ARCHITECTURAL AWARDS LAUNCH - copperconcept.orgcopperconcept.org/sites/default/files/copper-forum/33/copper-forum-2012-33-nb.pdf · 31.05.2013 · As well as design inspiration, Copperconcept.org

33C

OPPER

AR

Ch

itEC

tu

RE FO

Ru

M

ARCHITECTURAL AWARDS LAUNCHEntries are invited for the 2013 European Copper in Architecture Awards – a showcase for architects designing with copper and its alloys to promote their work to an international audience.

All entries must incorporate facades, roofing or other architectural

elements of copper or copper alloys. Any scale or type of project

can be entered – from major landmark buildings to modest schemes.

Architects and critics, drawn from a panel including some of the

most influential designers in Europe, will judge all the entries on

their architectural qualities from graphic submissions.

Final deadline for receipt of entries: 31st May 2013

For more information on entering the 2013 Awards-16 and on previous

awards entries and results, visit: www.copperconcept.org/awards

39COPPER ARCHITECTURE FORUM 33/2012

COPPER ARCHITECTURE NEWS

The Copperconcept AppFree & available for iPhone and iPad.Inspiration and information combined in one app.

• Reference projects• Architectural city maps• Design Awards• Copper Architecture Forum• Articles

Copperconcept_App_hirdetes_01.indd 1 10/18/12 11:33 AM

Copper Architecture on-lineThis magazine is published by the European Copper in Architecture Campaign,

which also organises a major architectural awards programme. But the third pillar

of the Campaign is the Copperconcept.org website, providing the definitive resource

for architectural inspiration with copper.

Copperconcept.org is organised into 17 separate language sections, each edited

locally. The website features an extensive selection of regularly updated project

references, demonstrating different uses of copper and highlighting some of the

best examples of copper architecture from around Europe and beyond. Of course,

information on the European Copper in Architecture Awards can be found there,

alongside articles on topical issues, such as the antimicrobial capabilities of copper.

As well as design inspiration, Copperconcept.org gives access to a range of archi-

tectural and technical publications, and links to other organisations including cop-

per fabricators. Journalists and editors can also access press releases, articles and

images for publication. Finally – and most importantly – the website hosts Copper

Architecture Forum and you can register for your free subscription there, as well as

download the latest, and previous, issues of the magazine.

Explore the world of copper architecture now at – http://www.copperconcept.org

Forside: Midlertidig paviljong, Münster, Tyskland (side 10-11)Bilder: Christian Richters

Redaksjonsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

E-post: [email protected]

Adresse: CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

Utgiver: Nigel Cotton, ECI

Layout og teknisk produksjon: Naula Grafisk Design, Sverige

Trykk: Strålins Grafiska AB 2012, Sverige

Redaksjonsgruppe:Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Becquevort, Benelux [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintér, Hu, Cz, SVK [email protected] Ionov, Ru [email protected]

© Copper Architecture Forum 2012

Copper Architecture Forum 33, november 2012

Copper Architecture Forum er en del av den kontinuerlige kampanjen ”Europeisk kobber i arkitektur”. Magasinet har et opplag på 25.200 og utgis to ganger i året.Magasinet leveres til arkitekter og byggesakkyndige i hele Europa – på eng-elsk, tsjekkisk, dansk, finsk, fransk, tysk, ungarsk, italiensk, norsk, polsk, russisk, spansk og svensk.

KobberdifferensieringI denne utgaven har vi samlet en eklektisk blanding av nye bygninger hvor kobber og kobberlegering spiller en sentral rolle i det arkitekto-niske uttrykk. Den kan betraktes som en typologisk rundreise som av-dekker en økt differensiering ved bruk av materialet og nye teknikker blant designere av alle typer bygninger.

Oppfatningen av kobber har endret seg i takt med dens rolle i moderne arkitektur, noe den fortsetter å gjøre. Kobber brukes selvfølgelig fort-satt på de typer bygninger som materialet har en historisk tilknytning til. Men kobber brukes ofte i en moderne sammenheng, som kapellet på slutten av denne utgaven (s. 36-38) er et eksempel på – en konisk trommel som strekker seg gjennom midten av dens tilhørende skole, med inspirasjon både fra kirkekupler og -spir. Kobbertak er også i sentrum for vårt første prosjekt, et atrium i et stort konferansehotell (s. 4-76) som er formet som en dekonstruert gylden stjerne, som viser materialets muligheter for innovative og nyskapende former, både inn-vendig og utvendig.

Kobberets unike formingsmuligheter er tatt til nye høyder med de dra-matiske kurvene i et klubbhus ved havet (s. 8-9), som ble muliggjort ved bruk av databaserte modelleringsteknikker, som gir mulighet for større designfrihet. I motsetning følger formen funksjonen på en rednings-skøytestasjon (s. 12-15) som ble designet med henblikk på fartøyet den huser, og som beskyttes av kobber mot de hardeste miljøer – et de-

sign som har vist seg kompetent til å bli gjentatt andre steder. Miljøvern definerer også bronse- og glassinnhegninger for to eldgamle runesteiner (s. 28-29), som har en enkel, skulpturell kvalitet.

Tydelig definerte former karakteriserer også Marlow Theater (s. 16-19), en typologi som tradisjonelt er forbundet med kobber. Det samme kan sies om offentlige biblioteker, men i Seinäjoki (s. 32-35) respekterer en ny avdeling i Alvar Aalto-senteret dets ikoniske kontekst, samtidig som det distanserer seg med en kobberbelagt overflate. Et annet bibliotek – Dept-ford Lounge (s. 24-27) – utvikler seg til en ny, åpen kommunal bygning, som uttrykkes av gjennomsiktigheten av de gullegerte fasadene.

Den typologiske variasjonen i kobber utvides ytterligere med en abstrakt behandling ved bruk av flere materialtyper, for å live opp fasaden på et el-lers typisk parkeringshus (s. 20-23). Og en midlertidig bygning (s. 10-11) - en annen type bygning som ikke ofte forbindes med kobber - får spesiell betydning med et fullstendig belegg av gullegering. Til sist minner et mellomstort tilbygg (s. 30-31) oss om at kobber også kan tilføre bestemte kvaliteter sammen med andre materialer.

Kobberarkitektur er fortsatt under utvikling, drevet av arkitekter og deres entusiasme for materialet og dets muligheter. Og – med din hjelp – skal vi fortsette å vise de beste eksemplene her og på nettsiden www.copper-concept.org.

Redaksjonen

LEDERE

• Hvis du i fremtiden ønsker å motta dine egne kopier av Copper Architecture Forum, kan du registrere deg på www.copperconcept.org, hvor du også kan laste ned tidligere utgaver.

• Hvis du vil sende inn et prosjekt, foreslå et et emne vi kan skrive om eller kommentere Copper Architecture Forum, vennligst send en e-post til: [email protected]

www.copperconcept.org


33

2 Kobberdifferensiering – redaksjonens kommentar

4-7 Det moderne atrium – en moderne tolkning av et hotellatrium i dette nye konferansesenteret i Norge

8-9 Digital kobber i fri form – designfrihet ved utforming av et australsk klubbhus ved havet

10-11 Stjerneskudd – en midlertidig paviljong kledd med gyllen kobberlegering i den tyske byen Münster

12–15 Copper Wave – copper protects this new lifeboat station on England’s most southerly point

16–19 Canterbury Tales – the new Marlowe Theatre makes a bold statement on Canterbury’s skyline

20–23 Animating the Utilitarian – copper brings to life the facades of a multi-storey car park in Nottingham, UK

24–27 Copper at the Heart of the Community – a new typology of school and community building for Deptford, London

28–29 Sheltering Bronze Hands – ancient runic stones in Denmark are protected by bronze and glass 30–31 Copper over Time – a contemporary copper and oak house extension anticipates change

32–35 Famous Neighbours – the challenge of designing a new library close to five Alvar Aalto buildings

36–38 Conical Copper – a copper clad chapel at the heart of this new school in Cheltenham, UK

39 Copper Architecture News – updates, including our architectural awards launch and a new App for architects

Innhold

4 COPPER ARCHITECTURE FORUM 33/2012

Clarion Hotel i Trondheim er ett av Skandinavias største konferanse-hoteller, og det største i Norge. Space Group, arkitektene bak desig-net, brukte en strategi hvor distinkte plateliknende værelsesfløyer ble tilpasset for å gi gjestene en perfekt utsikt over havet, landskapet og byen. Denne vridningsteknikken åpner det sentrale atriet og ska-per et tredimensjonalt område med en kompleks, fasettert takform - en dekonstruert gullstjerne - som strømmer nedover. Bygningen er et dramatisk syn fra alle vinkler, men spesielt ovenfra, hvor de fleste gjestene ser den første gang når de ankommer med fly.

Et hotellkompleks i Norge forsøker å forvandle konferanse-opplevelsen med en dramatisk ny vri på et moderne atrium, forklarer Chris Hodson.

Det moderne atrium


“En splintret gullstjerne strekker seg ut mellom hver blokk og binder dem sammen”

Hardføre materialerDesignet viser en hardfør bruk av ma-terialer mellom de forskjellige elemen-tene. Den enorme teksturerte og mørke kassen i hovedkonferansesalen står i sterk kontrast til de glassdekte sove-romsblokkene med hvit silketrykk, som er oppløst for å skape vinduer med en myk, skyliknende effekt. Den splintrede gullstjernen, som er formet av en kob-berlegering med aluminium og sink, strekker seg ut mellom hver blokk og binder dem sammen.

Prosjektets arkitekt, Jens Niehues, kommenterte: ”I kobberlegeringen fant vi et materiale som ga oss mulighet til å lage et design med en levende overflate som gjenspeiler ”Stjernens” naturlige

funksjon og gir den en detaljert, gylden nyanse. I tillegg til å realisere våre kon-septmessige målsettinger, skulle ma-terialet naturligvis også overholde våre tekniske utfordringer i det krevende kli-maet på vestkysten av Norge.

“Kobberlegeringen vil ikke utvikle en blå eller grønn patina over tid, selv i dette harde klimaet, men den vil i stedet for-bli gyllen. Materialets karakteristikker danner loddrette, vannrette eller skrå skjøter som fremhever ”Stjernens” tre-kantform. I tillegg kunne materialet bearbeides for å gi det en skarp kant, med rene linjer på takrennene. Valget av gylden kobberlegering var helt riktig for den ferdigstilte bygningen.”

Arkitekter: Space Group – www.spacegroup.no(Hele designteamet og øvrige medvirkende konsulenter kan ses på www.copperconcept.org)

Kobbermontering: Mäster Blikk Trondheim

Kobberprodukter: Nordic Royal™

Bilder: Joern Adde, Peter Hebeisen


A3.01

A3.03

A3.05

A3.07

A3.09

A3.11

A3.15

A3.17

B3.25

B3.27

B3.33

B3.35

B3.37

B3.39

B3.41

B3.40

B3.38

B3.36

B3.34

B3.28

B3.26

B3.20

C3.50

C3.51

C3.52

C3.53

C3.54

C3.55

C3.56

C3.57

C3.58

D3.73D3.72

D3.71D3.70D3.69

D3.68D3.67D3.66

D3.65D3.64

D3.63D3.62

D3.61D3.60

D3.06

A3.10

A3.08

A3.19

C3.01

C3.08

A1

A2

A3

A4

A5

A6

A7

A8

A9

A10

Ax Ay AzAw

D1D2

D3D4

D5D6

D7D8

D9D10

D11D12

D13D14

D15 D16D17

D18

Dy

Dx

Dz

B1

B2

B3

B4

B5

B6

B7

B8

B9

B10

B11

B12

BxBy

Bz

Bw

C1

C2

C3

C4

C5

C6

C7

C8

C9

C10

C11

C12

C13

C14

Cx

Cy

Cz

KxKw Ky Kz

K1

K2

K3

K4

K5

B13

Uy

S8

C3.59

D3.01

A3.14

C3.05

K3.05K3.09

X3.01

X3.02

X3.03

A3.13

A3.12

B3.01

B3.31

B3.29

B3.23

B3.21

B3.22

B3.24

B3.30

B3.32

A3.02

K3.03

K1.17

Orienteringen som skulle gi perfekt utsikt skapte den sentrale gullstjernen

Dekonstruksjon av det tradisjonelle hotellatrium.


Dramaet fortsetterDramaet fortsetter på innsiden, hvor hotellets

utvendige form forsvinner for å skape åpne, of-

fentlige rom. I hjertet av det hele finner vi det

loddrette sentrale rommet uttenkt som en

forvandling av hotellets atriumtypologi, fra endi-

mensjonalt til et dynamisk tredimensjonalt rom.

Her skifter stemningen og målestokken mellom

intimt og spektakulært, på samme måte som

panoramautsikten utenfor og det krystallklare

interiøret, som likner dramatiske isformasjoner,

klipper og isflak. Og prikken over i-en er de lange

stripene av den gylne kobberlegerte stjernen.


Den dramatiske takformen på dette klubbhuset ved havet demonstrerer designfriheten som kan realiseres ved bruk av kobber, spesielt hvis det brukes BIM-teknikker (Build-ing Information Modelling).

Arkitekt: Walter Barda Design • Kobberprodukt: TECU® Classic • Kobbermontør: Copper & Zinc Link • Bilder: Takk til Trend Magazine

Tekst: Basert på en artikkel i Trend Magazine www.trendsideas.com og med hjelp fra Morten Pedersen fra Copper & Zinc Link.

DIGITAL KOBBER I FRI FORM


The Hamilton Island Yacht Club and Villas på Whitsunday Islands, som er en del av Australias Great Barrier Reef, ble designet for å skape en visuell effekt - ikke bare

når den ses fra land eller vann, men også fra luften, hvorfra mange av gjestene ankommer. Arkitektene forestilte seg en bygning som kunne forbinde moloen samt gjenspeile de mari-time elementene og seilsportkulturen. Designprosessen førte til en skulpturell sammensetning av kobberbelagte former som minner om vindblåste seil, spinnakere, kjøler og om vin-dens, tidevannets og havstrømmenes virvlende krefter.

Seilklubbens sentrale kjerne er et overbygd vindfang, eller pi-azza, som fører inn til de forskjellige private og offentlige rom. Med en gradvis endring av taknivåene og en prosesjonsrampe, føres bygningen ut i en løftet plattform som henger fritt over vannet. Klubbhuset rommer fasiliteter som bl. a restauranter, barer, et auditorium, konferanserom, treningssenter, tre-ningsbasseng, leserom og utstillingslokaler. Den integrerte bebyggelsen byr også på 35 eneboliger.

Komplekse kobberbelagte formerDe komplekse bladformede takene på klubbhuset støttes av ”tre”-søyler av stål, hvor grenene møter det buede taket i flere vinkler. Det ble utviklet et slyngverk av stål som kunne strekke seg opp til 16 meter og henge fritt i 11 meters høyde, og dermed overføre sidebelastningen til midtveggene. Dette minimerer den strukturelle dybden mellom takbelegget og takene, som kreves av arkitekturen. Det forenkler dessuten oppbygningen og takkonstruksjonen. Kobber ble valgt pga. sin holdbarhet, sine visuelle karakteristikker, og selvfølgelig også pga. sin unike evne til å belegge komplekse tredimensjonale former.

BIM (Building Information Modelling)BIM viste seg å være avgjørende for det detaljerte designet og selve konstruksjonen av Hamilton Club - spesielt kobber-takene. På grunn av de komplekse formene var det behov for uttallige seksjons- og detaljtegninger for å vise hvordan kom-ponentene passet sammen. Data ble eksportert til andre som var involvert - bl. a. til stålprodusenten, som arbeidet ut fra den digitale modellen.

Tilstedeværelsen av den komplette digitale modellen av bygningen på stedet betydde at byggearbeiderne kunne se tre-dimensjonale tegninger etter hvert som bygningen tok form. Tverrsnittbilder av de forskjellige komponentene var også tilgjengelige, som hjalp alle med å forstå nøyaktig hvordan byg-ningen var konstruert. Men BIM består av langt mer enn CAD og tredimensjonale tegninger, da det inneholder komponenter og materialer med ”modellattributter”, slik som omkostninger, miljøbevarende egenskaper og vedlikeholdsintervaller.

Formålet med BIM er å skape en komplett digital modell for design, produksjon, konstruksjon og bygningsformål med hjelp fra alle deltakere. Det hjelper arkitekter å skape et mer bære-dyktig, nøyaktig design med færre feil og mindre sløsing. Hvis man kan se en simulert utgave av resultatet, får man også en bedre forståelse av kostnadene, planleggingen og miljøpåvirk-ningen.

Det forventes at bruken av BIM vil øke betraktelig ved design av alle typer bygninger. Det gir arkitekter en mulighet til å prøve nye uttrykksformer - og kobber er ideelt for å realisere inno-vativ design.

DIGITAL KOBBER I FRI FORM


STJERNESKUDDEn hypermoderne intervensjon bekledd med gylden kobberlegering markerte meget passende utstil-lingen ‘Golden Splendour: Mediaeval Treasure Art in Westphalia’, som ble holdt i den tyske byen Münster denne sommeren.

Plassert på den sentrale Domplatz, var denne midlerti-dige paviljongen en moderne kontrast til den historiske bykjernen, hvor den forente utstillingsområder i mu-

seet med Cathedral Art Chamber. Paviljongen var et resultat av samarbeidet mellom Münster School of Architecture og arkitektfirmaet ‘modulorbeat’. Under ledelse av arkitektene Marc Günnewig og Jan Kampshoff, utviklet et team opprinne-lig bestående av 33 studenter forskjellige designutkast.

Den gylne løsningTil slutt valgte en komité “den gylne løsningen”, en stjernefor-met bygning med et stilfullt kryssdesign, karakterisert av de gylne kobberlegerte fasadene. En midlertidig paviljong i for-bindelse med en kunstutstilling er ikke noe nytt i Münster. For fem år siden skapte modulorbeat en liknende bygning, hvor det også ble brukt kobberlegering.

Med funksjon som et‘levende verksted’, ble paviljongen bruk til kunstundervisning i forbindelse med utstillingen. Sett gjen-nom endeveggene av glass, var dette minimalistiske og enkle designet gjenspeilet i interiøret. Den bærende strukturen, be-stående av massivt eller krysslaminert treverk, var helt na-kent, som ga overflatene på gulv, tak og vegger et ensartet, lyst treskjær - sammen med de åtte arbeidsbordene som var samlet av prosjektdeltakerne selv.


floor plan 1:100

workshop83,5 m2

information12,9 m2

entrance4,0 m2

ramp

slid

ing

door

elevations 1:100

N/E

S/W

elevations 1:100

N/E

S/W

Elevasjon mot sørvest med endevegger i glass

Elevasjon mot nordøst med avskjermet inngang

Modulerte fasaderDe kobberlegerte fasadene ble etter arkitektenes ønske mo-dulert loddrett med unike, ujevne bølgeliknende profiler, som minner om en blåsebelg.. Disse ble produsert raskt, rimelig og problemfritt av et spesialselskap som brukte sin dediserte profilteknologi. Golden Splendour-paviljongen presenterte en kompromissløs, homogen gylden enhet som kun ble brutt av endeveggene i krysset med avskjermede, tilbaketrukne inn-ganger eller glatte glassoverflater.

Når du leser denne artikkelen er paviljongen allerede demon-tert. Men den vil gjenreises ved bruk av alle de opprinnelige ma-terialene på en lokal skole, hvor den skal brukes til undervisning av kunst og andre fag: Et passende og bærekraftig resultat.

Arkitekt: Modulorbeat og Münster School of Architecture

Kobbermontør: Schabos GmbH

Kobberprefabrikering: MN Metallverarbeitung Neustadt

Kobberprodukter: TECU® Guld

Bilder: Christian Richters

Gulvplan


The new structure sits on the footprint of the original building: well-positioned for lifeboat launching in bad weather but also reducing the environmental impact of the scheme. At first sight, the wave profile of The Lizard lifeboat station appears symbolic of its coastal position - but form really does follow function and reflects the arrangement of internal accommodation, focused on

the lifeboat itself. Essentially, the ves-sel is mounted on a tipping cradle, which tilts to align with the slipway, enabling it to be launched and recovered – allowing volunteer crews to reach those in trou-ble as quickly as possible. The outward raking wall to the side of the building reflects the demand for accommodation at the main floor level with fast access straight onto the lifeboat.

by Chris Hodson

The new RNLI lifeboat station at The Lizard is protected by a curved copper skin to withstand the extremely aggressive coastal environment of its unique location on England’s most southerly point. The RNLI charity saves lives at sea. Its volun-teers provide a 24-hour search and rescue service around the United Kingdom and Republic of Ireland coasts. The building’s design was developed from a previous project, also by PBWC Architects, in Padstow, Cornwall. It is a direct response to the specific technical demands of the new RNLI ‘fast slipway’ type lifeboat housed there and is an exemplar for future buildings of the type in other locations.

Weather-tight DesignAll accommodation is located on one side of the building, which allows the heated and serviced zones to be effi-ciently grouped together and all ventila-tion and lighting needs to be met with a strip of ribbon glazing or punched win-dows within the raked wall. The curve of the roof then encloses the minimum volume required for the lifeboat and cre-ates a simple form that lends itself to a single flexible roof finish. The design aims to maximise roof area while mini-mising penetrations to ensure a robust, weather-tight finish.

Photo: PBWC Architects


Photo: PBWC Architects


Copper ChoiceThe selection of metal roofing was a logical progression from the development of the dis-tinctive, wave-like, curved form. PBWC project architect Cian Spowart commented: “After the Padstow project, we reviewed the roofing ma-terial and system for The Lizard lifeboat sta-tion. Here, copper was selected for its durabili-ty and capability of withstanding the aggressive coastal environment, including the possibility of debris being thrown up from the sea. In ad-dition, the aesthetic choice of copper over other metal roofing was driven by its characteristic weathering over time to give a rich green patina complementing the aqua blue hues of the local coastline.”

Architects: PBWC Architects

Copper Installer: Full Metal Jacket

Copper product: Nordic Standard

Photos (where indicated) and drawings: PBWC Architects

All other photos: Geoff Squibb (Cornish Pixels Photography)


Challenging ConstructionUnsurprisingly, the building’s site at the bottom of a tight, steep slope presented special challenges with construction. The building is predominately timber frame with glulam-curved members providing the iconic shape. Dry construction and prefab-rication techniques are maximised for fast, safe assembly and efficient deliveries to site.

The double skin roof is finished in copper trays with standing seam joints and was installed by copper specialists Full Metal Jacket, who recently won an Award for their work on the project from the National Fed-eration of Roofing Contractors. The long-strip, copper trays were craned down onto the building and installed by hand, display-ing a particularly high standard of crafts-manship under challenging conditions.

CoPPER ConSTRUCTIon

fuel tank

Section C-C

Public ViewingWCs and Showers

Winch Motor Room Boathouse

Section D-D

Stairwell

Public Viewing

Boathouse

Boat Well

Dis !WCs

FA FB FE FFFDFC

FA FB FE FFFDFC

F.F.L - 13.35

F.F.L - 10.25 (MAX)

F.F.L - 7.55

Main Floor

!Lower Floor

!Boatwell Floor

F.F.L - 13.35

F.F.L - 10.25 (MAX)

F.F.L - 7.55

Main Floor

!Lower Floor

!Boatwell Floor

A-A

A-A

B-B

B-B

A-AB-B

C-C D-D

F1 F2 F5 F6F4F3

C-C D-D

C-C D-D E-E

F1 F2 F5 F6F4F3

Public Viewing

Boathouse

Boat Well

Section A-A

Section B-B

Dis. W.C.!Galley Area

Changing Room Workshop 1.5 Training room

Winch!Motor Room LOM OfficeSlipway !

Crew Store Training Roomw.c.

fuel cabinet

fuel cabinet

T H E L I Z A R D L I F E B O A T S T A T I O N!!S E C T I O N S

POYNTON!BRADBURY!WYNTER!COLE!

-ARCHITECTS-!LTD

0 4 8 20m

Architects: PBWC Architects

Copper Installer: Full Metal Jacket

Copper product: Nordic Standard

Photos (where indicated) and drawings: PBWC Architects

All other photos: Geoff Squibb (Cornish Pixels Photography)

fuel tank

Section C-C

Public ViewingWCs and Showers

Winch Motor Room Boathouse

Section D-D

Stairwell

Public Viewing

Boathouse

Boat Well

Dis !WCs

FA FB FE FFFDFC

FA FB FE FFFDFC

F.F.L - 13.35

F.F.L - 10.25 (MAX)

F.F.L - 7.55

Main Floor

!Lower Floor

!Boatwell Floor

F.F.L - 13.35

F.F.L - 10.25 (MAX)

F.F.L - 7.55

Main Floor

!Lower Floor

!Boatwell Floor

A-A

A-A

B-B

B-B

A-AB-B

C-C D-D

F1 F2 F5 F6F4F3

C-C D-D

C-C D-D E-E

F1 F2 F5 F6F4F3

Public Viewing

Boathouse

Boat Well

Section A-A

Section B-B

Dis. W.C.!Galley Area

Changing Room Workshop 1.5 Training room

Winch!Motor Room LOM OfficeSlipway !

Crew Store Training Roomw.c.

fuel cabinet

fuel cabinet

T H E L I Z A R D L I F E B O A T S T A T I O N!!S E C T I O N S

POYNTON!BRADBURY!WYNTER!COLE!

-ARCHITECTS-!LTD

0 4 8 20m

Ph

oto:

PB

WC

Arc

hit

ects


The Marlowe is, in formal terms, a complex

pavilion. It sets up a dynamic relationship

with its viewers, giving different architec-

tural and urban emphasis depending from

where in the city it is viewed. At street

level, its architecture is ordered by an

8m high colonnaded loggia in white cast

Dolomite stone, which forms a portal to

the multi-level glazed foyer and sets up a

civic elevation to the Friars, an important

historic street within the city. The foyer

connects all the major internal spaces to

the riverside terraces and pathways and is

seen as a crystal ribbon by day transform-

ing into a blade of light by night. New views

of the rooftops of the historic city and its

cathedral open up from the main stairs

and upper levels.

The colonnaded loggia mediates be-

tween the street scale of the Friars (the

street which the Marlowe faces) and the

necessarily larger forms of the two thea-

tres and the fly tower. The colonnaded

Standing on the banks of the River Stour and close to Canterbury Cathedral’s UNESCO World Heritage Site, the new Marlowe Theatre makes a bold statement on the Canterbury skyline. Architect Keith Williams discusses his practice’s competition-winning design and its use of materials.

“Copper plays a distinct role in the composition of the theatre overall”

Canterbury Tales

COPPER ARCHITECTURE FORUM 33/2012

overhang also provides shelter to the

south-facing foyer from high angle solar

gain and provides an architectural unity to

the composition. A new public square has

been created by setting the Marlowe back

from the existing street edge.

The fly tower of the old theatre, widely

regarded as an eyesore, was the second

tallest structure in the city after Bell

Harry, the medieval Cathedral‘s principal

tower. The new Marlowe’s fly tower is 9m

taller than its predecessor, allowing it to

be sculpted to create a pinnacle form fac-

ing toward the Cathedral, adding accent

and silhouette to the city’s skyline. Its

form can be seen as a prominent symbol

of secular architecture within the historic

city whilst ensuring that Bell Harry re-

tains its predominance. From the east, the

fly tower dominates the street scene an-

nouncing this major new cultural project

within the city.

Materiality and ContextualityThe composition and massing of the new

Marlowe is rooted in its context. The build-

ing is seen to step up in scale gradually

from a lower-rise street scale along the

Friars, up to the larger volumes of the

main auditorium and fly tower beyond.

Materiality is also determined to a large

degree contextually, in that it borrows

the hues and tones of the Canterbury

townscape. The reconstituted stone col-

onnade takes it’s cue from the whites and

creams of buildings in the city, whilst the

pre-oxidised brown copper cladding ech-

oes the colour and hues of the nearby tiled

rooftops. Materials are used to create

something highly contemporary, whilst at

the same time complimentary to the con-

text in terms of texture and colour.

Copper plays a distinct role in the compo-

sition of the theatre overall, surrounding

the volume of the studio space, which me-

diates between the entrance scale and the

larger volumes beyond. The studio theatre

is raised 4 metres above the ground; a vol-

ume wrapped entirely in copper. As such it

is almost at roof level of the surrounding

buildings hence the relationship between

the reddish brown copper cladding with

the colouration of Canterbury’s roofscape.

The underside of this volume forms the

internal soffit to the restaurant space cre-

ated beneath. The raising of the volume

allows the restaurant to be slid beneath

at foyer level, giving views to an adjacent

external terrace and the banks of the River

Stour.

17

Architects: Keith Williams Architects

Copper Installer: TR Freeman

Copper product: TECU® Oxid

Photos: Hélène Binet (unless indicated otherwise)


Level 2 Level 3

Level 1

Photo: Keith Williams Architects

1. Paved Forecourt 2. Foyer 3. Box Office 4. Bar 5. Cafe 6. Auditorium 7. Stage 8. Dressing Rooms 9. Second Space10. Creative Space11. Administration Offices12. Meeting Room

Level 1

1

2

2

3

4

5

6

7

8

8

11

Cou

nter

Wei

ght A

rea

N

Level 3

2

2

4

9

KEY:

1. Paved Forecourt2. Foyer3. Box Office4. Bar5. Cafe6. Auditorium7. Stage8. Dressing Rooms9. Studio Theatre (seats deployed)10. Creative Space11. Administration Offices12. Meeting Room

1 50 2 3 4

10m

Level 2

4

9

10

11

11 12

8

8

KEY:

1. Paved Forecourt2. Foyer3. Box Office4. Bar5. Cafe6. Auditorium7. Stage8. Dressing Rooms9. Studio Theatre (seats retracted)10. Creative Space11. Administration Offices12. Meeting Room


CoPPER In dETaIl


Copper StudioHorizontal standing seam bands of varying

widths (using trays of 230 mm, 430 mm

and 600 mm) wrap continuously around the

studio volume, with folded ‘birds mouth’

corner details enabling the horizontality

to flow continuously around all sides. At

the junction with the main glazed curtain

walling, the copper runs cleanly through

from outside to inside, with internal

openings formed to create a connection

between the studio theatre bar areas and

the main entrance foyer.

Though the rationale in each case is

different, the use of copper at the Marlowe

echoes our previous work at the Unicorn

Theatre in London, completed in 2005 (UK

Award Winner of the Copper in Architecture

Awards 13 in 2007).

1. Paved Forecourt 2. Foyer 3. Box Office 4. Bar 5. Cafe 6. Auditorium 7. Stage 8. Dressing Rooms 9. Second Space10. Creative Space11. Administration Offices12. Meeting Room

Section AA

Rev Date

2 no. layers of plasterboard sheets fixed staggered with joints taped and filled

back to back supporting angles - layout and details to be confirmed by copper sub-contractor

15

125

7792

Eloose fill insulation

10

10mm tolerance between mullion and copper

80

Metal channels to support glazing at corner junction and provide a backing to support the EPDM

EPDM sealed to blockwork.Sealant type to be confirmed by glazing sub-contractor

corner aluminium flashing cover piece

Glazing Setting Out:2050mm from back line of mullion to Gridline 5

FW60+SG

140

8080

110

15

80mm insulation

vapour barrier

Sealant type to be confirmed by copper sub-contractor

copper rainscreen panels on underlay

18mm plywood copper setting out110mm off Gridline E

50

EPDM sealed to blockworkSpec and fixing to be confirmed by glazing subcontractor

130

50

110 160 140

Sealant type to be confirmed by copper sub-contractor - sealant to be compatible with both copper and aluminium

back to back cladding angles - details and layout to be confirmed by copper sub-contractor

copper rainscreen panels on underlay

Metal angle by glazing subcontractors to support EPDM and provide backing for copper to seal against at a later stage

80mm insulation on vapour barrier

FW60+SG Level 3 curtain wallOpaque glazing to high panels to conceal structure

Mullion tied back to structural steelto glazing subcontractors details

18mm plywood

210

TOS +22.935

100 1 2 3 4 5Section AA

7

11

6

2

1

2

2


ANIMATING THE UTILITARIAN

Forming part of the ‘Hub’ development at Nottingham Railway

Station, this 6-storey structure accommodates 950 car spaces.

The 112 m long building is sandwiched between the railway to

the north and the busy Queens Road to the south with older

buildings beyond. Architects Leeds Studio developed an original

design by another practice, BDP, (following a successful bid by

VINCI Construction UK) adding an array of horizontally banded

vertical copper panels to transform this typical parking building.

The panels create an architectural language and are continuous

over curtain walling as well as conventional open car parking

decks, only being broken by the concrete lift core on the West

Elevation.

The palette of copper surfaces at Nottingham includes solid

green pre-patinated copper and a variant with less intense

patination, revealing some background material. Standard ‘mill

finish’ and light brown pre-oxidised copper were also used, to-

gether with an alloy of copper and aluminium with a long-lasting

golden colour which provides distinctive highlights around the

building.

Although creating a random, abstract feel, arrangement of the

panels is based on a limited modular language with three panel

widths: 210 mm, 420 mm and 840 mm, and spacing between of:

105 mm, 210 mm and 420 mm. Panels are generally 2870 mm

high with some reduced to 1470 mm crowning the top of the

building and where the base of the cladding is raised up.

by Chris Hodson

An abstract design using vertical panels of copper with different surfaces animates long, straight facades of an otherwise typical multi-storey car park, adding a sense of movement which reflects its transport interchange setting.

Architects: Leeds Studio

Copper Installer: CA Group

Main Contractor: VINCI Construction UK

Copper products: Nordic GreenTM Traditional, Nordic GreenTM Living 1

Nordic Standard, Nordic BrownTM Light, Nordic RoyalTM

Photos: Chris Hodson

Drawings: Leeds Studio



“There is a designed progression of copper colours running around the whole building”


A Mosaic of ColourThe composition gives a mosaic of colour that sits in clearly de-

fined horizontal bands along the length of the building, breaking

up the subservient concrete frame - typical of multi-storey car

park buildings - and curtain walling. The effect is particularly

animated on the two long elevations, especially when viewed

from moving trains or cars. In addition to the layering of ma-

terials, the colour choices are carried through in the design to

represent differing aspects of the location.

Project architect Antony Hall explained: “The copper panels to the North are predominantly in green shades and refer to the modern aspect of the adjacent railway. The panels on the South are predominantly in traditional brown copper shades to refer-ence the brick heritage warehouses and other structures lining the conservation area opposite across the busy road. Key view-points formed in locations around the building are highlighted with the golden coloured copper alloy. Vertical circulation ele-ments are also highlighted in the same manner. There is a de-signed progression of copper colours running around the whole building, beginning and ending at the West Elevation lift shaft. We have also anticipated the natural changes to copper in the environment.”

Multi-storey car park architecture is generally constrained by vehicle circulation and other technical demands, reducing it to a utilitarian level. But the numerous permutations of surfaces and forms available with architectural copper today offer de-signers exciting possibilities to treat bare facades as a blank canvas. The Nottingham project is an inspiring example of this approach.

North Elevation showing the disposition of green, gold and brown copper shades.

The previous station car park typifies the conventional open concrete deck design approach, contrasting with that of the new building.

South Elevation.


COPPER AT THE HEART OF THE COMMUNITY


COPPER AT THE HEART OF THE COMMUNITY

This landmark building makes symbolic as well as functional use of its perforated golden copper alloy facades to generate a new civic focus. Pollard Thomas Edwards architects describe how the programme and design developed a new typology of school and community building.

Overall complex with Deptford Lounge on the right.

”

“Deptford Lounge is the jewel in the crown of the regeneration of

Deptford. This is a fantastic public space with first-class facilities, which is already

proving popular with the community.

- Sir Steve Bullock, Mayor of Lewisham

Photo: Chris Hodson

Resolution Way Resolution Studios School School Play School Deptford Lounge Griffin Street Deptford Lounge School School Play School Resolution

Resolution Way

The brief from the London Borough of Lewisham was to create the centrepiece of their regeneration of Deptford Town Centre – a new civic focus for Deptford. This was to include a state-of-the-art public library, including a resource centre and council services centre – called the Deptford Lounge – with a new building for Tidemill Primary School, relocated from its existing site.

Our scheme, completed in December 2011, created from the bare bones of this brief, a highly innovative mix of co-located uses on a single site: the completed complex houses facilities shared between the new primary school and the whole community via the Deptford Lounge. To this mix we also added apartments over artists’ studios and exhibition space – Resolution Studios.

The design was also driven by the aspiration to restore to Deptford something of the grandeur of its past, first as a hub of shipbuilding and later as the location of the first railway station south of the River Thames. Now the golden Lounge building sails galleon-like above Giffin Square, a new public space for Deptford. Tidemill Academy lies within an urban oasis, sheltered on one side by the Dept-ford Lounge and on the other by Resolution studios, with classrooms grouped around a green and leafy central play space. And new homes look out over the historic St Paul’s Church and the railway line leading over the river.


School and Community UseShared facilities of Deptford Lounge include a rooftop sports pitch, a flexible suite of assembly spaces and a dining hall and kitchen, which are available for hire. All these facilities are lo-cated on the upper floors of the Lounge building and all elements have separate access points both from within the school and from the public realm. This enables the school to have sole use of the shared facilities during the school day. Then, out of school hours, the shared facilities form an integral part of the Deptford Lounge and are open to the whole community.

The rooftop sports pitch enclosed by pierced copper alloy panels.

School playground with steps to the Deptford Lounge beyond.

Ph

oto:

© A

rcE

ye Im

ages

Ltd

/ R

ober

t G

resh

off

2012

Ph

oto:

© A

rcE

ye Im

ages

Ltd

/ R

ober

t G

resh

off

2012

Ph

oto:

© A

rcE

ye Im

ages

Ltd

/ R

ober

t G

resh

off

2012

Ph

oto:

Ch

ris

Hod

son

Ph

oto:

Ch

ris

Hod

son

Architects: Pollard Thomas Edwards architects – www.ptea.co.uk

Copper installer: English Architectural Glass (EAG)

Copper Products: Nordic Royal™

Photos: Chris Hodson, Robert Greshoff (ArcEye Images Ltd)


INTERVIEW

CH: How did your selection of the golden cop-per alloy come about and did you look at other materials?

HK-B: We wanted a material that related strongly to the conceptual meaning of the Deptford Lounge on a series of levels. It was to be seen as a landmark – a civic focus for all ages and cultures. Initially timber cladding was considered, relating to Deptford’s nautical past – but timber requires maintenance. We also sought an inspiring material, with reflec-tive properties that would give the building a jewel-like quality set against its main street context. This meant considering various met-als including copper. It also led to the idea of expanded metal meshes or perforated sheets. We felt that the perforated golden copper al-loy cladding offered multiple meanings on a conceptual level. The gold surface symbolises ‘wealth’ across all cultures, welcoming and bringing together a diverse community into a building that offers a wealth of knowledge and services.

CH: What about sustainability and environ-mental considerations when choosing the façade material?

HK-B: Copper and its alloys have sound sus-tainable credentials with exceptional durabili-ty and lifespan. The weathering characteristics of this copper alloy are important: the mate-rial is virtually maintenance free and provides a surface that will change very little over time, which means it will retain its crisp jewel like quality.

CH: What were the design intentions behind this dramatic statement of a transparent golden skin?

HK-B: The wrapping of the gold cladding aims to unify the building’s complex range of functions, binding them together. Contextually, it relates to various points of Deptford’s rich history, including its growth from a small fishing village into the Royal Na-val Dockyard with links to HMS Discovery, Sir Francis Drake and Captain James Cook. So, the wrapping has multiple functions and references. From a distance the golden form appears solid but close-up reveals itself as transparent and light-weight, floating above its glazed base. On a functional level, the wrapping provides solar shading to the large areas of glazing, while also allowing suitable levels of light in. CH: How were these intentions realised on the building with the pierced copper alloy panels and how did the detailed design develop?

HK-B: The panels are rigid folded cassettes that provide sharp and clean joints between panels, rather than something that would buckle and distort. The nautical references continue with the setting-out of the panels in a stretcher bond pattern like historic tim-ber hull construction in ship-building. The perforations are kept back from the edges to help express each panel individually while retaining rigidity. We explored various perfo-ration shapes, from square to raised diamond patterned with a cheese grater appearance,

and settled on simple circular holes, again ar-ranged in a stretcher bond pattern. Different levels of perforation were also considered, as the transparency of the wrapping adds anoth-er dimension with the play of light. The build-ing responds to its uses and environment, continually changing with light conditions throughout the day and into the evening, be-coming more or less revealing – suggesting discovery. The level of transparency increases with distance away from the solid ‘ship’s bow’ corner, with its large symbolic window, gradu-ally blurring solid and void. CH: How was the light, floating feel of the pierced copper alloy skin achieved in structural terms?

HK-B: Initially, the cladding was to be sus-pended on rods from a ring beam. But due to the building’s subtle shifts of form – both in the vertical and horizontal planes – additional support was required, depending on location around the building. The solution was to fix steel brackets back to the main building struc-ture at the top and bottom of the wall. These then support a frame and suspension rods, to which the copper alloy panels were fixed. Ad-ditional structure and stays were incorporated where the golden wrapping pulled further away from the building, reducing movement from wind loading. The transparency of the panels also offered further opportunities to express the structure behind with honesty.

Chris Hodson discusses the transparency and materiality of the Deptford Lounge facades with Hamish Kilford-Brown, Project Architect at Pollard Thomas Edwards architects.


Photos: Chris Hodson


The Jelling runic stones mark Denmark’s transition to Christi-anity in the year 965 and the monument is also known as Den-mark’s ‘birth certificate’. Inaugurated in December 2011, the project is based on the winning competition design by NOBEL arkitekter. Our principal aims were to protect the runic stones for the future and, at the same time, provide an architectural composition allowing spectators to get very close to them.

Sheltering Bronze Hands

Deceptively simple bronze and glass structures provide a safe environment for preserving two unique 10th century runic stones – designated a UNESCO World Heritage site - at Jell-ing Church, Denmark. But these interventions go well beyond conservation, seeking to transform the visitor experience, as architect Erik Nobel explains.

by Chris Hodson

29COPPER ARCHITECTURE FORUM 33/2012 29

The design forms a stylised dialogue between the two stones, which represent the first two kings of Denmark – Gorm and Harald Bluetooth. The bronze angles form one gable and the roof for each structure, while the other faces are fully glazed. Our objective was to accentuate the runic stones’ curved forms by contrasting them with the straight lines of the coverings which, in a metaphorical sense, ‘hold protective hands’ over them. The cast bronze contrasts with the texture of the ancient stones and highlights their grey and reddish granite surfaces.

The requirement for creating a controlled climate around the stones was a central consideration in the development of the pro-ject. Our consulting engineers from Rambøll designed a special heating and ventilation system which ensures a frost-free climate around the runic stones. Artificial lighting has been discreetly added using specially designed fibre-optic light sources, which are integrated in the roof structure.

The lighting emphasises the stones’ runic scriptures and visual motifs, and accentuates their shapes. Juxtaposed with the angu-lar bronze forms, the artificial lighting creates a completely new way of viewing the rune stones, enhancing the experience of one of Denmark’s most valuable monuments.

Architect: NOBEL arkitekter a/sPhotos: Jens Lindhe (unless indicated otherwise)

Photo: NOBEL

Plan arrangement

Elevation


We were appointed to carefully restore elements of the existing architecture creating a contemporary yet sensitive addition to the rear. To the front of the property the new addition appears as a simple copper box ‘peeping’ above the layers of existing green glazed tiles of the existing home.

In the refurbishment, living and entertaining space is provided at ground floor through the introduction of a predominantly sin-gle storey glazed element. At first floor, a layered copper and oak form appears to delicately hover. Set on a shifted geometry to acknowledge the existing building form, this creates a series of overhangs, cantilevers and canopies to shelter its occupants from the persistent Welsh rain.

Copper over timeThis thoroughly modern addition to an existing home in Cardiff, South Wales – discussed by Kristian Hyde of Hyde + Hyde Architects – combines copper with oak and glass in its carefully conceived design to anticipate change.

The original house is quirky but beautiful. The unknown ar-chitect has put a great deal of effort into the detailing, some of which is very playful. There is a certain humour about some of the spaces that continue to make our clients smile. The new addition responds with a singular oak clad curve at first floor which ‘mimics’ the geometry of the existing curved glazing of the main house. This is introduced to ‘turn’ the new addition into the main private garden at the rear.

Copper was chosen as a suitable material for facades and other details to converse with the existing ‘green glazed’ roof tiles of the existing dwelling. After a decade it will begin to relate in colour and tone to the existing tiles nearby, its salmon pink and russet brown tones will be gone forever. That’s the beauty of copper, it’s timeless and forces us to think about buildings in time. Copper’s material character helps buildings feel as if they have always been there.


“That’s the beauty of copper, it’s timeless and forces us

to think about buildings in time”

Architects: Hyde + Hyde Architects

Photos: Kristian Alexander Hyde, Warren Orchard.

Internal openable window for natural ventilation

Timber cladding referencing materiality of tree canopies

Hardwood concealed glazing

Copper standing seam to match existing vocabulary of green roof

Original House

UPPER LEVEL PLAN

Terrace

New Addition

Bedroom


“copper has been used comprehensively across facades,

plinth and roofs – creating a single-material skin”

Ph

oto:

Mar

tti K

apan

en


Famous Neighbours

The Centre displays Aalto’s masterful touch, ranging from the area’s town planning to the smallest door detail and is an invaluable cultural asset which gives the whole town its identity. Five Aalto buildings make up the Centre: the City Hall, State Office Building, Theatre, the Cross of the Plains Church and the Old Library.

DIALOGUE BETWEEN OLD AND NEW Built in 1965, the Library needed a modern extension to meet today’s demands and JKMM’s design, called ‘Clover’, won the competition for the project. The aim was to create dialogue between old and new. The new library respects the protected cultural environment but, at the same time, takes pride in contemporary architecture. One of the objectives of the design was to find an interface with the typical characteristics of Alvar Aalto’s architecture without imitating it.

The Finnish town of Seinäjoki hosts the most extensive cluster of buildings designed by Alvar Aalto in the world. Asmo Jaaksi of architects JKMM explains his practice’s approach to design-ing a new addition to this hallowed Aalto Centre.

“copper has been used comprehensively across facades,

plinth and roofs – creating a single-material skin”

Ph

oto:

Tu

omas

Uu

shei

mo

Ph

oto:

Mar

tti K

apan

en


VARIED INTERESTING SHAPES The new library stands separate from Alto’s original, although connected by an under-ground link. Division of the building into three sculptural units was an important de-cision to be able to blend the large building volume with the surrounding townscape. This generates varied, interesting shapes when viewed from different directions. The exposed boarded-formwork concrete in-teriors are punctuated by carefully placed windows and larger glazing offering con-trolled views of the Centre. The view from the glazed wall in the main library hall is dominated by the highlights of the area: the bell tower or the Cross of the Plains Church and the fan-shaped facade of the original Aalto Library. The heart of the building is the wide staircase, intended for different events and as an informal meeting place, which leads to the collection departments on the ground floor and through the con-necting underground corridor to the Aalto Library.

LIVELY AND VIVID SURFACE The external skin of the new library is dominated by copper. The darkening pre-oxidised copper sets the new library apart from the whiteness of the surrounding buildings. Copper is not a new material to the area but in the Aalto Centre it is mainly the roofs that feature the material’s beauti-fully patinated green surfaces. In the new library, copper has been used comprehen-sively across facades, plinth and roofs – creating a single-material skin.

A special shape of copper shingle was spe-cifically designed for the facades to give the building a highly individual, lively and vivid surface. In some situations, the shingle surface is formed into ventilation slots to accommodate air handling. Copper is also used to form vertical grilles and as a door facing to maintain the material continuity.

Ph

oto:

Tu

omas

Uu

shei

mo

Ph

oto:

Tu

omas

Uu

shei

mo

Ph

oto:

Mar

tti K

apan

en


J K M M A R C H I T E C T S L A P I N R I N N E 3 0 0 1 0 0 H E L S I N K I F I N L A N D TEL. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 0 0 F. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 1 0 W W W . J K M M . F I

SEINÄJOKI CITY LIBRARYFLOOR PLANS, INFO 1:500, 1:1000 2.10.2012

CELLAR 1:500 GROUND LEVEL 1:500 1ST FLOOR 1:500

BOOK HALL

CHILDREN

NEWS AREA

ENTRANCE HALL

READINGSTEPS

SILENTREADINGROOM

CUSTOMERSERVICE

CAFE

JAAKSI HALL

READINGSTEPS

YOUTH,MUSIC,MOVIES

OPEN STACK

BOOKMOBILESTACKOFFICES

OFFICES

DISTRIBUTION

OFFICES

OFFICES

OFFICES

MEETINGROOM STAFF

CAFE

SOCIALSPACES

A

A

B

B

TO AALTO'S LIBRARY

PLAY

EXHIBITION

EXHIBITION

MUSICLISTENING

GAMES

YOUTHINFO




BOOK HALL

CHILDREN

NEWS AREA

ENTRANCE HALL

READINGSTEPS

SILENTREADINGROOM

CUSTOMERSERVICE

CAFE

JAAKSI HALL

READINGSTEPS

YOUTH,MUSIC,MOVIES

OPEN STACK


OFFICES

DISTRIBUTION

OFFICES

OFFICES

OFFICES

MEETINGROOM STAFF

CAFE

SOCIALSPACES

A

A

B

B

TO AALTO'S LIBRARY

PLAY

EXHIBITION

EXHIBITION

MUSICLISTENING

GAMES

YOUTHINFO




BOOK HALL

CHILDREN

NEWS AREA

ENTRANCE HALL

READINGSTEPS

SILENTREADINGROOM

CUSTOMERSERVICE

CAFE

JAAKSI HALL

READINGSTEPS

YOUTH,MUSIC,MOVIES

OPEN STACK


OFFICES

DISTRIBUTION

OFFICES

OFFICES

OFFICES

MEETINGROOM STAFF

CAFE

SOCIALSPACES

A

A

B

B

TO AALTO'S LIBRARY

PLAY

EXHIBITION

EXHIBITION

MUSICLISTENING

GAMES

YOUTHINFO

Facade northwest

Facade northeast

Facade southwest

Facade southeast


SEINÄJOKI CITY LIBRARYFACADES 1:500, 1:1000 2.10.2012

NORTHWEST

NORTHEAST

SOUTHWEST

SOUTHEAST

NORTHWEST NORTHEAST SOUTHWEST SOUTHEAST

Section A

Section B


SEINÄJOKI CITY LIBRARYSECTIONS 1:500, 1:1000 2.10.2012

SECTION A 1:500 SECTION B 1:500

SECTION B 1:1000SECTION A 1:1000


SEINÄJOKI CITY LIBRARYSECTIONS 1:500, 1:1000 2.10.2012

SECTION A 1:500 SECTION B 1:500

SECTION B 1:1000SECTION A 1:1000

Cellar Ground level 1st Floor

Architects: JKMM

Copper Installer: Pohjanmaan Pelti

Copper Product: Nordic Brown® Light

Photos: Tuomas Uusheimo, Martti Kapanen

Ph

oto:

Mar

tti K

apan

en



All Saints’ Academy is a church school for the community in Cheltenham,

UK. It provides secondary education for 900 pupils and 250 sixth-form students. The building’s striking form curves around an impressive external plaza with an ele-gant canopy and three-storey high glazed atrium at its centre. The design developed around the concept of a hand, the atrium acting as a unifying device from which key internal and external areas are accessed. Curved open galleries within lead to three radiating learning wings providing most of the classroom accommodation.

A Visible BeaconThe entrance atrium forms the heart of the building and the public face of the Acad-emy. Above the reception area rises the distinctive conical form of the copper-clad chapel. It acts as a visible beacon reflecting the Christian ethos of the Academy. The building is clad with a limited palette of materials. The ground floor is brickwork to provide a human scale to the Academy as well as being durable. Upper levels are clad with an insulated render system. The copper shingles to the chapel and the con-fident use of colour offer a lively counter-point to the refined facades.

Sculpting of the chapel brings light pour-ing into the space from above. A single slot window with a coloured glass design provides a focus within the contemplative space. At roof level, the cone is truncated and a large opening formed in the vertical face, infilled with glazing. A separate, low-er copper clad form completes the compo-sition and encloses mechanical plant ser-vicing the chapel.

A chapel in the distinctive form of a copper-clad cone is at the heart of the glazed atrium welcoming visitors to this new school. Russel Hayden of Nicholas Hare Architects discusses the design concept and how it was realised.

CONICAL COPPER

Learning wingsDining and kitchenMain hall and dramaChapel above receptionLibraryPrimary circulationWCs and changing areas


CoPPER CloSE-UP

Covering the Cone with Copper

A key element of the concept was for the chapel to appear monolithic – both with-in the space and externally as it reached through the atrium roof. The original proposal was for timber cladding, but the design team recognised the difficulty of ensuring the internal and external elements would weather consistently. Bright copper was selected with a special, anti-weathering coating to minimise any change as the sur-face aged.

Shingles were chosen to deal with the com-plex form that curves in both plan and section. The cladding of the chapel was undertaken – with real craftsmanship – by NDM, the copper shingles gradually re-ducing in size to accommodate the conical shape. The form was computer modelled, as the size of each row of shingles had to be calculated to suit the diminishing diam-eter.

Architects: Nicholas Hare Architects www.nicholashare.co.uk

Copper Installer: NDM Metal Roofing & Cladding

Copper Product: TECU® Classic (coated)

Photos: © Hufton+Crow


COPPER ARCHITECTURE NEWS

The Copperconcept AppFree & available for iPhone and iPad.Inspiration and information combined in one app.

• Reference projects• Architectural city maps• Design Awards• Copper Architecture Forum• Articles

Copperconcept_App_hirdetes_01.indd 1 10/18/12 11:33 AM

Copper Architecture on-lineExperience copper architecture online- a definitive resource for architectural inspi-

ration, including electronic versions of Copper Architecture Forum, the European

Copper in Architecture Awards and many other helpful publications available at


Copperconcept.org is organised into 17 separate language sections, each edited

locally. The website features an extensive selection of regularly updated project

references, demonstrating different uses of copper and highlighting some of the

best examples of copper architecture from around Europe and beyond. Of course,

information on the European Copper in Architecture Awards can be found there,

alongside articles on topical issues, such as the antimicrobial capabilities of copper.

As well as design inspiration, Copperconcept.org gives access to a range of archi-

tectural and technical publications, and links to other organisations including cop-

per fabricators. Journalists and editors can also access press releases, articles and

images for publication. Finally – and most importantly – the website hosts Copper

Architecture Forum and you can register for your free subscription there, as well as

download the latest, and previous, issues of the magazine.

Explore the world of copper architecture now at – http://www.copperconcept.org

Titelseite: Pavillon zur Ausstellung ‚Goldene Pracht‘, Münster, Deutschland (S. 10-11)Foto: © KME/Christian Richters

Gebäudeerweiterungen mit KupferDas Thema dieser Ausgabe von Copper Forum zeigt beispielhafte Um-setzungen von Gebäudeerweiterungen wo Kupfer und Kupferlegierun-gen eine wesentliche Rolle in der Architektur spielen. Es kann als eine typologische Tour de Horizon angesehen werden, die die zunehmen-den Ansprüche im Materialgebrauch und neue Wege in der Realisie-rung umreißt.

Die Ansprüche an Kupfer in der modernen Architektur haben sich deutlich verändert – ein Trend, der sich neben der Verwendung von Kupfer an Bauten, bei denen Kupfer eine historische Bedeutung hat, auch in Zukunft weiter fortsetzen wird. Aber häufig bringt ein neuer Ansatz in der Anwendung frischen Wind, wie beispielhaft in der In-nenanwendung in der zweiten Hälfte dieser Ausgabe gezeigt wird. Der verbindende Stern eines Atriums verdeutlicht die Möglichkeiten des Materials für innovative und neue zeitgenössische Formen.

Die architektonischen Möglichkeiten mit Kupfer werden noch deut-licher durch ein weiteres Projekt: die Gestaltung eines Clubhauses für einen Yachtclub auf dem Gerat Barrier Reef. Moderne Computer Tech-niken ermöglichten ein wegweisendes Design an exponiertem Ort. Im Kontrast hierzu die schnörkellose Umsetzung einer Rettungsboot-Station an der stürmischen englischen Küste: form follows function!.Außergewöhnliche Wetterbedingungen und hohe Ansprüche an die Nachhaltigkeit sind für Kupfer kein Problem. In skulpturhafter Qua-lität werden mit Bronze und Glas für lange, lange Zeit zwei historische Runensteine geschützt (Seite 28-29).

Redaktionsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

E-Mail: [email protected]

Anschrift: : CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

Hrsg.: Nigel Cotton, ECI

Layout und Realisierung: Naula Grafisk Design, Schweden

Druck: Strålins Grafiska AB 2012, Schweden

Redaktion:Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Becquevort, Benelux [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintér, Hu, Cz, SVK [email protected] Ionov, Ru [email protected]

© Copper Architecture Forum 2012

Copper Forum 33, November 2012

Copper Forum ist ein Teil der „European Copper in Architecture Campaign“. Es erscheint zweimal jährlich mit einer Druckauflage von 25.000 Exemplaren.

Die Zeitschrift wendet sich an Architekten und Fachleuten in ganz Europa und der Welt und ist in verschiedenen Sprachausgaben verfügbar, wie zum Beispiel auf Englisch, Tschechisch, Dänisch, Finnisch, Französisch, Deutsch, Ungarisch, Italienisch, Norwegisch, Polnisch, Russisch und Schwedisch.

LEITARTIkEL

Klar definierte Ansprüche und Formen charakterisieren auch das Marlo-we Theater (Seite 16-19), was man auch von der öffentlichen Bibliothek in Seinäjoki sagen kann (Seite 32-35). Inhaltlich eine schöne Ergänzung zu dem Zentrum Alvar Aalto, wo mit Respekt zum architektonischen Zusammenhang eine Abgrenzung auch über den Werkstoff Kupfer vor-genommen wird. Eine weitere Bibliothek – die „Deptford Lounge“ (Seite 24-27) wurde in ein neues, offenes Gemeinschaftsgebäude umgebaut, das sich durch seine semitransparente, goldene Fassade aus einer Kupferlegie-rung hervorhebt.

Die Vielfalt in der Anwendung entspricht den verschiedenen Oberflächen die heute in Kupfer verfügbar sind wie sie zum Beispiel bei dem mehr-geschossigen Parkhaus auf Seite 20-23 eingesetzt worden sind. Genauso wie das kleine aber feine temporäre Gebäude (Seite 10-11) – einer Bau-art, die normalerweise nicht oft mit Kupfer assoziiert wird. Dem Einsatz von Kupfer wurde auch hier sehr viel Aufmerksamkeit gewidmet, die der außerordentlichen Qualität des Projektes zugutekommt. Eine kommuna-le Gebäudeerweiterung die mehr ist als ein Gebäude (Seite 30-31) zeigt beispielhaft, dass Kupfer eine besondere Qualität von Gebäuden und zu anderen Materialien herstellen kann.

Kupfer in der Architektur ist stetig in der Entwicklung, die durch Ar-chitekten und Architekturinteressierte vorangetrieben wird. Auf der In-ternetseite www.copperconcept.org können Sie sich die besten Beispiele ansehen.

Das Redaktionsteam

• Für Ihre Ausgabe des Copper Forum registrieren Sie sich bitte auf: www.copperconcept.org (dort finden Sie auch ältere Ausgaben zum download.)

• Um ein Projekt vorzuschlagen kontaktieren Sie uns gerne per E-Mail: [email protected]


33C

OPPER

AR

Ch

itEC

tu

RE FO

Ru

M

ARCHITECTURAL AWARDS LAUNCHEntries are invited for the 2013 European Copper in Architecture Awards – a showcase for architects designing with copper and its alloys to promote their work to an international audience.

All entries must incorporate facades, roofing or other architectural

elements of copper or copper alloys. Any scale or type of project

can be entered – from major landmark buildings to modest schemes.

Architects and critics, drawn from a panel including some of the

most influential designers in Europe, will judge all the entries on

their architectural qualities from graphic submissions.

Final deadline for receipt of entries: 31st May 2013

For more information on entering the 2013 Awards-16 and on previous

awards entries and results, visit: www.copperconcept.org/awards

Documents

ARCHITECTURAL AWARDS LAUNCH - copperconcept.orgcopperconcept.org/sites/default/files/copper-forum/33/copper-forum-2012-33-nb.pdf · 31.05.2013 · As well as design inspiration, Copperconcept.org