This page contains a Flash digital edition of a book.
FEATURE LOADING BAYS & DOORS


THE GOOD, BAD AND UGLY M


Industrial doors are not only about functionality. Aesthetics are playing an increasingly important part in their specification as Tony Saunders, sales manager for sara LBS explains


any of us remember school as being grim days in grim buildings but over


the past decade or so many have been rebuilt in bright, airy modern styles which would seem to be a pleasure to learn in. What sort of house would you rather live in: grey, functional and institutional or one that has been designed and decorated to be in tune with its locality and occupants? If you called in at an industrial


distributor to buy some equipment would a clean stylish building fill you with more confidence than a down-at-heel industrial unit with flaking paintwork and shabby fittings? Architecture, the details of building


design and decoration, can have a profound effect on the occupants, visitors and even passers-by. Great works of architecture from Buckingham Palace to the Shard are widely celebrated but the same principles apply to more modest homes and places of work. Looking specifically at industrial doors, they are big and therefore quite dominant in a façade. So if they are scruffy or unimaginative or don’t work very well they will reflect badly on the building’s occupants. Functionally, they have to lock securely, open wide, operate relatively quickly and keep the heat in. So what are the


aesthetic issues that could relate to a door? Perhaps the first thing to consider is its colour. Battleship grey or mucky brown aren’t likely to lift the spirits whereas bright yellow may suggest something that is dynamic or cutting edge; green implies ecology and care for the environment; red or a high visibility pattern might imply priority access. A colour could be carefully selected to fit in with the décor. A further option may be transparent doors – useful if you have something to show off (such as cars in a showroom, antique furniture or exciting production machinery). Toughened glass is the most


If an industrial door is to make an architectural statement it is absolutely essential that it is 100% reliable and its operation fast, smooth and quiet


transparent so probably the most aesthetic choice; perspex a bit less clear but practical on many fronts. If an industrial door is to make an


architectural statement it is absolutely essential that it is 100% reliable and its operation fast, smooth and quiet. Motorised opening and closing is probably the better option as manual doors are more likely to be left half- open, kicked and scuffed. They can then be enhanced with a modicum of automation, perhaps having sensors that automatically open the doors as a vehicle or pedestrian approaches. Safety beams and interlocks would be a good idea so that the eye-catching doors don’t misbehave (for instance, closing onto the roof of a highly-polished Daimler being wheeled into a showroom). If an industrial door is to be a statement feature there is a chance that the architect is going to specify a non- standard size. So when selecting a door manufacturer it is essential that you pick one with plenty of capability to offer bespoke sizes. This extends to the company’s ability to exactly match the users’ needs in terms of operating speed, control systems, finishes and special needs. It is no exaggeration to say that industrial doors have the ability to silently say a lot about its owner or operator. They are big, visible and call attention to themselves when operating. A well-designed door will speak volumes – and so will an ugly one.


If industrial doors are scruffy or unimaginative or don’t work very well they will reflect badly on the building’s occupants


S8 JANUARY/FEBRUARY 2015 | MATERIALS HANDLING & LOGISTICS


sara LBS T: 01442 245577 www.saralbs.co.uk Enter 301


/ MATERIALSHANDLINGLOGISTICS


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56