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Curtains – From pleated styles to Dekora blockout curtains, choose the curtain fabrics, colours and lengths that make the right statements. Lace – Enjoy your privacy while still letting natural sunlight into your home. Combine lace curtains with other window furnishings for a layered finish. Accessories – Put the finishing touches on your curtains and blinds with tapes, tracks, conduits and other window accessories. Search our window furnishings range for cheap curtains and blinds that won't stretch your home improvement budget.Project Team: Sharon Mackay, Timothy Horton, Nicholas Persons, Alex Hall, Ed Mitchell, Andrew Schunke, John Wright, Josh Palmer, Amy Reed, Hugh Fraser, Maciek Furmanik, Mariano DeDuonni, Sam Wee, Meaghan Williams, David Bills, Yi Kai Lim The Adelaide Zoo Giant Panda Forest, designed by HASSELL, is one of the world’s leading exhibits for the iconic and endangered giant panda species. The design of the Panda Forest embodies the Zoo’s core principles of environment, education, conservation and research and redefines the concept of a zoo in the 21st century – as a contemporary conservation organisation with vital breeding and research programs.
In 2007, Adelaide Zoo was entrusted with the care of two giant pandas – Wang Wang and Funi – for a period of 10 years. Soon after, HASSELL was honoured to be chosen to design their new home – the first in the southern hemisphere and only the eighth exhibit in the world. Early in the design process HASSELL toured four of the seven existing exhibits with the Adelaide Zoo team and tested the brief against world’s best practice. Understanding the behavioural characteristics of the giant pandas was critical to designing an immersive environment that allows the animals to behave as they would in the wild. The resulting architecture and landscape responds to the pandas’ native Chinese heritage within an Australian context. A series of ‘pavilions’ in the landscape frame a changing relationship between the public and the giant pandas, providing alternating views of landscape, animal behaviour and habitat. The new exhibit is integrated with the existing pathway network of the Zoo, providing an accessible and attractive journey through the enclosure and implicitly reinforcing conservation messages.
Seating, shade trees and pavilions provide opportunities to contemplate the environment and conservation information. The 3,000 square metre exhibit balances the need to provide the pandas with choices, comfort and stimuli while providing management flexibility for keepers and excellent viewing access for visitors. A multi-species exhibit, the enclosure houses the male and female giant panda as well as up to three pairs of red pandas and mandarin ducks. The pandas have access to two 600 square metre outdoor exhibits as well as air-conditioned day rooms. The holding building sets new standards for the management of giant pandas and provides the keepers with flexibility and control. The holding building houses a research facility for 24-hour Closed Circuit Television (CCTV) and observation. A range of design features have been used to enrich the environment, particularly focusing on climate control. Chilled rocks, streams and waterfalls for bathing, mature shade trees for climbing, and glass reinforced concrete caves for shade and shelter create a comfortable and stimulating environment for the animals.
A central glazed axis provides public views of research, food preparation and holding facilities. The sheltered public viewing terrace incorporates a giant underslung bamboo canopy and large sliding screens to accommodate crowds and manage privacy. Collaboration and wide consultation was vital to the success of the exhibit. The Zoo’s specialist keepers, vets, visitor experience and interpretation experts collaborated to develop functional requirements for the exhibit in the absence of formal standards for this type of facility. As well as the wildlife conservation objectives, the Zoo also aspired to demonstrate environmentally sustainable outcomes within the built environment. Solar orientation was an imperative factor in site planning to maximise the opportunities for the giant pandas to use the external exhibits. The exhibit incorporates several sustainable practices including green roofs and appropriate material selection. The day room floor consists of ‘deep litter’ mulch – an innovative composting technique that removes the need for wash down and wasteful water use.
Dayrooms are double glazed, and ‘close down’ to the east and west to reduce heat load. ‘Block work’ and concrete construction provide thermal mass to maintain temperature control. The resilient exhibit can be retro fitted to accommodate other bear species and is designed to be flexible to accommodate improvements in animal husbandry, refurbishing of the landscape and the changing needs of the Zoo. A Chinese government delegation who recently visited the Giant Panda Forest described the exhibit as “the world’s leading exhibit” for these iconic and endangered animals.A chilled rock in the freestanding viewing pavilion passes under the glass, coaxing the resident panda closer to the audience. An underslung bamboo canopy sits above the public viewing terrace in the panda enclosure. The holding building houses a research facility and provides the keepers with flexibility and control. The new enclosure is integrated within the existing pathway network of the Zoo.
Balancing research with revenue, the new giant panda enclosure at Adelaide Zoo by Hassell is both serene and highly functional. “interior” in the same sentence brings to mind indulgent, quirky, modish images - think Ken Adam’s James Bond sets, John Lautner’s bachelor pads, Kelly Wearstler’s Hollywood Regency style or, closer to home, the funky New Acton East penthouse by Fender Katsalidis with Nectar Efkarpis and Pamille Berg. Given the furry cuteness and exotic nature of its occupants, the giant panda enclosure at Adelaide Zoo by Hassell might initially prompt such playful associations. In actuality, the project is not a superficial scene setting. Rather, it is all about first-principles design research, rigorous performance criteria and integrated multidisciplinary practice. Though its spatial kernel is comparatively modest - paired day rooms, holding pens and outdoor enclosures - the project generates much more environmental benefit than is usual for such a singular set of interiors.
As the implications of accommodating the “rockstars of the zoological world” were realized, the original project expanded from an already aspirational brief. The increase in anticipated visitor numbers demanded a complete rethink of the Adelaide Zoo’s masterplan, resulting in a new, relocated entrance building. Furthermore, the potential for research, breeding and education spawned an additional, separate conservation centre and strengthened diplomatic connections with China, while the landscaping challenges have rejuvenated the zoo’s secondary role as a horticultural centre. These substantial components of the project merit closer review in another forum, however their origins are essentially an interior problem. Visitors are lead in a series of focused “pulses” through the various viewing stages, moving through a sequence of rooms, both outdoor and enclosed. This allows staff to manage the four hundred people per hour and to imbue each “room” with its own experiential qualities, from the narrow mandarin duck water glade to circular amphitheatre spaces where mature planting creates enclosure.
All the spaces were designed to ensure the pandas, Funi and Wang Wang, are healthy and relaxed, thus promoting the chances of breeding on the five days a year when it’s possible. Maybe analogies with the seductive spaces of Lautner’s bachelor pads are not so far-fetched after all? Each panda has its own tiered day room and outside terrain (oriented to allow them to “chase the shade”), so while they are in view and scent of each other, they only occupy the same space during the crucial breeding period. The rest of the year they are carefully coaxed by their keepers from day room to outer enclosure to the gleaming, agriculturally sturdy back-of-house holding dens and, eventually (ideally!), to the cubbing den and nursery space. Acoustic separation in these areas is paramount and, from behind the double glazing of the doors, the pandas are unlikely to hear a whisper from the throng of people beyond. The two wings are separated by a spine that leads into the research offices and massive food store for the forty kilograms of bamboo required daily.
The symmetrical geometry serendipitously accords with traditional Chinese aesthetics and is one of a number of instances where the design makes allusion, rather than literal reference, to the giant pandas’ cultural and geographic context. The most direct is the use of bamboo in the lofty movable curtain wall, underslung canopy and wrapped columns of the public viewing terrace, where it feathers the edges of the rectilinear bulk of the building and echoes both Kengo Kuma’s and Alvar Aalto’s use of this appealing golden material. Considering its robustness as a public space, the terrace is surprisingly lofty and delicate. It includes a volunteer station which doubles as a function bar, a suspended digital screen, and a seating ledge as close to the pandas as the glazing will allow. Over five metres high, the section responds to the vertical topography of the day rooms, designed to keep these naturally arboreal bears climbing and fit. The whole complex is an exercise in thoughtful sectional relationships and sight lines - between staff and visitors, pandas and observers - where the animals need to be higher than the viewer to curb their flight-or-fight instinct.