Cembrit Patina Design Line

DRAFT CEMBRIT PATINA DESIGN LINE Diversity in creation. DRAFT CEMBRIT PATINA DESIGN LINE Font Neutraface Diversity in creation.

Cembrit Patina Signature offers a wide range of design possibilities for façades.

The choice of different colours and parts of customised surfaces offers a variety of designs to meet creative ideas.

The composition of Cembrit Patina façade panels allows an economical solution for the ent- ire building envelope.

Different production techniques and manufacturing systems of Cembrit Patina and Cem- brit Patina Signature have to be considered when matching colours. Therefore, slight colour variations between Cembrit Patina and Cembrit Patina Signature are possible and provide individual charm at the same time.

Minimal differences may also occur in the surfaces between Cembrit Patina Rough and Cem- TO CHECK brit Patina Signature, as Cembrit Patina Rough is machine sandblasted and Cembrit Patina Signature is manually sandblasted.

As adaptable and extraordinary as fibre cement façades are, their appearance in the façade is equally authentic. CEMBRIT PATINA SIGNATURE Detail & overall appearance

The overall visual impression of a building or its component is best assessed from a Some examples of application are available online in the Cembrit Visualiser. reasonable distance and under appropriate lighting conditions. The use of several colour tones next to each other, or an accentuated use of colour The following viewing distances have proven effective in practice: within a surface should not affect the , so that utilised shapes or motifs can be perceived as desired when viewed objectively. Building: The suitable distance corresponds to the distance that allows the perception of the When assessing details with Cembrit Patina Signature, the overall impression from building’s essential parts. Relevant design features should be recognisable. the usual viewing distance is decisive. Depending on the shape, motif or pattern, planning requires a special check to ensure that the intended characteristic and per- Components: ceptions are achieved. The adequate distance corresponds to the observers’s usual viewing distance of at least 5 metres. The view of a building should result in a well-balanced overall picture. Since characteristic features such as the structure of the surface, joint pattern or co- lours have a decisive influence on the overall impression, these should be taken into account during planning.

Cembrit Patina Signature Characteristics

Individual design Game of light

Cembrit Patina and especially Cembrit Patina Signature enable designers and plan- Weather conditions, daylight, angle of light incidence - they all have an influence on ners to create a wide range of individual designs. The material meets the demands the perceived effect of the façade, especially with natural building materials such as of modern architecture with both unusual and complex design variations (colours, fibre cement. For a realistic assessment of a façade, the material should be viewed in textures, surfaces and shapes). With Cembrit Patina Signature, architects have almost diffuse light. This corresponds to the most frequently occurring lighting conditions. free rein to implement creative patterns on the façade, taking into account a few ru- les. Especially the arrangement of patterns, textures or motifs worked out by sandblas- ting creates special perceptions in combination with the chosen and surrounding By using specially manufactured templates, patterns, characters or logos can be per- colours, creates special impressions. manently blasted onto the board surface. The blasting of special reliefs allows surfa- ces with a plastic appearance. Individual structural requirements can be implemen- ted. Plays with the scenery

The integration of themes, motifs and patterns with Cembrit Patina Signature not Visual appeal only allows to adapt to the environment, but also connects it to the façade or blends into it. Cembrit Patina Signature is a natural product and is perceived as such by Cembrit. All façades made of Cembrit Patina Signature have an individual character: Unique, individualised or personalised vivid surfaces with an alternating play of co- lour shades Turn your building into your canvas. Cembrit Patina Signature – a sustainable product

Cembrit has set itself challenging goals: the company is to produce and operate in an TO CHECK increasingly CO2-neutral way in the coming years. And this aspiration is naturally also reflected in the products. The smaller the footprint, the more architecture will be im- proved by Cembrit.

Eco-efficiency Zero waste Passive solar contribution Sustainable building & shading

The production of fibre cement façade All off-cuts from production and leftover Cembrit products also serve as sophis- In building certification systems, such panels consumes very little fossil prima- material from sandblasting can be used ticated visual and solar shading. The as DGNB, LEED and BREEAM, buildings TO CHECK ry energy, which in turn translates into as by-products, e.g. as filling material for material contributes as an efficient as with Cembrit products achieve the hig- a low CO2 footprint and minimal green- noise barriers or as base course mate- well as innovative method of cooling hest standards. house effect. rial. and heating facades. With building en- velopes made of Cembrit Patina, there Cembrit products are strictly quality is no „Heat Island Effect“ thanks to the controlled and only exit production in concept of curtain wall and ventilated perfect technical and visual condition. façade. The qualitative assessment applies to all products from the Cembrit Patina fa- mily including all textures, surfaces and colours. Ventilated façade

Curtain-type ventilated façade

The façade cladding with Cembrit products is designed as a ventilated façade accor- ding to DIN 18516-1. This construction method separates thermal insulation and weat- her protection and is not only advantageous from a building physics aspect, but also enables a wide range of (energy) efficiency levels.

High performance

Fibre cement as a building material withstands the highest loads, is durable and yet can be used individually. The technical qualities of façades made of fibre cement are retained over a long service life in all climatic zones. Cembrit Patina Products

The effective and only 8-12 mm thin boards open up a wide scope for the realisation of ideas. Cembrit Patina products clad buildings and can be combined with each other. This creates a unique flow of materials.

Cembrit Patina Original – Cembrit Patina Inline – Cembrit Patina Rough – Cembrit Patina Signature

Dimensions Flexibility Individuality

The panel sizes also allow for large-area motifs without Cembrit Patina is ideal for cladding large building Within the maximum sizes, the format is freely custo- small-scale interruptions through joints. This opens up façades. But also works well for small projects, such as misable. a wide range of design possibilities. porches, conservatories, garages or balconies. Individual shapes and customisable or personnalisable surfaces offer numerous options.

Durability Mounting

Cembrit Patina is used for façades that require mini- Visible: rivet, screw mal maintenance. Due to their robust qualities, the Hidden: Undercut anchor panels are weather-resistant and have a long lifespan with a high level of flexibility. Cembrit Patina Design Line Natural surfaces

Cembrit Patina Original Cembrit Patina Signature Surface: natural textured Surface: natural sanded/rough

Cembrit Patina Rough Cembrit Patina Inline Surface: structured, velvety Surface: linear grooves Cembrit Patina Design Line with natural colours

Cembrit Patina products have a decisive advantage over other colour-treated mate- rials - namely the façade panels are completely coloured throughout.

The product colour is created before the actual production process. The colour beco- mes part of the product by being added during the mixing of the raw materials.

Other façade panels are often only superficially treated and lacquered or coloured, which can lead to considerable differences in quality and to an impairment of the co- lour and surface appearance.

Colours Colours Cembrit Patina Original Cembrit Patina Rough, Cembrit Patina Inline and Cembrit Patina Signature Cembrit Patina Design Line Dimensions

Properties

Cembrit Patina Original, Cembrit Patina Rough and Cembrit Patina Signature

Length 2500/3050mm

Width 1192/1250mm

Thickness 8mm

Weight pcs 12.4g/m2

Surface, Patina Original Natural textured

Surface, Patina Rough Structured, velvety

Cembrit Patina Inline

Length 2500/3050mm

Width 1192/1250mm

Thickness top 9.5mm

Thickness groove 8mm

Weight pcs 14.1kg/m2

Surface Linear grooves PATINA SIGNATURE CONCEPTS Façades with structual motivs CEMBRIT PATINA SIGNATURE

It has natural variations and patinates as seasons change and time passes.

Concept of a wall view

Cembrit Patina Signature Colour: P070 Pattern: Diagonal Lines

Motive: Patina Original being the most dominant

CEMBRIT PATINA SIGNATURE

Each facade board is as individual as nature itself.

Concept of a wall view

Cembrit Patina Signature Colour: P070 Pattern: Bamboo

Motive: Patina Rough being the most dominant

... others ... PATINA SIGNATURE CONCEPTS Façades with ornamental motivs CEMBRIT PATINA SIGNATURE Vitruvian A classic in architecture Vitruvian scroll Concept of a wall detail Vitruvian scroll A classic in architecture

The classic motif known as the Vitruvian scroll is a .

The rounded variation of the is reminiscent of overturning waves. The scienti- fic term Vitruvian veloute is named after the Roman architectural theorist Vitruvius....

Like other meander forms, this frieze is used in interior and exterior architecture. CEMBRIT PATINA SIGNATURE Meander A motif of ancient times Ornament Meander Concept of a wall detail Meander A motif of ancient times

The meander is an orthogonal ornament. The name originated in reference to the river loops of the same name. The world of architecture has created a great variety over the last millennia. Meanders are represented in architecture as structural reliefs and as frie- zes.

A special form of the classic is the double meander, which consists of two meanders running in opposite directions. Meanders were originally a symbol in Greek art. In anti- quity, this ornament stood for the attainment of eternity CEMBRIT PATINA SIGNATURE Fleuron Floral ornament symbol Ornament Fleuron Concept of a wall detail Fleuron Floral ornament symbol

The stylised leaf or flower shaped motif was used as a decorative element for the first time in the Gothic period. The application ranges from voluminous to rather flat to maximally -like forms.

The Gothic finial, as it can be found above all on spiers and other merging of architec- tural lines, is primarily used for the voluminous representations.

Flat fleurons can also be found in historical buildings as decorative pieces. In construc- tion, flat fleurons are often implemented below windows. CEMBRIT PATINA SIGNATURE Organise with geometry Ornament Dentil Concept of a wall detail Dentil Organise with geometry

Abstract geometric , often serve to visually divide storey levels.

Originated in ancient Greek and Roman architecture this ornament spread and ap- peared also in the late phase of Moorish art and the Mudejar style based on it, where it has been used as an horizontal and serial architectural element that imitates wooden beam ends. The linear patterns resembling rows of suggested beam heads are called . Such motifs also serve well as a decorative element in façade design CEMBRIT PATINA SIGNATURE a Ornament Ornament Strapwork Concept of a wall detail Strapwork a Renaissance Ornament

Strapwork was developed in the in the late 16th century and then spread to Germany, Italy and France. The design can be traced back to the Antwerp sculptor, builder and ornament engraver Cornelis Floris. He developed numerous new ornamen- tal forms.

The Neo-Renaissance was particularly fond of Strapwork motifs between 1870 and 1890. CEMBRIT PATINA SIGNATURE Celtic Design Timeless symbolism Ornament Celtic Design Concept of a wall detail Celtic Design Timeless symbolism

Knot patterns are typical of early and high . The traditional Celtic patterns find numerous uses in , Scotland and around the world to this day. They are of- ten referred to as Celtic design or Celtic patterns.

Outstanding examples are the Book of Durrow, the Lindisfarne Gospel and the . CEMBRIT PATINA SIGNATURE Decorative ornamentation Ornament Rosette Concept of a wall detail Rosette Decorative ornamentation

Rosettes are decorative round elements, e.g. centred in larger areas and as keystones of cross vaults. Rosettes are decorated with geometric shapes, spirals and also leaves and flowers, coats of arms or angels appear less often.

A special appearance is the fan shaped rosette (also called „half rosette“). CEMBRIT PATINA SIGNATURE Tracery an ornament of Gothic Ornament Tracery Concept of a wall detail Tracery Gothic ornament

Originally an architectural element with structurally determined lines, in the late Gothic period it was ornamentally independent and developed in a variety of ways.

In architecture, tracery is the filigree work of stonemasons in the form of flat designs. Tracery consists of geometric patterns. Covering otherwise solid walls this form of deco- ration is referred to as blind tracery.

In the Gothic period tracery was used in many other places, for example on the balus- trades of galleries (triforium) or prestressed masonry. ... others ... Design characteristics of the ornamentation

Ornaments animate façades Accentuate or draw attention Even the aesthetics of classical modernism in architecture could not do without detail. Ornaments are distinguished by geometric and abstract motifs as opposed to bota- nical and naturalistic stylised themes. Design principles are and sequence. Decorations, colours, materials and proportions create grain, patina, light effects or Ribbon ornaments are formed by rows and are also called friezes. A pattern extending contrasts to avoid the emptiness of pure functionalism. in several directions represents a surface ornament.

The interest in more ornamentation and the striving for beauty can be found in the Ornamental classics find their origin in Greek antiquity with the geometric meander mostly repetitive, often abstract ornamentation. Ornamentation appears throughout frieze and later with the stylised plant forms and . The basics are cultural history, even in the purist epochs. Modern techniques allow today‘s and to- constantly being adopted and modified into new uses. morrow‘s architecture to develop functionality and decorative elements from the ma- terial properties.

Ornaments in architecture

Ornaments are distinguished from pictures by the decorative function in the focus. No illusion is created in terms of time or depth. Ornaments do not show a continu- ous action and are limited to the plain. However, ornaments are often naturalistic and sculptural.

Abstract, stylised or plastic ornaments often contrast with each other in their applica- tion. Ornamentation can also relate to individual elements or forms, or to the motion. Ornaments are in a relationship to the body, whether they accentuate, structure, fill or frame. The medium can determine the ornament or vice versa. In architecture in par- ticular, intensity and density determine the relationship to the supporting component or structure. Cembrit Patina Signature for ornaments

Cembrit and fibre cement represent modern building methods and, in terms of de- sign, predate the Bauhaus era.

In modernist architecture and product design, a turnaround in the use of ornaments developed at the beginning of the 20th century. Instead, the formula „form follows function“ was propagated.

Today, ornaments represent a new in architecture. Often, ornaments are not used in planning due to cost reasons or a complex façade construction. With Pa- tina Signature, Cembrit offers an economical solution that can be planned without great effort and that reflects the symbolic power of ornamentation in the modern façade.

Cembit combines „form follows function“ with the tradition of ornamentation.

Cembrit Patina Signature - More than a modern ornament

A well-designed ornament makes connections clear beyond itself and allows special material experiences. Patina Signature is a basis for new design concepts and aesthe- tics in architecture.

Ornaments in modern era - single epochs in detail

Architectural theory and building ornamentation in the Renaissance

The rediscovery of Vitruvius’ writings generated an intense revival of ancient art and architecture in Italy in the 15th cen- tury.

The ancient forms and ornamentation quickly supplanted the medieval forms. The rapid development of architecture centred on column orders and general design principles. An important application of the dualistic scheme of beauty and ornament is found in the so called tabularium motif. This plan of elevation dominates in Classical-Roman and mo- dern architecture.

16th and 17th centuries

The ornamental engravings published as single-sheet patterns for craftsmen give a good picture of the development of the ornamental style north of the Alps. Motifs are reproductions of antique elements such as , , vases, balusters, candelabra and other architectural elements.

Most important plant motif became the more or less tendrilous acanthus, sometimes filigree, sometimes thick-leaved and covering the entire surface. The also revived in the Renaissance, but unlike the motifs further below, it was not limited to the specific pe- riod, but remained a motif repeatedly employed in various styles beyond the period. During the Italian Renaissance, the experienced a particular heyday as an ornament. In the period from the mid-16th to the mid-17th century, the Mauresques also left their mark on the style with significant variations of the Scrollwork, Strapwork and Auricular ornaments.

In detail: Characteristics of the scrollwork from 1520 onwards are interlaced and rolled-up, pierced and multi-layered band forms, which occur particularly on framings and cartouches. Around the years 1550 to 1630, the Strapwork is derived from this and often combined with geometrically shaped forms. Tail-piece ornaments appear in the years around 1580-1630 with swelling forms that end in or club-like structures. The amorphous tendencies of this ornamental style increased in hardly delimitable transitions to the variants and Auricular style (1570 to 1660). The second half of the 17th century witnessed an increasing use of Acanthus leaf decoration.

18th century

The delicacy-emphasising foliage and ribbon style dominates the first half of 18th century in Europe. The still more strictly vegetal Régence style prepares the lightness and elegance of the .

The Rococo rocaille of graceful tendrils and ribbons bound into the surface changes with its shells and volutes the spa- tial connection in favour of asymmetrical, unbounded elements that freely expand into empty space.

In France the era of Louis Quinze is more rational, more classicist in tendency, and culminates in actual classicism around 1760. Nevertheless, it is especially here that the rules of decorum are lived: the choice of appropriate ornament depends on the intended purpose.

The end of the 18th century is characterised by transitional forms between Rococo and Classicism. All the individual ele- ments are once again more straightforwardly framed and more clearly ordered. All forms become more consolidated, the modest vegetal elements are tightly constricted into festoons and braids, the volutes are angularly broken. This sty- le is known in Europe under various names: „Louis seize“ in France, „Late Georgian“ in England, „Josephinischer Stil“ in Austria and as „Zopfstil“ in Germany. Ornaments from the 19th century to the present day

Ornamentation in the 19th century

Classicist influences around 1800 to 1815 took up the elements of Egyptian, Greek and Roman antiquity more literally than in the Renaissance, for example. The antique ornaments such as laurel wreaths, palmettes, Egg-and-dart (Cymati- um), rosettes and meanders were used in a reduced form.

The further development of Classicism abandoned this ideal of austerity, clarity and simplicity in favour of an enrich- ment with individual motifs. Throughout the century and beyond, Classicism remained an option alongside others, which, summarised as Historicism, presented different styles and thus also different forms of ornamentation. As in the centuries before, changing ornamental styles and certain patterns are associated with certain meanings.

Arts and Crafts Movement and

Art Nouveau, Arts and Crafts Movement or Jugendstil is an era of art and architecture at the turn of the turn of the 19th to the 20th century and shaped architecture. Ornamentation and decoration reached a peak here until shortly before the First World War.

The Bauhaus heralded the era of „form follows function“. After the Second World War, the time of New Bauhaus began. Walter Gropius and Ludwig Mies van der Rohe imposed the teachings of the Bauhaus worldwide as the „International Style“. A heyday for fibre cement began and, at the same time, ornament disappeared almost completely as a design principle from the minds of architecture designers for almost 40 years. The 21st century – the revival of the ornament

Beginning with postmodernism and finally with the digital revolution, the ornament again plays a major role in current design trends.

As an anthropological constant, the ornament has returned to modernity as a cross-culturally functional graphic ele- ment in the context of the globalisation of communication processes. Famous protagonists of its revival in urban archi- tecture are the Basel architects Herzog and de Meuron. History and Epochs of Ornament

Ornaments in history Motifs

Ancient Egypt Widely used plant motifs: lotus (leaf, bud or flower), papyrus (flower). Ornamental motifs: animals, people, characters and geometric patterns Architecture: marking of individual building elements or framing of surfaces Geometric patterns also cover entire façades or are arranged in registers.. Ancient Greece Design of capitals. Figurative representations mostly in relief, especially in friezes or temple . Motifs: ivy leaf, acanthus leaf, versatile ornaments such as tendrils and palmettes, free wave tendril, meander. Motifs are not only arranged at right angles, but can also run diagonally Hellenism and Ancient Rome Motifs: depictions of humans and animals (putti, fantasy creatures or birds). Late Antiquity leads to further naturalisation and lush surface filling, Motifs are often used quite liberally, almost stylised. Typical motifs are acanthus leaves, laurel, grapes and grape leaves. Columns lose their solely bearing function and are used ornamentally. Migration Period Tendrilous animal or botanical ornaments Barbarian Invasions (from the Roman and Greek perspective)

Medieval Motifs of : palmette and acanthus, Celtic and Germanic animal and decorations. Both influences were still present in the Romanesque period. Architectural ornamentation: geometric forms, such as dentils, serrated bands or round-arched friezes. Development of tracery as the most important ornamental genre of the Gothic period as an architectural element for structuring. Vari- ant tracery: radially arranged pointed arch of the rose window. Naturalistic plant ornamentation contrasts with this geo- metric and abstract characteristic of tracery. Motifs: vine leaves, foliage of native plants (foliage ornamentation) are humped leaves in the 14th century, thistle-like tendrils in the late 15th century. Interlacing becomes more and more complex, tracery increases in animation, e.g. poin- ted arches become flame-shaped („flamboyant“) or called fish-bladders. Renaissance Use of antique ornaments Baroque Rich and vividly intricate ornamental style Rococo shell-shaped rocaille Classicism Purist aesthetics with modest use of ornamentation, e.g. in the form of wreaths, festoons, etc. Pluralism of style since the 19th century arbitrary use of ornaments CEMBRIT PATINA SIGNATURE Communicate Communicate with Cembrit Patina Signature

Aesthetics and ornament form a unity and everything beautiful is somehow also An ornament is clearly separated from the background and can be distinguished by ornamental. The sculptural characteristics of architecture can be particularly emp- colour, relief or elevation.The demarcation of ornament from decor and pattern can hasised by lighting effects or visual elements. Contemporary façade designs and be made by the decorative and ordering function on the façade according to the fol- ornamentation have a close relationship through recurring and often abstract or ab- lowing aspects: stracting patterns. In combination, they give buildings more charisma and individua- lity. Expression of an image, brand or an event Regional and supra-regional connection The path to today‘s application began with Pop Art in the 1960s. In the concepts of Use of letters, images or colour avant-garde designers, bright colours and a light-hearted vocabulary of forms played Inspiration from nature an elementary role and in the 1970s they soon freed themselves from ornamentless functionalism. The direct context and environment around a building

The development of new façade technologies, such as Patina Signature, allows for or- namental design. With the economical application of Patina Signature, architects will find efficient solutions in design. Function follows form - Communicating buildings

Signs inform. Signs provide orientation. Signs decorate.

Wouldn’t it be great if signs and symbols from everyday urban life fit into the design With Patina Signature information is clearly separated from the background and can context of the building’s interior and exterior facades? be additionally distinguished by colour, relief or elevation. Cembrit Patina Signature provides exactly this opportunity, because it blends in with an environment of other products from the Patina Design Line. Highlight a brand or location Use letters, images or pictograms and colour Signs of various kinds are an indispensable part of every building. Without them, ever- Stay in direct context inside and around a building yday operations would be disrupted. They guide you to the right place and person and important information could not be communicated without signs.

The development of new façade technologies, such as Patina Signature, allows for communicative design. With the economical application of Patina Signature, archi- tects will find efficient solutions in design based communication.. Cembrit Patina Services Cembrit Patina Signature Ordering Process – Exemplary procedure Cembrit Patina Signature Services

The façade specialists at Cembrit and their established network support architects Optional services such as design development, façade optimisation, structural cal- and planners in all project steps from the early planning phase to implementation. culations, mounting methods, mock-ups & prototyping, element substructures, pre- mounting and logistics concepts. Cembrit pursues an integrative approach to develop a comprehensive solution for building envelopes. The BIM World Facade contains an extensive collection of planning data. From wall construction to texture, you can find the Cembrit Patina data here.

Efficiency process Mock-ups & Prototyping Development of the Concept Planning, fastening method Design & Solution

Transfer of the design – 2D or 3D mo- Transfer of the concepts into practice Recommendation of building com- Transfer of the idea into a feasible faça- del Mock-up production to evaluate the ponent substructure according to the de Partitioning of the building envelope visual expectations of the architectural static calculation Alignment of design and production into components or walls concept idea. Work out optimal connections to the technology Optimisation of the façade layout Technical analysis of the simulation of substructure of the building Advice on technical possibilities Alignment with production parame- weather conditions, wind loads, etc. Simulation of the installation steps Provision of libraries ters Propose optimisation and approval Development of individual mounting Approval and production testing. Calculation basis for economic realisa- solutions tion

Digital product design Signature Design BIM - Building Development & Sampling Information Modeling

Digital creation of motif views accor- Creation of customized textures Cembrit offers planning details as well ding to customer requirements Provide samples of customised pat- as technical drawings in BIM standard. Digital sample available within 7 days terns, colours, surfaces for review. High-resolution images for colours, Overview of all possible combinations Cembrit offers comprehensive advice surfaces and textures available as at www.cembrit.com/Client-Upload on products, applications and solu- download tions. Cembrit Patina Signature via digital product design