cembrit patina design line

Cembrit Patina Design Line

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CEMBRIT PATINA DESIGN LINE

Diversity in creation.

CEMBRIT PATINA DESIGN LINE

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-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.

Diversity in creation.

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CEMBRIT PATINA SIGNATURE

The overall visual impression of a building or its component is best assessed from a reasonable distance and under appropriate lighting conditions.

The following viewing distances have proven effective in practice:

Building: The suitable distance corresponds to the distance that allows the perception of the building’s essential parts. Relevant design features should be recognisable.

Components: 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.

Some examples of application are available online in the Cembrit Visualiser.

The use of several colour tones next to each other, or an accentuated use of colour within a surface should not affect the motif, so that utilised shapes or motifs can be perceived as desired when viewed objectively.

When assessing details with Cembrit Patina Signature, the overall impression from 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-ceptions are achieved.

Detail &overall appearance

Cembrit Patina and especially Cembrit Patina Signature enable designers and plan-ners to create a wide range of individual designs. The material meets the demands of modern architecture with both unusual and complex design variations (colours, textures, surfaces and shapes). With Cembrit Patina Signature, architects have almost free rein to implement creative patterns on the façade, taking into account a few ru-les.

By using specially manufactured templates, patterns, characters or logos can be per-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.

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

Weather conditions, daylight, angle of light incidence - they all have an influence on the perceived effect of the façade, especially with natural building materials such as fibre cement. For a realistic assessment of a façade, the material should be viewed in diffuse light. This corresponds to the most frequently occurring lighting conditions.

Especially the arrangement of patterns, textures or motifs worked out by sandblas-ting creates special perceptions in combination with the chosen and surrounding colours, creates special impressions.

The integration of themes, motifs and patterns with Cembrit Patina Signature not only allows to adapt to the environment, but also connects it to the façade or blends into it.

Cembrit Patina Signature CharacteristicsIndividual design

Visual appeal

Game of light

Plays with the scenery

Turn your building into your canvas.

The production of fibre cement façade panels consumes very little fossil prima-ry energy, which in turn translates into a low CO2 footprint and minimal green-house effect.

Cembrit has set itself challenging goals: the company is to produce and operate in an 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.

All off-cuts from production and leftover material from sandblasting can be used as by-products, e.g. as filling material for noise barriers or as base course mate-rial.

Cembrit products also serve as sophis-ticated visual and solar shading. The material contributes as an efficient as well as innovative method of cooling and heating facades. With building en-velopes made of Cembrit Patina, there is no „Heat Island Effect“ thanks to the concept of curtain wall and ventilated façade.

In building certification systems, such as DGNB, LEED and BREEAM, buildings with Cembrit products achieve the hig-hest standards.

Cembrit products are strictly quality controlled and only exit production in perfect technical and visual condition. The qualitative assessment applies to all products from the Cembrit Patina fa-mily including all textures, surfaces and colours.

Cembrit Patina Signature – a sustainable product

Eco-efficiency Zero waste Passive solar contribution & shading

Sustainable building

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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.

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

Curtain-type ventilated façade

Ventilated façade

The panel sizes also allow for large-area motifs without small-scale interruptions through joints. This opens up a wide range of design possibilities.

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

Within the maximum sizes, the format is freely custo-misable.Individual shapes and customisable or personnalisable surfaces offer numerous options.

Cembrit Patina is ideal for cladding large building façades. But also works well for small projects, such as porches, conservatories, garages or balconies.

Visible: rivet, screw Hidden: Undercut anchor

Cembrit Patina is used for façades that require mini-mal maintenance. Due to their robust qualities, the panels are weather-resistant and have a long lifespan with a high level of flexibility.

Cembrit Patina Products

Dimensions IndividualityFlexibility

MountingDurability

Cembrit Patina Design Line Natural surfacesCembrit Patina OriginalSurface: natural textured

Cembrit Patina RoughSurface: structured, velvety

Cembrit Patina InlineSurface: linear grooves

Cembrit Patina SignatureSurface: natural sanded/rough

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.

ColoursCembrit Patina Original

ColoursCembrit Patina Rough, Cembrit Patina Inline and Cembrit Patina Signature

Cembrit Patina Design Line with natural colours

Cembrit Patina Original, Cembrit Patina Rough and Cembrit Patina Signature

Cembrit Patina Inline

Length 2500/3050mm

Width 1192/1250mm

Thickness 8mm

Weight pcs 12.4g/m2

Surface, Patina Original Natural textured

Surface, Patina Rough Structured, velvety

Length 2500/3050mm

Width 1192/1250mm

Thickness top 9.5mm

Thickness groove 8mm

Weight pcs 14.1kg/m2

Surface Linear grooves

Properties

Cembrit Patina Design Line Dimensions

PATINA SIGNATURE CONCEPTS

Façades with structual motivs


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


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


Vitruvian scrollA classic in architecture

Ornament Vitruvian scrollConcept of a wall detail

The classic motif known as the Vitruvian scroll is a frieze.

The rounded variation of the meander 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.

Vitruvian scrollA classic in architecture


MeanderA motif of ancient times

Ornament MeanderConcept of a wall detail

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

MeanderA motif of ancient times


FleuronFloral ornament symbol

Ornament Fleuron Concept of a wall detail

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 relief-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.

Fleuron Floral ornament symbol


DentilOrganise with geometry

Ornament DentilConcept of a wall detail

Abstract geometric friezes, 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 dentils. Such motifs also serve well as a decorative element in façade design

DentilOrganise with geometry


Strapworka Renaissance Ornament

Ornament StrapworkConcept of a wall detail

Strapwork was developed in the Netherlands 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.

Strapworka Renaissance Ornament


Celtic Design Timeless symbolism

Ornament Celtic Design Concept of a wall detail

Knot patterns are typical of early and high medieval art. The traditional Celtic patterns find numerous uses in Ireland, 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 Book of Kells.

Celtic Design Timeless symbolism


RosetteDecorative ornamentation

Ornament RosetteConcept of a wall detail

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“).

RosetteDecorative ornamentation


Traceryan ornament of Gothic

Ornament TraceryConcept of a wall detail

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.

TraceryGothic ornament

... others ...

Even the aesthetics of classical modernism in architecture could not do without detail.

Decorations, colours, materials and proportions create grain, patina, light effects or contrasts to avoid the emptiness of pure functionalism.

The interest in more ornamentation and the striving for beauty can be found in the mostly repetitive, often abstract ornamentation. Ornamentation appears throughout cultural history, even in the purist epochs. Modern techniques allow today‘s and to-morrow‘s architecture to develop functionality and decorative elements from the ma-terial properties.

Ornaments are distinguished by geometric and abstract motifs as opposed to bota-nical and naturalistic stylised themes. Design principles are symmetry and sequence. Ribbon ornaments are formed by rows and are also called friezes. A pattern extending in several directions represents a surface ornament.

Ornamental classics find their origin in Greek antiquity with the geometric meander frieze and later with the stylised plant forms acanthus and palmette. The basics are constantly being adopted and modified into new uses.

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.

Design characteristics of the ornamentationOrnaments animate façades Accentuate or draw attention

Ornaments in architecture

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 perspective 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.

Cembrit Patina Signature for ornaments

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.

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 palmettes, festoons, 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 arabesque 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 Baroque period.

Ornaments in modern era - single epochs in detailArchitectural theory and building ornamentation in the Renaissance

16th and 17th centuries

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 Rococo.

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.

18th century

During the Italian Renaissance, the grotesque 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 volutes or club-like structures. The amorphous tendencies of this ornamental style increased in hardly delimitable transitions to the variants Cartouche and Auricular style (1570 to 1660). The second half of the 17th century witnessed an increasing use of Acanthus leaf decoration.

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.

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.

Ornaments from the 19th century to the present dayOrnamentation in the 19th century

Arts and Crafts Movement and Art nouveau

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 OrnamentOrnaments in history Motifs

Ancient Egypt Widely used plant motifs: lotus (leaf, bud or flower), papyrus (flower).Ornamental motifs: animals, people, characters and geometric patternsArchitecture: 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 pediments.Motifs: ivy leaf, acanthus leaf, versatile ornaments such as tendrils and palmettes, f ree 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 f illing, 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 Barbarian Invasions (from the Roman and Greek perspective)

Tendrilous animal or botanical ornaments

Medieval Motifs of Carolingian art: palmette and acanthus, Celtic and Germanic animal and interlace 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 f ish-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


Communicate

Aesthetics and ornament form a unity and everything beautiful is somehow also ornamental. The sculptural characteristics of architecture can be particularly emp-hasised by lighting effects or visual elements. Contemporary façade designs and ornamentation have a close relationship through recurring and often abstract or ab-stracting patterns. In combination, they give buildings more charisma and individua-lity.

The path to today‘s application began with Pop Art in the 1960s. In the concepts of avant-garde designers, bright colours and a light-hearted vocabulary of forms played an elementary role and in the 1970s they soon freed themselves from ornamentless functionalism.

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.

An ornament is clearly separated from the background and can be distinguished by colour, relief or elevation.The demarcation of ornament from decor and pattern can be made by the decorative and ordering function on the façade according to the fol-lowing aspects:

Expression of an image, brand or an event

Regional and supra-regional connection

Use of letters, images or colour

Inspiration from nature

The direct context and environment around a building

Communicate withCembrit Patina Signature

Wouldn’t it be great if signs and symbols from everyday urban life fit into the design context of the building’s interior and exterior facades?Cembrit Patina Signature provides exactly this opportunity, because it blends in with an environment of other products from the Patina Design Line.

Signs of various kinds are an indispensable part of every building. Without them, ever-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..

With Patina Signature information is clearly separated from the background and can be additionally distinguished by colour, relief or elevation.

Highlight a brand or location Use letters, images or pictograms and colour Stay in direct context inside and around a building

Function follows form -Communicating buildings Signs inform. Signs provide orientation. Signs decorate.

Cembrit Patina Services

Cembrit Patina Signature Ordering Process – Exemplary procedure

Transfer of the design – 2D or 3D mo-del

Partitioning of the building envelope into components or walls

Optimisation of the façade layout Alignment with production parame-ters

Calculation basis for economic realisa-tion

Digital creation of motif views accor-ding to customer requirements

Digital sample available within 7 days Overview of all possible combinations at www.cembrit.com/Client-Upload

The façade specialists at Cembrit and their established network support architects and planners in all project steps from the early planning phase to implementation.

Cembrit pursues an integrative approach to develop a comprehensive solution for building envelopes.

Optional services such as design development, façade optimisation, structural cal-culations, mounting methods, mock-ups & prototyping, element substructures, pre-mounting and logistics concepts.

The BIM World Facade contains an extensive collection of planning data. From wall construction to texture, you can find the Cembrit Patina data here.

Transfer of the concepts into practice Mock-up production to evaluate the visual expectations of the architectural concept idea.

Technical analysis of the simulation of weather conditions, wind loads, etc.

Propose optimisation and approval

Creation of customized textures Provide samples of customised pat-terns, colours, surfaces for review.

Cembrit offers comprehensive advice on products, applications and solu-tions.

Recommendation of building com-ponent substructure according to the static calculation

Work out optimal connections to the substructure of the building

Simulation of the installation steps Development of individual mounting solutions

Cembrit offers planning details as well as technical drawings in BIM standard.

High-resolution images for colours, surfaces and textures available as download

Cembrit Patina Signature via digital product design

Transfer of the idea into a feasible faça-de

Alignment of design and production technology

Advice on technical possibilities Provision of libraries Approval and production testing.

Cembrit Patina Signature Services

Efficiency process

Digital product design

Mock-ups & Prototyping

Signature Design Development & Sampling

Development of the fastening method

BIM - BuildingInformation Modeling

Concept Planning, Design & Solution

cembrit patina design line

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