresh.

Classical Classical design styles are based on order, symmetry and balance. Classical interior layouts usually make use of a focal point from which symmetrical balance is achieved. These are harmonious interiors which are often anchored in their style by Classical architecture began with the the use of classical ornamental ancient Greeks, and was developed artefacts and motifs which are and elaborated by the Romans. In its generally drawn from Roman and purest and most familiar form, it is Greek influences. expressed by the temple, an oblong enclosure fronted or surrounded by columns.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 54 Neo Classical Neo Classical interiors select elements of Roman and Greek antiquity to create balance and refinement. They are generally elegant interiors and architectural styles, which show its strength through verticality (often making use of fluted designs on furniture and columns), repetition and balance. Bold colours are used with restraint and more focus is placed on soft, subtle and neutral colours which contribute to the harmony of the interior. The column is the most recognizable element of Neo Classical design. It embodies grandness through height as well as offering carved and decorated capitals which add texture and visual interest. Olive and acanthus leaves often adorn neo classical artefacts, carvings and motifs.

Modernism Whilst similar in some aspects to Contemporary design, these 2 styles do have fundamental differences which make them 2 separate categories. While both styles embrace simple, uncluttered spaces with clean lines, a Modern space tends to follow a stricter style format and also makes use of very natural and neutral colours as opposed to bold colours. Modernism was borne from the Modernism. Adelaide Stock German Bauhaus school of design where Exchange. Photograph courtesy of Mijo Consulting. form followed function, and in the case of Modernism, sometimes superseded it. Emphasis is placed on materials used and geometric shapes in their purest forms,

rejecting any decorative motifs.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 55 Art Deco Art Deco is essentially an ornamental style with its lavishness in a direct reaction to the austerity of World War I. It is an eclectic form of design which draws on many different architectural styles, most influential of which is Modernism. It has a strong base in geometric shapes and forms and relies heavily on the repetition of these shapes to create surface embellishment and Art Deco. There is not a lot of it in motifs. Stark and contrasting colours Australia. There is some around the are usually used in an interior harbour in Sydney and the Lower palette with highlights of chrome North Shore, and the inner suburbs of and gold. Melbourne. Adelaide also has some.

Art Nouveau

This design style came about as a reaction to the heaviness and ornamentation of the Victorian era. As a result, a more uncluttered and simpler look was achieved in the interiors but by still making use of swirl patterns and curved lines instead of the rigid conformity of

straight lines. Villa I, by Otto Wagner in Vienna, Austria, 1886-1888 Gothic This design style dates back to the Middle Ages. Typically this style is heavy and solid looking with greater emphasis on carved surfaces. Pointed arches, tracery, clusters of columns and flying buttresses were all typical of Gothic Architecture. There is a strong influence on the vertical, so as to gain a sense of grandness and proportion in interiors.

The Uniting Church at Narooma, New South Wales built 1914; Federation Carpenter Gothic architectural style

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 56 Georgian Georgian interiors usually display a restrained wealth through expensive furnishings and moldings. This style is fairly simple and less opulent than Baroque, for example, however it still maintains a wealthy elegance mainly achieved through subtle lighting, detailed wall panelling and moldings. The use of Georgian. One of the most famous filigree emblems were seen in landmarks in Sydney - Fort Denison. The fanlights above doors and tower was built to defend Sydney against a general accessories in an possible attack by Russian warships, which interior. never eventuated. Built from 8,000 tonnes of sandstone quarried near Kurraba Point, Neutral Bay, it was named after Sir William Denison, then Governor of New South Wales. By the time the fort was completed, it was redundant.

Federation/Queen Anne (1895-1915) Federation homes borrow from the Queen Anne style, and the design celebrates the Federation of Australia with its lavish timber ornamentation to the external facade. This architectural style was also designed to embrace the outdoor lifestyles of Australians. Key features: Most Federation homes have front verandas with decorative timber features, tiling on the patio floor and prominent entry paths. Externally, red bricks are usually featured, and sometimes weatherboards are used. It is also common to see painted ornate timber detailing with Australian animal and flower motifs. The roof is usually steeply pitched and multi-faceted, and is often integrated with the veranda roof. Roof tiles are commonly unglazed terracotta Marseilles roof tiles, corrugated galvanised iron or sometimes slate roofing. Chimneys are stucco (decoratively rendered) or brick with terracotta chimney pots.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 57 Windows feature decorative leadlight and are timber framed. The composition of the Federation home is asymmetrical. Internally, Federation homes also have decorative internal features in the plasterwork, high ceilings and timber features.xx

Edwardian (1900-1915)

The Edwardian style is classified by the reign of King Edward VIIth. The houses are similar to Queen Anne, however they have less ornamentation.Key features: Externally, it is common to see red bricks or painted weatherboards The roof is made from slate, terracotta, or corrugated galvanised roofing and is usually gabled in form, often with finials (decorative ornaments that emphasize the apex of the roof). Many Edwardian homes also feature roof shingles, which is a type of roof covering consisting of overlapping flat tiles. The windows are often timber framed and feature decorative leadlight. These houses also contain timber ornamentation to the external facade which is much simpler in design than Queen Anne homes.

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Chapter 10 Australian handles and their architectural styles

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 59 Chapter 10 – Australian handles and their architectural styles

General Styles 1.

Classic contemporary. This handle is essentially contemporary which is embodied in the lack of extraneous detail and the use of clean lines. However, the handle makes use of forms which are reminiscent of a more classic feel in the use of the double ringed escutcheon and curvature of the handle arm. 2.

Postmodern. This handle breaks away from the traditional imagery of a functional door handle by having the angle of the handle arm deviate from a modernistic straight line. It is texturally variable in the combination of polished and brushed stainless steel.

3.

Art Nouveau. The curvy yet simple design of this handle embodies the art nouveau style and its reaction to the Victorian era. Whilst more playful than a

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 60 handle from the contemporary category it is also without extraneous detailing.

4.

Retro. This rounded edged escutcheon plate and handle are typical characteristics of the retro style. Drawing on shapes from the modern past, resulted in the overall aesthetic of this handle.

5.

Art Deco. In this handle, the structural detailing on the handle arm is used purely for ornamentation and perceived luxury and is not informed by the function. The escutcheon plate, however, is more reminiscent of a modern style whilst the overriding appeal of this handle is one that would suitably fit into an Art Deco interior.

6.

Art Nouveau. The swirly patterns on the metal and the general curvy and playful line of this handle enable it to be classed as Art Nouveau. It is sleek and elegant without being rigid in form

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 61

7.

Contemporary. The use of a predominantly brushed stainless steel is a break away from the conventional polished look. The handle arm isn't entirely straight but gives the illusion of being so which is why it is classed as contemporary. Flat and square edges around the handle arm and escutcheon plate enable the lines to remain very clear and visible.

8.

Contemporary. The square escutcheon plate breaks away from the traditional circular form of the conventional escutcheon plates. A forward thinking solution which challenges preconceived ideas of handles. The handle arm is perfectly straight and shows solid linear forms intersecting with other solid linear forms.

9.

Art Nouveau. Here, the traditional thinking of the handle arm that dips down and curves is clearly shown in this handle. It is almost as if it's one solid piece of metal that has been sculpted and moulded in form. This is an elegant design that evokes images of a simpler interior with careful patterning as emphasis.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 62

10.

Modernism. This handle challenges general perceptions of door handles and makes use of very simple, clean and uncluttered lines. The emphasis on a strict layout of lines is shown in the visual interaction between a square escutcheon plate and a tapered and angled handle arm.

11.

Retro. This handle relies on rounded edges and corners to visually re-enforce widely recognised shapes and forms that were used in the modern past. The two tone materials also serve as a reminder to various industrial design items that were produced in this era.

12.

Art Nouveau. This handle relies on the patterned finish to the metal and the overall curvature of the handle to place it within the Art Nouveau period. It’s neither over ornamented nor is it stark with an emphasis on linearity.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 63

13.

Retro. This door handle makes use of a rounded and bulbous handle arm which is very reminiscent of past industrial design items of the 50’s. The material used is uniform throughout allowing the form itself to dictate its style.

14.

Post Modern. This door handle combines elements of modernism in the simplicity of the escutcheon plate, however adds a design twist in the shape of the handle arm. This is a departure from the expected straight handle arm as would have been seen in the Modernist movement.

15.

Art Deco. The arc of this handle arm is reminiscent of the frequently used ‘sunburst’ motif seen in the Art Deco period. It is a stylised version, which also makes use of surface adornment in the rubber grip with patterned holes.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 64

16.

Modernism. Very similar to the previous handle, this handle makes use of the same design elements where a strict adherence to line and simplicity gives it its inherent design language.

17.

Classical. This simple and elegant handle displays asymmetrical balance which achieves a harmonious and ordered visual impact. The use of the 2 toned materials makes this handle texturally interesting, without utilising surface embellishment.

18.

Post Modern. The combination of surface materials here, and the subtle breakaway from a very clean and simple straight handle places this handle in the Post Modern era.

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Chapter 11 Study of an iconic Australian brand

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 66 Chapter 11 – Study of an iconic Australian brand

A brand is made when its creators understand Australian architectural history and values. And when its company’s mission is to provide a ‘wow’ experience at every touch point.

The Visca brand

Visca Overview The Visca brand is a very high end range of handles which are based in a contemporary style; however draw on elements of classical and traditional shapes to make them accessible to most interior solutions.

Axis Alpha

Zeta Stroud

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 67 The Astron Brand

Overview This brand focuses on simple, clean and structured door handles and shapes. Ideal for Contemporary and Modern interiors that are looking to either complement their design or add a twist within a modern context

Titan - 7114

Post Modern. This handle, as seen in both the lever set and latch version, is essentially modern, however does not conform to the absolute rigidity of a straight handle arm. The slight curvature to this arm suggests an acknowledgement of comfort when gripping this handle.

Vector - 7107

Contemporary. This handle has its base in Modernism, however the use of stainless steel and the finish on it categorises it as contemporary. Very clean, simple and uncluttered lines in both the lever set and latch version have been used to maintain this clean look.

Qube - 7058

Modernism. This handle has very clean and simple lines, however the thickness and chunky quality of the handle arm suggests a more dated manner in manipulating materials.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 68 The Astron Brand Continued

Juno - 7019

Neo Classical. This handle is free of surface embellishment, however still makes use of a sweeping curve to the handle arm which is elegant and sophisticated in appearance. The tall back plate option emphasises the

verticality of this handle.

Apollo - 7015

Art Deco. The arched handle is suggestive of a popular motif used widely within the Art Deco period.

Spectra - 7059

Retro. The form of this handle arm is reminiscent of various shapes used within Retro interiors. Whilst offsetting this handle with a more modern escutcheon plate ensures that the more aged handle shape still has a place within a modern context.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 69 The Astron Brand Continued

Luna - 7030

Retro. Again, the handle arm informs this choice. It is suggestive of a much more aged trend whereas the combination with a more modern back plate brings it into the modern context.

Nova - 7022

Neo Classical. An elegant handle, free from unnecessary decorative elements yet still employing only one curved and slightly twisted form to give it the softness and elegance of a neo classical characteristic.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 70 The Futura brand

Futura Overview This versatile brand can either emphasize a modern interior or a classical one. The shapes brand from straight and linear to curved and wavy which, together with the correct use of finish, can be transformed to fit most interiors.

Entro - 10050

Contemporary. The square escutcheon plate breaks away from the traditional circular form of the conventional escutcheon plates. A forward thinking solution which challenges preconceived ideas of handles. The handle arm is perfectly straight and shows solid linear forms intersecting with other solid linear forms.

Epic - 10020

Classical. This simple and elegant handle displays asymmetrical balance which achieves a harmonious and ordered visual impact. The use of the 2 toned materials makes this handle texturally interesting, without utilising surface embellishment.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 71 Futura continued

Luxe - 10010

Post Modern. The combination of surface materials here, and the subtle breakaway from a very clean and simple straight handle places this handle in the Post Modern era.

Stride - 10040

Contemporary. The use of a predominantly brushed stainless steel is a break away from the conventional polished look. The handle arm isn't entirely straight but gives the illusion of being so which is why it is classed as contemporary. Flat and square edges around the handle arm and escutcheon plate enable the lines to remain very clear and visible.

Volt - 10030

Modernism. Very similar to the previous handle, this handle makes use of the same design elements where a strict adherence to line and simplicity gives it its inherent design language.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 72 The Triad brand

Triad Overview Although making use of an integrated handle and lock, this brand still maintains its overall contemporary feel which is shown in the shapes and materials used. These handles would complement most Contemporary and Modern interiors.

Mace - entrance

Sceptre - entrance

Trident - entrance

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 73 The Jura Brand

Overview Essentially a contemporary style, this brand has a strong emphasis on the functionality of handles and the integration of otherwise separate lock items.

Alto - 9005

Retro. This round-edged handle with its round escutcheon plate combines modern materials with 50’s design shapes, placing it in the Retro category.

Kona - 9009

Retro. The solid and chunky form of the handle arm and round escutcheon plate is a visual clue to retro objects generally making use of more aged trends whilst producing them in modern materials. Cyclo - 9090

Retro. Another example of a retro door handle. This time the aged functionality of the handle, with the combination of the lock, makes this handle suitable for retro interiors.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 74 Zanda Pull Handle Brand

Pull Handles Overview This is a brand that is dominated by the used of stainless steel in its polished and brushed forms. The handles are linear and have a strong emphasis on a vertical line which makes it ideal for complementing Contemporary or design neutral interiors.

Torch Pull Handles (7104, 7103): Contemporary. This tapering handle makes use of very clean, unfussy and straight lines to lead the eye downwards towards a smaller base. The chamfered angle at the top of the handle arm displays the solid elliptical form at the top, which then morphs to a full circle at the bottom. This playfulness with clean, straight lines puts this handle into the Contemporary category.

Polo Pull Handles (7098, 7099, 7100, 7101): Modernism. This solid looking, unadorned handle embodies the rigid conformity of form following function which was evident in the Modernist period. For all the differing lengths of these handles, the proportions have been adjusted to maintain the chunky and solid looking shape.

7024: Art Nouveau. At first glance, this handle is without any decoration and ornamentation. However, it becomes clear to the user that the forms and shapes this handle employs give it a strong design language that could easily complement any Art Nouveau interior. The solid brass used for the handle also reinforces this belief.

7069, 7070: Art Deco. The arcing form of this handle is a widely recognised shape within Art Deco motifs. This fact and together with the modern materials used makes for a visually eclectic style. The recognition and detailing of this handle is shown in the form as opposed to surface decoration.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 75 7027, 7028, 7064, 7065: Post Modern. These handles, whilst there are the square and round variations, are group into this category because of the form of the handle arm support. This is an off-centre solution which challenges the preconception of Modernistic handle solutions.

7063, 7025, 7026, 7092, 7093, 7094: Contemporary: This streamlined and elegant handle is a very simple and effortless solution for a door handle. The material used enhances the verticality and the illusion of a continuous extruded piece of metal is complete in the polished finish option.

7066, 7054, 7055, 7095, 7096, 7097: Modernism. Whilst similar to its contemporary counterpart, this handle is more solid looking and more obvious in the lack of any surface or structural ornamentation. It is an honest and true representation of a pull handle and can fit into most interiors.

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Chapter 12 Care & Maintenance

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 77 Chapter 12 - Care & Maintenance

Introduction The care of the product is essential no matter what the material is. Just as you have to wash and maintain your car and other household items, so it is with door handles. Because they are touched so regularly handles collect a build-up of acidic matter, moisture and grime. Therefore, regular wiping with soapy water will, in most cases keep your handles in pristine condition. Below are specific requirements for the different material types by which handles are made.

Brass The high polish of Brass products are often treated with a clear protective coating to provide durability. Brass, like sterling silver, will gradually tarnish and take on an antique appearance. Atmospheric conditions, caustic agents such as paints, or scratches from sharp objects may cause the protective coating to crack or peel causing spotting and discolorations. However, the beauty of the metal can be maintained by taking a few simple steps. Initial care for brass requires only a quick rub with Wax Polish and light buffing with a soft cloth. You may prefer to do this weekly, especially in exterior, often used or damp environments. “Blue Magic” Metal Polish is a quick, effective way of restoring mildly tarnished brassware.

If heavy discoloration occurs the finish can be restored by stripping the remaining lacquer and polishing regularly with “Blue Magic”. Alternatively let it age naturally to an antique finish. The beauty of solid brass is that it can always be restored to its original lustre.

Stainless Steel To aid the longevity and appearance of stainless steel products it must be cleaned regularly or use a metal polish such as “Blue Magic” which can be applied periodically. Atmospheric conditions, salt deposits, acids, caustic agents, cement or dust on construction sites all have the potential to cause discolouration to the surface. If this occurs do not be concerned as usually this is not the stainless steel itself but particles clinging to its surface. The product can be revived by following the above maintenance procedure and repeating regularly. This small amount of routine care can only preserve the elegance of stainless steel hardware. For further information on care & maintenance of stainless steel products please visit: http://www.assda.asn.au/technical-info/technical-faqs/preventing- coastal-corrosion-tea-staining

Aluminium Many products are made from aluminium. Aluminium has a very high durability, a high strength to weight ratio and is light and corrosion resistant. Simple steps need to be carried out, despite the materials excellent

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 78 properties, to maintain its appearance, avoid staining and the damage to the product. Regular cleaning and maintenance to remove any build-up of dirt needs to be carried out in order to keep the surface looking pristine. Leaving it unmaintained for an extended period of time may cause staining which may require a harsher cleaning product that may in time damage and diminish the appearance of your décor. Light dirt should simply be removed using a sponge, lukewarm water and a neutral cleaning agent or you can use ‘blue magic’.

Zinc alloy Many handles are made of zinc alloy (otherwise known as Zamac or Zinc diecast)) which is an ideal material for die casting and allows for very intricate designs. One advantage of Zinc Alloy is the ability to electroplate it allowing a multitude of finishes. The care and maintenance of Zinc Alloy is similar to other materials requiring regular maintenance. It is recommended to clean handles and knobs with luke warm soapy water and a soft, clean cloth. Ideally best to be carried out at regular intervals. At least every two months but more often if near the coast or in a corrosive or dusty environment. Avoid using household cleaners containing damaging chemicals and never use abrasive scouring pads. These chemical cleaning agents are NOT suitable as it may cause a reaction and will damage the finish of the handles.

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Chapter 13 The future

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Chapter 13 - The Future The world population is increasing rapidly. In the 20th century alone, the population grew from 1.65 billion to 6 billion. It took until 1800 for humans to reach the one billion mark. After 1800, thanks to advances in technology and medicine, the population growth rate accelerated. By 1987, the world population had reached 5 billion people. It has been estimated that by 2056 the population will almost have doubled to 10 billion. As the population of the earth grows, space and resources will become more limited. Concerns over the melting polar ice caps and increasing greenhouse gas emissions have already begun to influence the design of architecture. In the future, these concerns will be reflected even more in the buildings we see in our everyday surroundings. Today, more than half the population live in cities, but it is estimated that by 2040 this figure will rise to 75%. According to architect Michael Green, over the next 20 years, 40% of the world population – 3 billion people – will need a new house. Green believes that sustainable housing solutions will be a key factor in the future of architecture. Creating steel and concrete currently accounts for 8% of the world’s greenhouse gas emissions, while the production and transportation of concrete represents more than five times the carbon footprint of the airline industry as a whole.xxi So… that says a lot about the extent of change and how we will need to view the way things are designed through the prism of the future rather than the past. Here’s a few things to consider.

Architectural styles of the future The very notion of architectural 'style' is largely a creation of the nineteenth century, and, indeed, of the discipline of architectural history itself. The figure with whom the concept of 'style' is mostly closely associated during this period was the Swiss architectural historian Heinrich Wölfflin.

A student of the influential German cultural historian Jacob Burkhardt, Wölfflin established an almost scientifically rigorous method for architectural history in charting what he described as the 'problem of the development of style'.

He established five pairs of opposing concepts: linear/painterly; plane/recession; closed form/open form; multiplicity/unity; and absolute clarity/relative clarity.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 81 The eco hotels in Baja California purposefully have a tiny footprint on the beautiful landscape. GRACIASTUDIO

Armed with this framework, any architectural historian with the necessary visual education would be able to ascertain the 'style' of a particular work of architecture and chart its progression over time.xxii But how will architectural styles change or will they? How will on-demand car services change the structure of our streets and homes? Should we be designing for changing weather patterns? How can we use local materials to enable more sustainable building practices?

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 82 Electronics - a brave new world The advent of electronics is disrupting the ironmongery industry just as a multitude of other new technologies are disrupting many age old practises across the globe. This is a good thing for the consumer as it adds choice, competitiveness and better quality products. Currently, despite many excellent electronic entrance systems on the market, the demand for these products, especially in houses, has been sluggish. Consumers have no problem using a keyless entry system for their car, but are still resisting it on their front door. Why? Is it security, habit, nostalgia, the fear of loss of power? Who knows? What is certain though, is that there is an inexorable march down the pathway to keyless entry. It is not if, it is when. Try being in business without the internet and see how you go. As security and access control systems for doors continues to become more sophisticated so will the cost of electronics continue to decrease. Eventually, we will be so connected that we will require wireless connectivity to The Zanda Stealth electronic our front door as much as to our deadbolt is aesthetic and can electronic devices. be operated via remote, key pad and manual key override. Though there will always be a demand for mechanical hardware, electrical hardware may have faster growth. New building codes may be required to accommodate this hardware. The common door handle will continue to play an important role in the building industry. Restoration and renovation of older buildings will continue to make antique doorknobs or their reproductions popular.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 83 Infection control Of concern is the fact that door handles are instrumental in the spread of many infections – especially in public places and hospitals. However, some materials, e.g. brass, copper and silver, are slowly poisonous to many germs. The exact mechanism is not known, but is commonly thought to be via the oligo dynamic effect, perhaps by some other electrostatic effect. Brass and copper, for example, disinfect themselves of many germs within eight hours. Other materials such as glass, porcelain, stainless steel and aluminium do not have this effect. Self-disinfecting door handles are particularly important in hospitals, but useful in any building.xxiii Recently, some budding young researches came up with an ingenious handle which uses titanium dioxide and ultra violet light to fight disease. Diseases spread in many ways. An infected person can cough or sneeze on someone nearby. Or, they can transfer germs through a handshake. But sometimes we pick up germs indirectly. A sick person might leave behind bacteria or viruses when they touch a doorknob, handrail, shopping cart handle or countertop. Anyone else who touches that surface may pick up the microbes. But what if those surfaces could disinfect themselves?

Sum Ming (“Simon”) Wong, 17 (left), and Kin Pong (“Michael”) Li, 18, of Hong Kong show off the self-sanitizing door handle they developed. It’s powered by opening and closing the door. LAURA BUITRAGO/SSP

Two teens from Hong Kong asked themselves the same question. Now they’ve developed a door handle that can knock out germs on contact. The concept is simple. Every time the door is opened, the movement creates power that triggers a germ-killing reaction on the handle. In lab tests, their system killed about 99.8 percent of the germs that they spread onto lab dishes coated with their material. After doing some research, they learned that a mineral called titanium dioxide is known to kill bacteria. It’s already used for other purposes in many products, from paints to sunscreens to edible puddings. To make their coating, the teens ground the mineral into a very fine powder. Titanium dioxide kills bacteria best when lit by ultraviolet (UV) light, says Simon. UV wavelengths are among those in sunlight. But indoor handles and any used at night would have little natural exposure to UV light.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 84 So the teens are lighting their door handle from within. Now, every part of the coated handle will see UV light. To make sure the interior light reaches the coated surface, the teens fashioned their door handle from a long cylinder of clear glass. Each end fits into a bracket. Inside one of the brackets is a strong light-emitting diode (LED). It emits UV light. (Transmitting the light from one end of the handle to the other is similar to the transmission of light through a fibre-optic cable. In this case, though, the glass handle is fat rather than super-thin.) And here’s the nifty part: The power that makes the UV light shine comes from opening and closing the door. Simon and Michael designed a small gearbox that attaches to the The glow from this door door. Equipment inside the box converts the handle activates a microbe- motion of those gears into electrical power. killing coating. That could help reduce the That power is then carried by wire to the light- transmission of diseases emitting diode inside the door handle. from germy hands. The door handle system, Michael and Simon say, might cost no more than about $13 to build.xxiv So, with developments such as these, who knows what the future might hold!

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 85 The use of timber

Will wooden skyscrapers be the new norm? Wood could replace concrete in the future. The need for more sustainable building materials will lead to more tall wooden structures. Due to the pressures on natural resources, the need to reduce carbon emissions and the population growth, in the future we are likely to see more, tall, wooden buildings in our cities; from concrete jungles to wooden wonderlands.

4000 years ago door handles were made out of timber… so why not now?

However, this isn’t a new idea; tall, wooden buildings date back to ancient Japan. About 1400 years ago, nineteen storey wooden pagodas were built by the Japanese. These buildings still stand today despite Japan’s frequent seismic activity and wet climate, thus proving that wooden structures are a tried and tested solution. So, why is wood so great? Wood sequesters CO2 and creates O2. When wood is used as a building material it can store CO2, which keeps it out of the atmosphere. While wood is growing it creates O2 and only requires natural elements, such as sunlight, to thrive. Wood is one of nature’s most innovative building materials and creates no waste by-products. On average, 20% of all material used to make conventional concrete skyscrapers ends up in a landfill. Wood is lightweight, but still a strong load-bearing structure. Due to the consistency of wood – 15% of wood’s mass is water – it can, surprisingly, be more fire resistant than both concrete and steel. Wood is better for regulating indoor temperature and can be exposed without being covered in other materials such as plaster. At the end of a wooden building’s life cycle, rather than destroying the wood, it can be reclaimed and repurposed for other uses. This repurposing will ensure that the CO2 remains sequestered away. This transformation is crucial to the regenerative approach to sustainability.xxv

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 86 3D Modelling 3D modelling is changing everything – even the way we view door handles! With the help of 3D modelling, new materials and changing perceptions, the overall shape of buildings and door handles will look very different in the future. New materials will mean new shapes. Expect to see more curved, natural looking shapes, which will make the most of the material’s natural strengths.

This handle is made using a 3D printer with stainless steel. It is a functioning handle designed by Peli Design and would have been impossible to produce using traditional manufacturing methods.

As ideas develop about our expectations of the appearance of architecture, so will our readiness to accept the new, innovative forms. The handmade homes created by Ibuku have large curving roofs, which catch the breeze and act as a natural air-conditioning system, and also create a shape that maximises the bamboo’s strength. While some aspects of architecture are becoming more artisan and bespoke, robots, drones and 3D printing means that, in the future, architects will be using machines to bring their creations to life in a very different way. As drones and 3D printers become more commonly used in architecture, you can expect to see a new and expanding variety of shapes in construction. The advancement of technology means that architecture will no longer be restricted by human capabilities.xxvi

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 87 Farewell the round doorknob: Is Vancouver's ban a sign of things to come for Australia?

As the Canadian city legislates the classic round doorknob out of existence, might Australia follow suit?

Vancouver's decision to phase out the classic round door knobxxvii may spell the death knell to a mechanical device that is as old as the door itself. The first references to doors and door handles can be found in ancient literature including the bible and ancient Egyptian and Mesopotamian history.

However, recent laws totally banning round door knobs on all new buildings, argue that the elderly, infirm and disabled can struggle to grip and operate them. Is this the upholding of basic human rights or a perverse erosion of our free choice?

The jury is still out but there are compelling arguments in favour of the ban despite the groaning’s of traditional purists and the wails of antique lovers.

The anti-doorknob movement is spreading globally with many door knob protesters calling for a door knob purge, similarly citing the needs of the elderly and disabled. Alan Norton, chief executive of Assist UK, told the Independentxxviii "We need to look at why doorknobs are not suitable for disabled people,"

There can be no argument with the fact that a door lever is far easier to operate than a traditional round door knob, especially for someone with arthritis or little movement of their hands. The question could be asked though, where will this line of reasoning stop? Will door levers finally be banned in favour of electronic automatic doors? And will a future door, open automatically upon sensing your presence, using your iris as security? Well, why not? Some elderly support groups, their sense of history threatened, are still holding out and have spoken in favour of the age-old doorknob, suggesting reinvention not removal. Over in Vancouver, doorknob prohibition is surely a sign of things to come nationwide. The Vancouver Sunxxix observes that the city's independent building code often sees it at the forefront of building design - pioneering the exclusive use of low-flush toilets, and energy-saving fluorescent lightbulbs. In Australia, the cynics are signalling that the end of citizens’ rights are nigh!xxx Really?

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 88 Amongst other things, detractors of the new laws say that lever handles are a danger to kids. Others argue that door levers are an open ticket to large bears who are apparently adept at the use of lever handles but not at the use of knobs. They warn that to vanquish the trusty door knob will put folks in imminent danger of invasion by the animals!xxxi Yikes!

Back in Australia the Human Rights Commission has weighed into the debatexxxii and there are now very clear guidelines as to disabled compliance, and rightly so. However there is not as yet a totalitarian banning of our right to use our friend the door knob on buildings where disabled compliance is not required, for example your own home where it suits the architecture!

It is quite incredible that such a seemingly harmless inanimate piece of history (the knob) could become the focal point of such lofty international debate! The British Standards Institution and The UK Design Council, both champions of "inclusive design", hold that buildings should be designed for access to everybodyxxxiii

This is incontrovertible of course and so it seems, just as we are saying goodbye to cars that need a driver, planes that need a pilot and bricks and mortar stores, so we could also be saying goodbye to a mainstay of our security that has served us so well for the past 4000 years or thereabouts!xxxiv

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 89 Facial recognition security & other developmentsxxxv The development of physical security is much more complicated than a linear history of handles, locks and keys. The ancient Romans also pioneered the earliest combination locks, transforming the key from an object into an idea. James Sargent advanced this idea even furtherxxxvi by inventing the world’s first key-changeable combination lock in 1857.

Sargent made locks smarter when he created the world’s first time lock, which would only open at a set time, and time-delay locks, which would only open after a certain interval, in 1873 and 1880, respectively.

The idea of an intuitive lock that would only open for a certain person at a certain time took off in the late 20th century. Tor Sørnes patented the first electronic keycard lock in 1975, opening a new market for programmable locks. In recent decades, electric locks have made use of all kinds of authentication methods, from passwords to biometric data like fingerprints. Digital keys like security tokens and RFID tags have given us a world where blasts of infrared light or sequences of ones and zeroes will open doors. You can now even open some doors with your face.xxxvii

Until recently, the most modern access control technology was reserved for government and businesses. Installing a facial recognition security system is not cheap. As the internet of things becomes more pervasive, however, the world’s oldest lock companies are looking for ways to put the newest technologies into people’s homes. The end goal, it seems, is to do away with the very lose-able physical key.

Lock veterans like Yale and Schlage—along with a burgeoning number of startups — intend to lead the way toward a keyless future. This year, both companies announced new connected locks that will open with the swipe of a smartphone or even the sound of your voice. Schlage’s new Sense lockworksxxxviii with Apple HomeKit so you can use Siri to open your deadbolt.xxxix It also works with an old fashioned key.

Meanwhile, Yale’s new Linus lock takes things a stage further: There is no physical key. A touch-sensitive panel that mounts on the outside of the door allows you to set up to 250 individual codes. That way, you can give your kids, friends, and neighbours specific codes and keep track of who’s coming and going.

The Linus lock also works with Nest’s new Weave protocol so that you can connect the lock to any number of devices in your home. Imagine coming home, unlocking your door, and triggering a series of other devices to fire up. Maybe your TV turns on to your favourite channel and your shades go up. Maybe your thermostat cranks up the air conditioner and your lights turn on.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 90 Once your lock is connected to the internet, it opens the door for hackers to do their mischief though. While many smart locks have multiple layers of security, they are also collecting data on your comings and goings. Some might see this as a feature. Some might think its needless surveillance.

Inevitably, connected locks are adding a new layer of complexity to a technology that has always been relatively simple to use. Using next generation methods like geofencing, near-field communication, and Bluetooth, these gadgets can do more than your old Yale lock.

It is easier than ever to see how the future of physical security could be based on encrypted networks that can evolve and learn. The technology that could detect when you are walking up to your front door and open it before you reach for your keys already exists. Now, it is a race to see whether we really want these advanced security solutions make our lives more secure and convenient.

Humans have been using old-fashioned keys opening simple tumbler locks for thousands of years. Maybe we don’t need anything more advanced.xl But surely people will pay money for something new and shiny and a little bit more secure?

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 91 Will drones and computers replace architects?

Already, technology’s effect upon the life of the modern day architect cannot be understated.

CAD and BIM files have largely replaced traditional 2D drawings, while mobile and cloud computing allow work to be done and files to be accessed wherever and wherever necessary. Advances in materials such as engineered timber expand options for building design and panelised construction is becoming ever more popular as materials are increasingly being cut to size within the controlled environment of a factory floor.xli

Just last year, reporters for the Associated Press attempted to figure out which jobs were being lost to new technology. They analysed employment data from 20 countries and interviewed experts, software developers and CEOs. They found that almost all the jobs that had disappeared in the past four years were not low-skilled, low-paid roles, but fairly well-paid positions in traditionally middle-class careers. Software was replacing administrators and travel agents, bookkeepers and secretaries, and at alarming rates.

Software firm Autodeskxlii, founded in 1982, creates virtual design tools used by millions of architects and designers every day. Last year alone, the company produced revenues of $2.3bn. British vice president Pete Baxter is responsible for its architecture, engineering and construction operations in Europe, Asia and the Middle East.

He believes architects have little to fear from artificial intelligence. "Yes, you can automate. But what does a design look like that's fully automated and fully rationalised by a computer program? Probably not the most exciting piece of architecture you've ever seen."

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 92 Technology will not destroy the profession, but it will, he says, democratise it. "There's a paradigm shift now: the one-man architect working from home with a bright idea now has access to an infinite amount of computing power in the cloud. That means a one-man designer, a graduate designer, can get access to the same amount of computing power as these big multinational companies. So suddenly there's a different competitive landscape."

Baxter is keen to highlight the many new opportunities software creates for the savvy architect. Collaboration across continents is growing ever easier, opening up projects all over the world. This, in turn, has paved the way for greater specialisation: the expert in the minutest aspect of design can apply their insight in several countries in the space of a single working day.

"The architectural profession absolutely will still exist," he says. "I think what's happening is we're getting a more collaborative approach. But ultimately somebody still makes the decision."xliii

Meanwhile, Quadcopter drones, developed by the Swiss Federal Institute of Technology, are fully capable of being positioned and directed to build things like bridges and connections between buildings. With a spool of strong plastic cable attached to the unmanned aerial vehicles, they are able to fly and weave the cord into complicated knots and repeated patterns, via a computer on the ground that is attached to a camera, watching the drones as they work. Essentially, the flight patterns are programmed, started and can then be left alone until the drones are finished. No builders, architects, designers, or hard hats are needed, just a few flying vehicles, some cord and a computer. A project is completed Photo by François Lauginie, courtesy of Gramazio & Kohler without sweat, blood, or injuries.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 93 Likewise, roboticist Raffaello D’Andre, in collaboration with Swiss architects Fabio Gramazio and Matthias Kohler, created “Flight Assembled Architecture”xliv in a recent exhibition, where drones punctured, held, and carried foam bricks to their pre-programmed space with the help of a motion capture system.

Ultimately, they created an undulating, lattice-like 1:100 scale version of a large-scale, 2,000-foot-tall structure that could house tens of thousands of inhabitants. This assembly proved that robots have the intelligence to scan an environment while also navigating in tight spaces where we physically cannot. The robots can react to the environment in a way that could potentially save us from devastating ends: collapsing buildings, constructing flood walls/dams, and patching up holes.xlv

So… you can be the judge – who do you think will last the distance – man or machine?

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 94 Will flat pack homes be the way of the future?xlvi

The following article was on ABC Lateline and ABC online recently.

'IKEA on steroids': Flat-pack homes to bust Australia's housing shortage Lateline by Matt Wordsworth

VIDEO: Tiny homes for tiny prices. (Lateline) With just a few tools and a bit of patience, would-be home-owners can now build their own abode from a flat-pack, on the cheap and off the grid. A Sydney architect has designed the flat-pack home, describing it as IKEA on steroids, in order to combat sustainability and housing shortage issues. The one bedroom, 13.75-square-metre home comes on the back of a trailer. A drill, a hammer and a wrench are all that are needed to put together the 37 panels that make up the house. Architect Alex Symes, founder of Big World Homes, says anyone can put it together. "It's like IKEA on structural steroids," he said. "It has all its water tanks; we have two potable water tanks, we've got one grey water tank, so all the waste water effectively comes to the grey water tank, you add an additive to it and then effectively that's safe to go on your garden. "We've got the gas cylinders for cooking and also for hot water heating, [and] we've got batteries at the back — they're linked to the solar PV and that's effectively what runs all your lights." Australians live in the biggest homes in the world, averaging 89 square metres and increasingly owning a home is becoming unaffordable for many Australians. Currently the flat-pack home design costs $65,000 and it includes everything to get the house running, such as the trailer the home sits on, the off-the- grid technologies and all the white goods. Architect Tim Horton says they just need land to build the homes on. "We actually need to be able to curate land, big blocks of land, say brownfield sites or other pieces of open land in which we can host these big world communities," he said.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 95 "These pop-up communities where people who want to, say, spend a couple of years saving for a deposit or have a more flexible approach to their housing lifestyle can live on site on these curated communities."

PHOTO: All it takes is patience and some tools to put together a flat-pack home. (ABC: Matt Wordsworth) He says tiny homes are part of a worldwide movement. China is already printing 3D homes and WikiHouse allows people to download DIY plans. "This is happening around the world. WikiHouse chapters occur in every state of Australia. Big in the US. Big in the UK," he said. "Big World Homes in some ways is Australia's answer to this — a home- grown version." A brave new world of housing or a ridiculous notion? It seems a smart idea but time will tell.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 96 Ethics – is a binding code needed? Anyone engaged in the design and construction industry has a grave responsibility – not just architects. As the AIA so aptly states on their website; “Architecture influences all aspects of the built environment and brings together the arts, environmental awareness, sciences and technology. By combining creative design with technical knowledge, architects create the physical environment, in which people live, which in turn, influences quality of life. Not only do architects inform the overall aesthetics of a city or region by pushing the boundaries of design and style, they also make invaluable contributions to the quality of life, public health and sustainability of any given region”.xlvii Oh how true that is. Our Australian history is rich and varied and we have an obligation to respect and preserve it. This puts architects and designers in a position of crucial responsibility. In the main, they do Australia proud. The numerous works of art that are the domain of our cities and towns are testament to this. However, sometimes others let them down. Suppliers don’t back them up with service, manufacturers don’t meet specifications, importers bring in faulty goods (think asbestos laden products!), clear specification details are not provided, cheap substitutes, unethical product switching, straight out greed and false product claims amongst other things can blight the system. The list could go on, but the point is that all those in this noble industry should be concerned and accountable, just as designers are, about ‘the quality of life, public health and sustainability of any given region’. Architects and designers cannot do it alone. There needs to be a team effort between business, governments, the community and designers. Architects have a very clear charter of ethics. So should every other industry that is involved in the building business. That would overcome these problems. Will laws be enacted to ensure that all participants, in this wonderful industry are held to account too? Time will tell. Go to book on a page

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 97 Conclusion

In conclusion, who knows what the future holds. What we do know is that there will be no stopping it, because time brings change and time is inevitable. If we are wise, we will adapt, accommodate, and innovate. We will ride with the pace of technology and the wave of design and we will learn to compensate for the winds of revolution in science and discovery. Who knows how we will build in a drying climate. With weather becoming ever more unpredictable, and our water sources under more and more pressure, necessity will surely be the mother of invention. We will do what mankind has always done for thousands of years. We will master the art of acclimatisation and grow stronger as the world of architecture and design around us evolves, grows, and reforms. It has been said that to behold the future, one must understand the past. Perhaps put another way, let us encompass the past, enjoy the now and embrace the future. Go to book on a page

Free online test

Great, you’ve done it, you’ve educated yourself to a high level on the grand subject of architecture in Australia and the world of door hardware! Now see how much you’ve taken in. Go to the links below to take the online quiz. There’s three levels and it’s completely free; Basic test Intermediate Level Test Advanced Level Test Basic level takes about 5 - 7 minutes, intermediate 10 - 15 minutes and advanced about 20 - 30 minutes. You can take each level as many times as you want. If you pass, enter your name and email address and you will be sent a certificate authenticating your achievement. Good luck and have fun!

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Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 98 Glossary of Termsxlviii Active Door The door in a double door set that is opened first and to which a functional lockset is applied.

Aluminium Lightweight and resistant to corrosion, Aluminium is also nontoxic, which makes it an excellent material in cooking utensils and door or joinery hardware. In most cases, aluminium is an alloy with small quantities of silicon, iron, copper, magnesium or nickel. Anti – ligature. Anti-ligature products are widely used in care facilities, hospitals and public buildings. This type of hardware will protect any location where people may be at risk to harming themselves. Other places in which anti-ligature hardware can be used are in correctional homes and health departments.

Backcheck A function on a door closer which provides a cushioning effect when the door is forcibly thrown open. This does not serve as a substitute for a door stop.

Backset The horizontal distance from the face of the lock to the centre of the bore or cylinder hole.

Brass The term brass refers to a group of alloys that contain a combination of varying amounts of copper and zinc

Bronze Bronze is a metal alloy consisting primarily of copper that is commonly used in decorative metal work. It was particularly significant in antiquity, giving its name to the Bronze Age.

Case The housing of a lock, latch or bolt

Closing Speed The speed at which the door closes from the fully open position to 15-0. This can be adjusted by the valve on most door closers.

Cylinder Barrel A cylindrical portion of the cylinder that rotates when the correct key is used.

Cylinder The assembly incorporating the key operated mechanism.

Deadbolt A lock bolt having no spring action and is operated by a key or turnsnib. When locked the bolt cannot be returned by end pressure.

Delayed Action Provides prolonged closing time to assist the passage of wheel chairs, less abled people and people with prams, shopping etc.

Door Pull A fixed pull attached either directly to a door or with a backplate.

Double Cylinder A locking cylinder barrel controlled by a key on both the outside and inside.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 99 Dummy Set A non - functioning handle for one side of the door that has no latching or locking function. It is surface mounted to a door simply so the door has a handle to pull it open. They are generally used on closet, wardrobe or linen cupboard doors with a catch.

Edge Pull A recessed pull morticed into the edge of a sliding door which enables a user to pull out a door that is completely inside a cavity.

Electronic Lockset A lockset using a keypad input and a user code to engage or disengage the latch bolt.

Fixed Pin Hinge A hinge in which the pin is fastened permanently in place, preventing separation of the two leaves.

Flush Bolt A bolt recessed flush into the edge of the inactive leaf of a pair of doors at the top and bottom to secure a door.

Handed Products A product designed or assembled for use only on right hand doors or only left hand doors, but not both (see handing below).

xlix

Hold-open A function on a door closer which enables a door to be held in the opened position until released.

Inactive Door The door in a double door set that does not contain a latch, but instead is bolted at the top and bottom to hold it stationary when shut.

Indicator Bolt A slide-action bolt installed in areas where privacy is desired (such as toilets and bathrooms) which provides visual indication that the room is occupied or vacant.

Jamb Vertical posts or pieces that together form the sides of a door or window frame.

Latch The fastening on a door that fits into the strike slot on a door jamb and is retracted from either side by the handle.

Latching Speed The speed at which the door closes from 15-0. This can be adjusted by the valve on most door closers.

Loose Pin Hinge A hinge having a removable pin to permit the two leaves of the hinge to be separated.

Mortice Lock A lock designed to be recessed into the edge of a door, rather than being mounted to its surface. It combines the latching and locking mechanism into one unit.

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 100 Multi Point Lock Door locks that offer multiple latching points with one locking mechanism.

Nightlatch A lock with a spring activated latchbolt. Useful where you want to lock a door behind you without a key.

Non-handed The ability to reverse the product or key component to suit left or right-hand installation.

Passage Set Include a leverset and non-lockable latch bolt that allows free access through the door in both directions at all times. Appropriate for internal doors that never need to be locked (Dining Room, Laundry etc.).

Patina An aesthetically pleasing sheen or coloration that signifies a bronze object's age. Patinas are produced by chemical action, oxidization or sulphurisation, during the course of time.

Power Adjustable By Spring This is where the power size on a closer can be adjusted by turning the allen key, the plates are moved in the body, compressing the spring, which increases the power size.

Power Adjustable by Position This is where the power size on a closer can be adjustable by the position on the door. You increase the strength by positioning the closer away from the hinge or pivot centre.

Privacy Pin A pin that engages the privacy feature on the latch from the interior side of the rosette. Can be disengaged in an emergency by inserting a narrow object (like the end of a paperclip) into the emergency release hole on the exterior rosette.

Privacy Set A term for locks used on bathroom and bedroom doors having an inside button or turn knob to lock the outside handle and usually an emergency function which will unlock the set from the outside.

Projection The furthest distance and object extends off of a surface, like a door or cabinet.

Rebated Door A door where the leading edge is stepped.

Reversible Lock A lock with the components that can be readily adapted to enable the lock to suit door of either hand, opening in or out.

Rose The decorative backplate attached to the door lever that screws to the door surface.

Single Cylinder A locking barrel controlled by a key on the outside and a turnsnib on the inside for easy exit in an emergency.

Sliding Door A type of door installed on a sliding track that slides into a hollowed space or along a wall. Ideal for space minimisation as

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 101 they eliminate the necessity to maintain clearance for the action of a swinging door. Sometimes referred to as a Pocket Door.

Spindle The drive shaft connecting the knob or lever to the latch or lock mechanism to operate the bolt.

Split Spindle A spindle having a joint in the centre to allow each side of a handle to operate independently.

Stainless Steel A highly corrosion-resistant grade of steel containing Chromium.

Strike A metal plate that receives the door bolt or latch in the door jamb when the door is closed. Also referred to as a Faceplate or Keeper.

Spring Hinge A hinge that has a built in spring that can facilitate the self- closing of a door when it is not propped open.

Tubular latch A lockset requiring bored (round) holes rather than a chiselled rectangular mortise door preparation. Thumb press The flat stub located above the handle on an entry set that disengages the latch bolt. Thumb Turn: The turn piece located on the inside trim of a deadbolt that engages/disengages the latch mechanism.

Wrought Steel Steel that is worked to resemble the rustic hand craftsmanship of wrought iron, which is not commonly produced any more.

Zinc alloy Zinc Alloys are made up of a number of metal components including aluminium, copper, magnesium, iron, lead, cadmium, tin, nickel and zinc. Sometimes known as Zamac, is one of the most versatile engineering materials. Abbreviations

B/S Lock Backset ID Inside Diameter O/S Offset

CRS Screw/Bolt Centre LH Left Hand RF Rear Fix

C/S Lock Case Size Overall OA Overall Length RH Right Hand

FF Face Fixed OD Outside Diameter

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Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 102 Index Architecture Australian, 60 an architectural and philosophical description, 18 perspective, 22 electronic, 83 and discrete climates, 13 farewell the round doorknob, 88 art deco, 56 history of, 18 art nouveau, 56 how is a handle made, 37 Australian, 8 infection control, 84 Australian arts and crafts churches, 13 number in Australia, 18 classical, 54 the future, 81 contemporary, 54 very little literature on, 6 door handle architects, 27 Zanda, 67 edwardian, 58 Door handle - finishes Federation style, bungalows and post war, available finishes, 47 14 difference in door and cabinet hardware, federation/queen anne, 57 46 georgian, 57 introduction to, 46 gothic, 56 variation in, 46 Gropious, Walter, 7, 25, 27 variation in between suppliers, 46 influence on Australia, 12 Door handle - production Kramer, Ferdinand, 28 anodizing, 43 modern, 13 bronzing, 44 modernism, 55 brushed metal, 42 neo classical, 55 buffing and polishing, 42 Opera house, the, 8 by products/waste, 37 post modern, 53 clamping, 38 Potente, Johannes, 6, 7 coating, 37 retro, 53 cooling, 39 structuring an Australian, 15 die - casting, 38 styles, 53 ejection, 39 styles of the future, 81 electroplating, 42 the arts and crafts movement, 12 finishing and coating process, 42 ueenslanders, beach houses and wool forging, 37 sheds, 14 hot blackening, 43 Utzon, John, 8 injection, 39 Victorian, 54 metal grinding, 43 Wagenfield, Wilhelm, 27 metal vibratory finish, 43 What is it, 8 process cycle, 38 Wittgenstein, Ludwig, 7, 22, 28 quality control, 37 Bibliography, 105 surface preparation, 37 Book on a page, 10 trimming, 40 Care and Maintenance Finishes Aluminium, 78 types of, 46 brass, 78 Foreword, 6 stainless steel, 78 Free online test Zinc alloy, 79 test yourself!, 98 Conclusion Future trends final remarks, 98 3D modelling, 87 Door handle architectural styles, 81 3D modelling and, 87 electonics, 83 affect on the front entry, 6 ethics, is a binding code needed, 97 and famous architects, 26 facial recognition, 90 architectural and philosphical context, 21 farewell the round door knob, 88

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 103 flat pack housing, 95 brass and infection control, 84 infection controls, 84 bronze, 34 timber, the use of, 86 china/ceramic, 34 will architects be replaced by drones and glass, 34 computers, 92 stainless steel, 32, 102 Glossary of terms, 99 timber, 34, 86 Introduction, 8 zinc alloy, 31, 32 Materials Useful links and sources, 105 aluminium, 33, 99 brass, 18, 19, 20, 30, 35, 37, 46, 99

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 104

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Bibliography Collins, P. (1998). Changing Ideals in Modern Architecture 1750 - 1950. McGill - Queens Press.

Denison, E. (2013). 30 - second Architecture. East Sussex: Ivy Press.

Hopkins, O. (2014). Architectural Styles. London: Laurence King Publishing.

Jones, D. (2014). Architecture - the Whole Story. London: Yhames & Hudson.

Kaplan, E. C. (2002). The Arts and Crafts Movement. Thames and Hudson.

Lewis, D. L. (2007). Architectural Voices; Listening to Old Buildings. Wiley.

Marcelle Vellinga, P. O. (2007). Atlas of Vernacular Architecture of the World. Routledge.

Phaidon Press Ltd. (2013). The Design Book. London, UK: Phaidon Press Ltd.

Pugin, A. W. (1841). Principles of Pointed or Christian Architecture. New York: Academy Editions.

Tolman, R. (2010). Baroque; Architecture, Sculpture, painting. Ullman Publishing.

Watkin, D. (2005). A History of Western Architecture. Laurence King.

Winters, E. (2007). Aesthetics and Architecture. Continuum.

Worringer, W. (1927). Form in Gothic . London: G. P. Putnam’s Sons.

Useful links & Sources i http://www.australia.gov.au/about-australia/australian-story/austn-architecture ii http://doorhardware.lifetips.com/faq/117772/0/what-is-the-history-of-door-handles/index.html iii http://inventors.about.com/library/inventors/bllock.htm iv http://biblehub.com/topical/c/canticles.htm v http://unlock.schlage.com/blog/d35cd546-cee4-4257-aed3-5e9ef69fcd3d/did-you-know-door- knobs-through-history vi http://www.handsomehandles.co.uk/blog/6/the-invention-and-history-of-door-knobs vii http://www.ceounplugged.com/curios/2016/6/10/curio-1053-when-a-door-handle-is-not-just-a- door-handle viii http://www.nybooks.com/daily/2016/05/24/wittgensteins-handles/ ix https://www.britannica.com/biography/Walter-Gropius x http://www.bauhaus-fittings.com/138/Art_Deco.htm xi http://www.madehow.com/Volume-5/Doorknob.html xii http://www.accucastinc.com/zinc_die-casting.html xiii https://www.britannica.com/technology/stainless-steel xiv http://kids.britannica.com/comptons/article-9272824/aluminum xv http://www.custompartnet.com/wu/die-casting

Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 105 xvi http://www.thomasnet.com/articles/custom-manufacturing-fabricating/types-metal-finishing xvii https://www.britannica.com/art/bronzing xviii http://www.schlage.com/en/home/support/understand-product-options/finishes.html xix http://www.dulux.com.au/specifier/colour/colour-atlas xx http://advice.realestateview.com.au/buying/australian-architecture-styles xxi http://www.idesigni.co.uk/blog/futurearchitecture xxii Architecture the whole story – Denna Jones xxiii www.wikepedia.org xxiv https://www.sciencenewsforstudents.org/article/door-handle-kills-germs xxv http://www.idesigni.co.uk/blog/futurearchitecture/ xxvi http://www.zanda.com.au ww.idesigni.co.uk/blog/futurearchitecture/ xxvii http://www.telegraph.co.uk/news/worldnews/northamerica/canada/10466606/Vancouver-bans- doorknobs.html xxviii http://www.independent.co.uk/news/weird-news/the-march-of-the-lever-and-the-demise-of-the- doorknob-9289647.html xxix http://www.vancouversun.com/Vancouver+humble+doorknob+likely+trendsetter/9173543/story.html xxx http://www.adelaidenow.com.au/news/opinion/the-danger-of-round-door-knobs/story-fni6unxq- 1226778157894 xxxi http://www.economist.com/news/americas/21600988-new-building-rules-will-help-old-folkswho-now-risk- being-eaten-bears-knobless-oblige xxxii https://www.humanrights.gov.au/publications/good-bad-and-ugly-design-and-construction-access-2008-0 xxxiii Obviously not bear bodies though! xxxiv It is not known exactly when door knobs first were used other than the reference to them in ancient literature. The first US patent for a knob was filed in 1878 by Osbourn Dorsey. xxxv http://gizmodo.com/the-history-and-future-of-locks-and-keys-1735694812 xxxvi http://www.argusaccess.com/about/history-of-the-key/ xxxvii http://gizmodo.com/this-facial-recognition-software-signals-the-end-of-the-1548210294 xxxviii http://www.schlage.com/en/home/keyless-deadbolt-locks/sense.html xxxix http://gizmodo.com/schlages-bluetooth-lock-turns-your-smartphone-into-your-1676395324 xl http://gizmodo.com/are-smart-locks-secure-or-just-dumb-511093690 xli https://sourceable.net/will-technology-impact-future-architecture-jobs/ xlii http://www.autodesk.co.uk/ xliii https://www.theguardian.com/technology/2014/jun/15/robot-doctors-online-lawyers-automated- architects-future-professions-jobs-technology xliv http://www.fastcodesign.com/1665592/first-time-ever-flying-robots-build-20-foot-tall-tower-video#3 xlv http://architizer.com/blog/will-drones-soon-replace-architects/ xlvi http://www.abc.net.au/news/2016-09-28/flat-pack-homes-to-bust-australia's-housing-shortage/7885696 xlvii http://www.architecture.com.au/architecture/national/about-architecture xlviii www.zanda.com.au xlix www.zanda.com.au

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Zanda Architectural | P 1300ZANDA1 | W www.zanda.com.au | Page. 106