Architect: TP Bennett, London
Student accomodation, Isledon Road (London / UK)
Comprehensive facade planning
Form as expression of emotionality
With his striking buildings, the
internationally renowned architect Hadi
Teherani characterizes cityscapes in
Germany and abroad. His comprehensive
design approach also becomes apparent
in the context of facades. According
to Teherani, a “perfect“ facade is not
only functional but also emotionally
attractive - and thus is far more than just
the shell of a building. On the occasion
of the BAU 2017 trade fair at Munich, he
and his company Hadi Teherani Design
created an impressive presentation
setting for the building material of
ceramics in general and ceramics for
facades in particular in the central area
of the stand of AGROB BUCHTAL. That is
why an interview was realized with him
about modern building shells and the
possibilities off ered by ceramics in this
fi eld of application.
1. The shell of a building decisively
contributes to the formation of its
identity. What is essential for a “perfect
facade“ in your opinion?
The image of the building in the
streetscape manifests the content of the
architecture and the demands made on
it. Thus, the facade not only provides the
necessary structural-physical protection
but also expresses the complex
architectural objective in combination
with the shape and the openings of
the building. A passer-by which has no
opportunity to see the interior of the
building can get an impression of what is
going on behind the facade. The quality
in the interior becomes visible and
perceptible by the outward appearance.
Thus, the demands made on the facade
comprise the entire, comprehensive
spectrum of architecture.
2. Can you explain on the basis of one
of your projects which part the facade
design plays in your work?
There is no logical separation between
the diff erent design and planning
phases. Already at the time of the very
fi rst ideas, the facade is also involved,
just as fi rst visions concerning spatial
confi guration and interior design. Like
in a musical composition, individual
passages cannot be temporarily
excluded for dealing with them later.
The only thing that varies in the diff erent
project phases is the intensity of dealing
with them. In the case of “Tanzende
Türme” at Hamburg, the facade had to
refl ect the dynamism of the building as if
it had been exclusively made for that. In
the case of “Kranhäuser” at Cologne, the
task was right from the start to visualize
the diff erent typologies of the multi-
storey buildings, but also the overall
eff ect of the three-part ensemble.
3. Your w ork is based on a
comprehensive approach including
the architecture, the details as well
as individual design products which
you are developing on the basis of the
respective architecture. How do you
plan a facade in your offi ce?
With the fi rst conceptual idea, it is
clear from the beginning in which
direction we want to develop the
facade. The concept is derived from
the interior design and the urbanistic
context. Especially the materials used
on the facade must refl ect the existing
environment. This does not mean that
adaptation is the only right solution.
Variation and contrast are further
appropriate possibilities, provided that
the concept off ers the conditions for that
on the basis of the task defi nition.
4. As regards the choice and the use
of materials at the facade design -
whether classic, traditional materials
or modern, unusual solutions - there
is an immense variety of alternatives
today. In which materials and functions
are you particularly interested at the
facade planning?
New materials are always interesting.
The progress in the development of the
materials opens up new creative scope at
the design. Every architect and designer
is fascinated by that. Glass, whose
transparency is adjustable, reduces
the heat input to a minimum. Corian
permits a new kind of discreet aesthetics
and a subtle illumination. In the case
of ceramics, I am fascinated by its
three-dimensional structures, surfaces,
colours and textures. This material off ers
undreamed-of possibilities for designing
the portion of closed facade surfaces,
which necessarily is the greater one for
reasons of energy effi ciency.
5. Which premise does apply in
connection with facades in your
opinion? “Form follows Function“ or
“Function follows Form“? Or in other
words: do you primarily focus on