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Omslag:Platform for Arts & Creativity,Guimares, Portugal (side 14).Foto: Joo Morgado

Chefredaktr: Robert Pinter

Redaktr: Chris Hodson RIBA

Redaktionsteam: Lennart Engstrm, Ari Lammikko, Chris Hodson, Graeme Bell,Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herber t Mock

E-mail: [email protected]

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

Udgiver: Nigel Cotton, ECI

Layout og teknisk produktion: Jorma Naula Grafisk Design, Sverige

Tryk: Strlins Grafiska AB 2013, Sverige

Redaktionspanel:

Birgit Schmitz, De birgit.schmitz@copper alliance.de

Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@ copperalliance.pl

Marco Crespi, It [email protected]

Nicholas Hay, UK nick.hay@copper alliance.org.uk

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux paul.becquevort @copperalliance.be

Pia Voutilainen, Se, No, Fi, Dk [email protected]

Robert Pintr, Hu, Cz, SVK robert.pinter@ copperalliance.hu

Vadim Ionov, Ru vadim.ionov@copper alliance.ru

Copper Architecture Forum 2013

Copper Architecture Forum 34, maj 2013

Copper Architecture Forum er en del af den igangv rende kampagneEuropean Copper In Architecture Campaign, og udgives to gange omret i et oplag p 25.200 eksemplarer.

Magasinet uddeles til arkitekter og byggesagky ndige i hele Europa pdansk, engelsk, finsk, fransk, italiensk, norsk, polsk, russisk, spansk,svensk, tjekkisk, tysk og ungarsk.

LEDERE

FORANDRING OG KONTINUITET

Vi begynder denne udgave med at sige farvel til Lennart Engstrm, som trkker sig tilbage

fra redaktionsteamet. Han startede vores magasin, Copper Forum, op for 18 r siden og har

spillet en afgrende rolle i udviklingen af magasinet fra den frste udgave p fire sider, som

rettede sig mod skandinaviske arkitekter til det 40 siders magasin, der i dag udgives i hele

Europa p 13 forskellige sprog og med et oplag p 25.000 stk. Alle p redaktionen har sat

stor pris p hans viden, passion for kobber i arkitekturen og hans milde, men overbevisendevsen, samtidig har det a ltid vret bde sjovt og godt at arbejde sammen med Lennart.

Der har selvflgelig vret ndringer i henover de seneste 33 udgaver, og der er lbende

foretaget forbedringer i bde magasinets design og indhold, s det afspejler arkitekternes ak-

tuelle interesser. Alligevel har Copper Architecture Forum bevaret sine oprindelige kernevr-

dier: at prsentere inspirerende, moderne arkitektur sammen med problemstillinger inden for

forskellige emner, som er relevante for design med kobber og det legeringer.

Vi vil gerne benytte denne lejlighed til at prsentere vores nye chefredaktr, Robert Pin-

ter, samt vores nye redaktr, arkitekt Chris Hodson. De har begge vret en del af redaktionen

i et stykke tid og har stor erfaring inden for brug af kobber i arkitektur og byggeri. Med en

arkitekt som redaktr vil magasinet afspejle vores arkitektlseres interesser og udvikle strre

inddragelse af disse srligt via vores partnerwebsted copperconcept.org.

I vores arbejde med Copper Architecture Forum holder vi je med nye tendenser og

almindelige sammenhng mellem projekter. I denne udgave stikker en rkke temaer ud.Frst ser vi eksempler p de mange muligheder for brug af kobberfacadeelementer i bygninger

til at kombinere skygger dannet af sollys med udsendelse af lys. Lsningerne indbefatter per-

forerede kobberplader og -net samt gitre af profileret messing og skulpturelle, kurvede finner.

Nogle steder fremhves kobber ogs som et helt igennem moderne materiale, som karakteri-

serer moderne indgreb, der er med til at forny ldre bygninger ofte historiske og beskyttede

bygninger. il sidst spiller kobber en vsentlig rolle, hvor store projekter er med til at forme

det urbane milj.

Vi hber, du vil nyde diversiteten og fortrffelighederne af det arkitektoniske design, der

prsenteres i denne udgave.

Redaktionen

Registrer dig til Copper Architecture Forum copperconcept.org

Ls tidligere udgaver af magasinet copperconcept.org

Kontakt redaktionen [email protected]

Upload dit projekt til webstedet copperconcept.org

Tilmelding til European Copper in Architecture Awards copperconcept.org

Lennart Engstrm, grundlggerog afgende redaktr for CopperArchitecture Forum.

Den frste udgave af Koppar Forumfra 1995 bestod af kun fire sider.

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3COPPER ARCHITECTURE FORUM 34/2013

34

49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

Free & available for iPhone, iPad

and Android devices.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum

Articles

Copper Architecture Forum 2013

INDHOLD

2 Forandring og kontinuitet redaktionens kommentar

49 Ikonisk kobber forandring af Gteborg historiske posthus til et hotelmed en ny rolle som vartegn i byen

1011 Automobilarkitektur en hyldest til automobilet med fornyelse af enbygning i Moskva

1213 Genopfindelse af den lokale stil en ny tilgang til landlig arkitekturi Normandiet indhyllet i kobber

1419 A Platform for Arts & Creativity brass regenerates one of Portugalsmost important historical city centres

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

2425 Copper Context an interview with the architect of Warsaw Universitysnew Linguistics Department

2630 Seamless Articulation a new library for Worcester cloaked in skilfullydetailed copper alloy

3133 Solar Waves highly architectural brise soleil fins shield the glazed frontageof a new London school

3435 Coppers Contribution to Improving the EnvironmentalPerformance of Buildings life cycle assessments and buildingrating systems

3638 Copper Takes Control rotating perforated copper shutters characterisea new civic building in Lyon

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4 COPPER ARCHITECTURE FORUM 34/2013

IKONISKKOBBEREfter at have stet ubenyttet hen i 20 r er post-huset p Drottningtorget i Gteborg i Sverige nublevet til det 500 vrelser store Clarion Hotel

Post med moderne tilfjelser, som afspejlerdenne levende bys ambitioner.

Den oprindelige bygning blev designet mellem 1918 og 1925af arkitekten Ernst Torulf, som selv var fra Gteborg, i manie-ristisk klassisk stil, bygget i mursten med stenudsmykningersamt mansardtag i skifer med kobberdetaljer, som nu frem-str med grn patina. Posthuset er nu optaget p listen overnationalmonumenter. Arkitektfirmaet Semrn & Mnssonstilsyneladende enkle strategi var at lukke bningen i denoprindelige hesteskoformede bygning med en tilfjelse, somsledes skulle opfres p posthusets gamle lasteplads. Deeksisterende bygninger blev renoveret og tilpasset deres nyeforml med respekt for bygningens oprindelige karakter, de-taljer og status som besky ttet bygning. Resten af grden blevogs udfy ldt med lavereliggende vrelser, og det glaseredetag lyser op p de offentlige omrder.

Et nyt vartegn for byen

Den nyopfrte del, der lukker grden af, giver en ny facademod det offentlige rum i bygningens stflj, som vender udmod kareplatsen og Odinsgatan. Udfyldningen strkker sigfra den ene side til den anden en flj bekldt med kobber,

den anden med skifer, og alts de samme materialer, der eranvendt til det gamle posthus og den er udfrt i samme hj-de som det oprindelige tagudhng. Der, hvor fljene mdes,rejser de sig som to monolitter, adskilt af en lodret strimmelaf glas. Det 13-etagers trn udgr et nyt vartegn for byen ogmarkerer ogs endnu en indgang til hotellet: hovedindgangenmed den overddige guldmosaik er bevaret p bygningensvestvendte facade, som vender ud mod den offentlige pladsDrottningtorget.

af Chris Hodson

De nye tilfjelser respekterer og afspejler det vandrette git teraf vinduer, men bryder med den enkle lodrette justering afbninger. De nye facader udgres af kvadratiske paneler medvandrette bnd af kobber eller skifer med skinnende glasering,som ser ud til at vre anbragt tilfldigt. Iflge arkitekterneer denne skarpe, fladt stribede overflade delvist inspireret afLajasalo Kirke i Finland med dens lodrette striber af forpatine-ret kobber.

Men her er der ogs vertikale elementer i form af panelsam-lingerne, som fremhves af farveskiftet i de sammenstdendevandrette kobberbnd. Hjrnerne er udfrt som moderne,lodrette hjrnesten (som p den oprindelige bygning) og ud-trykkes i form af en tynd stribe panelernes tykkelse dersommetider inkorporerer den skinnende glasering imellemkobberet. Gitteret i facaden er bevaret ubrudt til trods for entagterrasse og ben pool med udsigt over Gteborg.

Foto: Lennart Hyse

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Den oprindelige bygningsfacade og hotellets indgang, som vender ud mod en offentlig plads.

Foto: Krister Engstrm

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Plan level 13,

Plan level 9,

Plan level 3

Plan level 2

Plan level 1

(Street level)

Bild:Semrn&

Mnsson

Foto: Krister Engstrm

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Detaljerede og levende kobberoverflader

Fra begyndelsen arbejdede arkitekterne med

ideen om de nye facader som en tynd plade-bekldning. Lsningen indbefattede diskretepaneler, som skulle prfabrikeres p fabrikkenog monteres som en ringmur af yderbekldninuafhngigt af bygningens etager. Dette mulig-gjorde tt kontrol med udfrelsen det kompleksedesign af de enkelte paneler i den samlede facademed forskellige strrelser med skinnende glase-ring og den varierede, stribede kobberoverflade.Dette blev udfrt i kobber med tre bndhjder 200, 250 og 300 mm og tre forskellige intensi-teter af forpatineret kobber, s den grnne farve

varierer i forhold til den brune baggrund. Kombi-nationen af disse elementer gjorde det muligt atskabe en detaljeret og levende kobberoverflade

Arkitekt: Semrn & Mnsson

Kobbermontering: Skandinaviska Glassystem AB

Kobberprodukt: Nordic Green Living

Foto: Chris H

Foto: Lennart Hyse

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Tvrsnit

En rolle i byen

The Clarion Hotel Post har en afgrende placering centralti Gteborg lige ved siden af hovedbanegrden og det storeindkbscenter Nordstaden. Det nye trn spiller en rollesom et ikonisk fokuspunkt i bymiljet, idet det samler akserp tvrs af byen, som lnge har vret uforbundne. Det ertydeligvis justeret efter Odinsgatan, med udsigt ned langs

denne lige, brede gade. Det hver sig ogs over det gamleposthus, nr man kigger fra den offentlige plads og andreplaceringer i centret.

Foto: Chris Hodson

Ubetydelig miljpvirkning

I planlgningsfasen diskuterede man Gteborgs kommuneproblematikken om regnvand, der lber over kobberet ogvidere ned i Gtaelven. Professor Inger Odnevall Wallinderfra Kunglige Tekniska hgskolan foretog en undersgelse afden miljmssige pvirkning, som udregnede den meget lillemngde kobber (160230 gram), der potentielt kunne lbe ned

i elven rligt, hvilket kun v ille have minimale miljmssigekonsekvenser, og den lille mngde ville i vrigt sandsyn-ligvis i stedet blive optaget af andet materiale, som omgiverbygningen. Denne mngde kobber ville ogs vre umulig atmle ud fra de ca. 20 tons kobber, der allerede transporteresaf elven rligt. I vrigt vil det have samme effekt, som hvis de300 personer, som bor i nrheden af hotellet dagligt tog envitaminpille, som indeholder 2 mg kobber.

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Du kan lse hele interviewet med Professo

Magnus Mnsson p copperconcept.org

INTERVIEWChris Hodson diskuterer Clarion Post Ho-tel med Professor Magnus Mnsson, ejeraf arkitektfirmaet Semrn & Mnsson.

CH: Hvordan blev du involveret i projektetmed Hotel Post? ?

MM: En entreprenr bad mig finde en place-ring til et stort hotel her i Gteborg i nrhe-den af hovedbanegrden. Jeg var allerede i gangmed at designe et andet hotel og var optaget afanatomien af bygningens typologi. Posthus-bygningen blev ombygget til en kontorbygningi slutningen af 80erne, men da jeg kiggede pden, tnkte jeg: Dette er ikke et kontor, det eret hotel alene ud fra placeringen af vinduerne.Entreprenren var enig i mit forslag om et spek-takulrt projekt, der kombinerede det nye meddet gamle og det er 8 r siden.

CH: Hvilke udfordringer var der i forbindelsemed at arbejde med sdan en prominent og be-skyttet bygning?

MM: Selvflgelig var det noget af en kamp frst og fremmest med alle de forskellige myn-digheder. Bygningen er beskyttet med Sverigesmest omfattende fredningsklassificering, ogvi arbejdede ikke kun sammen med de lokalemyndigheder, men ogs de nationale i Stock-holm, s det var noget af en kamp. Faktisk mt-te der ikke ndres noget i det ydre. Det var et afudgangspunkterne.

CH: Selvom I har tre andre kontorer, er I en lo-

kal virksomhed i Gteborg. Har I en anderledestilgang til et projekt som dette i jeres eget nabo-lag i forhold til, nr I arbejder andre steder?

MM: Det hber jeg ikke. Men jeg kommertrods alt forbi denne bygning hver dag, s denstr mig meget nr.

CH: Ud fra et byplanlgningsmssigt syns-punkt ser du s Post Hotel som en bygning, derspiller en vsentlig rolle?

MM: Ja, bestemt. Da den svenske regering byg-gede posthuset, dkkede det to karreer, selvomdet var meningen, at der skulle g en vej igen-nem. Dette stoppede den naturlige udvikling af

byen mod st med blot en smal befrdet gademed sporvogne, som klemte sig forbi tt opmod bygningen. S det nye kobberog skifer-trn signalerer den nye bydel mod st, nr detses fra byens gamle centrum. Men det vil ogskomme til at fungere som et fokuspunkt, deraflukker gaden mod st og en ny plads foran,som i jeblikket er ved at blive planlagt.

CH: Er der en symbolik i trnet af kobber ogskifer?

MM: Ikke som sdan. Det oprindelige desig-

nkoncept arbejdede med et hjere trn, mendet blev begrnset af de lokale myndigheder.Det var der, jeg fik ideen om at bygge det i tomaterialer for at give det bedre proportioner.Og der er forskelle i vores tilgangsvinkler tilde to materialer med frre og mindre vinduer iskifterdelen, s det virker nrmest monolitisk.Kobbertrnet giver en fornemmelse af et me-get tyndere materiale. Der er mange sm tegn,som antyder, at der skal fortolkes noget ud fraforskellene.

CH: Var der andre grunde til at bruge kobberog skifer ud over sammenhngen med byg-

ningens tag?MM: I 1920erne var det hele meget lokalt,men det var meget naturligt, og vi var stolteover at have et materiale som kobber. Vi villebygge videre p denne arv ved hjlp af et mate-rialevalg, som fik de nye dele til at skille sig ud,men som ogs bevarede en vis kontinuitet. Jegbetragter den nye bygning som en ung slgt-ning med den samme DNA. Kobber var megetvigtigt for vores design.

CH: Og I har brugt kobberbnd i forskell

bredder og grader af patinering. Hvad var jres ide med denne fremgangsmde?

MM: Ja, jeg er meget tilfreds med resultatDet var en fantastisk mde at lave kobboverfladerne p. Faktisk lagede de udskrskiferstrrelser op til en lignende tilgang strukturering af kobberbndene for at give den tekstur, og de vandrette elementer afspejdet traditionelle murerarbejde, som hele bybrer prg af.

CH: Ved siden af arbejdet med at drive et sucesfuld arkitektfirma med fire afdelinger uderviser du ogs. Nr du har mulighed for d

hvordan slapper du s af?MM: Det er noget af en kunst at finde tid det. Men nr jeg kan finde tid, s tegner jeg

Der er planer om en ny plads st for hotellet, hvor trnet fungerer som fokuspunkt for gaden bagved

Foto:Semrn&

Mnsson

Det nye kobberog skifertrn signalerer den nyebydel mod st, nr det ses fra byens gamle centr

Foto:: Chris Hodson

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Euromotors bad os om at lave et nyt image til auto-servicecentret, som kunne afspejle de vsentligsteegenskaber fra virksomhedens brand: ensartethed,

plidelighed og service af hj kvalitet. Bygningen liggerp en travlt befrdet vej, og det har vret en inspiration ivores arkitektoniske koncept. Dynamikken af passerendebiler deres bevgelse, lys, skinnende karosseri alt detteafspejles i bygningens facade. Facaden, der lber langs medfortovet, skulle udvikles som en todimensionel overflade,men skulle samtidig antyde en tredje dimension samt lodretbevgelse.

AUTOMOBILARKITEKTUR

Mrkebrunt, foroxideret kobber blev valgt som materiale. Dettedle og plidelige metal understregede Euromotors statusog serv icemoral i forbindelse med pleje af hjkvalitetsbiler.Brugen af perforerede kobberpaneler beriger bygningens de-sign og giver en illusion af, at overfladen ndrer sig, nr manbevger sig langs bygningens ydre. I dagslys giver perfore-ringen facaden en srlig dybde i kraft af samspillet mellemlys og skygge. I aftenens og nattens mrke forstrkes dendynamiske effekt af refleksioner i overfladen fra bilernes lygter sammen med srlige lamper, som lyser gennem panelerne ivandrette linjer ligesom bilernes forlygter.

Forvandlingen af en uskn sovjetisk bygning, som blev

rejst i midten af det 20. rhundrede, med en perforeret

kobberfacade genfinder en arkitektonisk typologi, som

hylder automobilet. Pavel Khegay og Amir Idiatulin fra IND

Architects starter med at forklare deres designkoncept.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Foto:AndreyMarshal

Her diskuterer Andrey Kulagin fra det tekniske

design og monteringsfirma PacificStroy realiseringen

af designet.

Dette var det frste projekt i Rusland, hvor der bruges enophngt facade lavet af perforerede kobberpaneler medbaggrundsbelysning. Det tekniske design stillede os overfor en rkke udfordringer i forbindelse med fortolkningenaf arkitektens tegninger og 3D-visualiseringer srligt iforbindelse med at skjule belysningselementer, sttter ogandre elementer i hulrummet bag facaden. Nr man arbejdemed naturlige materialer som kobber, fler man et srligtansvar og en srlig inspiration. Men vi undgik problemerunder monteringsprocessen, fordi alle detaljer var taget medi overvejelserne og beskrevet i den tekniske dokumentation.Perforeringer i metalpaneler pvirker stivheden, og dettehar vi kompenseret for ved at lave huller i skakmnster oggennem justering af kobberets tykkelse. Panelernes kanterblev sknet for perforering for bedre at kunne fastgres til derustfri stlsttter med kobbernitter. Resultatet er en facade,der reprsenterer Euromotors tilgang til at drive forretningog som giver associationer til automobiler og ingenirkunst.

Det perforerede mnster er som kleren p en veteranbil, ogde nittede samlinger minder om det ydre af et fly.I Rusland og andre lande er servicecentre for biler ofte kede-lige industribygninger men Euromotors skiller sig ud medsin unikke arkitektur, som er fortolket og udfrt i kobber.

Den oprindelige bygnings kedelige, hvide facadeer blevet erstattet med en spillevende bekld-ning af perforeret kobber.

Foto: Andrey Marshal

Arkitekt: IND Architects

Kobberbekldningsdesign og -montering: PacificStroy (KrovExpo)

Kobberprodukt: Nordic Brown

Foto: Evgeniy Golytkin

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Dette nye kultur- og mediecenter i landsbyen Gournay en

Bray i Normandiet i det nordlige Frankrig retter sig efter

formen p de lokale bygninger, som er blevet ndret med

moderne indgreb, karakteriseret af skiferoverflade og

glasering, som omsluttes af kobberplader.

Projektet omfatter to forskellige flje, som sammenhgtes afet centralt receptionsomrde. Den 65 m lange stflj indeholdermultimediebiblioteker for voksne og brn. Vestfljen er lnge-re med sine 75 m, og den indeholder bde en musikskole og en

danseskole. Arkitekterne ville have en moderne bygning i hjertetaf grundplanen, som kunne nydefinere forholdet til de naturligeomgivelser (haver, gyder, stenmure) og bygningsmiljet (traditi-onelt byggeri og huse). De udtnkte planen med de forskelligekulturelle rum som en rodstok, der vokser ud fra det forbindendereceptionsomrde. Her omsluttes den besgende af de grnneomgivelser, som skabes af glaseringen og understreges af devilde blomster mellem de to flje.

Tagets stejle hldning p de eksisterende bygninger afspejles iden nye bygning, men med en moderne kontinuitet af overflader ililla skifer, som afbrydes af flere stykker med gennemsigtige net

af udvidede, foroxiderede kobberark over store glaserede omr-der. Indgangen til komplekset fra gaden fremhves af en oplstudpresning af lokalprgede bygninger, som ogs er belagt medkobbernet.

Arkitekt: AAVP ARCHITECTURE / Vincent Parreira ArchitectChef de projet (Project Manager) Marie Brodin Architect

Kobberprodukt: TECU Oxid

Foto: Luc Boegly

af Chris Hodson

GENOPFINDELSEAF DEN LOKALE STIL

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A Platformfor Arts & CreativityA thoroughly contemporary intervention is at the heart

of the regeneration of the ancient centre of Guimares,

one of Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profile facades in its realisation.

The buildings that make up the municipal market and thespace contained by them commonly referred to as thesquare together form the urban character of the city ofGuimares. Before being relocated, the old municipal marketenjoyed a privileged and very central location with excel-lent access, very close to the Toural Square and the historiccentre.

MULTIFUNCTIONAL SPACE

Now, the transformation of the marketplace into a multi-functional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital ofCulture 2012 status, has reintegrated the area into the urbanfabric, so recovering a key area of the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration of the interior space of the block previously acharacterless area used for marble processing.

The program provided a clear concept and defined theobjectives to be achieved, listing a series of activ ities andspaces which defined the functions of both new and existingbuildings, as well as the adjacent plots of land. Three majorprogram areas were identified:

6gi8ZcigZl]^X]]djhZhi]ZeZgbVcZci8daaZXi^dcd[

Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

VcYh]dlh!VcYXdbeaZbZciVgnhZgk^XZh#

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Architects: Pitgoras

Copper Fabricator/Installer: Casais-Engenharia Construo, S.A. /

Combitur S.A. / C.C.Lobo e Filhos

Photos: Joo Morgado - Architecture Photography

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and installation of activities related to creative industries,

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Ldg`h]dehidHjeedgi:bZg\^c\8gZVi^k^inXdch^hi^c\d[

ldg`heVXZh[dgndjc\XgZVidgh ckVg^djhVgZVh!]de^c\id

YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

The program also sought to recover the existing building onthe eastern side by trying to promote the installation of ad-ditional multidisciplinary commercial activities. The wholestructure, according to the program, would complementexisting facilities in the city, as well as those under develop-ment as part of the European Capital of Culture.

When interpreting the program, we aimed to allow for thepossibility of each one of its components functioning inde-pendently and simultaneously, by creating accesses to eachof the various services and support areas, as well as to theoutdoor square and garden.

We opted for a methodology of intervention that involvedthe rehabilitation of the existing building to the east keeping the materials and textures but redoing the entireinterior at level 0. With the north building, the faadetowards the Avenue which characterises the build-ing was renovated but its interior and faade facing thesquare were the subject of almost complete demolitionand redesign. Although it was intended to maintain thescale and the existing formal relations, we proposed a

new solution for the building that promotes a strong rela-tionship with the square and emphasises the relationshipof this structure with the outer space.

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The new building takes a radically different approach to itssurroundings, both from the standpoint of architecturallanguage and image: discrete, repetitive, as well as by thesuccession of volumes, with full and empty, marked by the

juxtaposition of contrasting sur faces. The external coverings

a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from denseand opaque on the majority of surfaces, to transparent whenpartially concealing the buildings few openings.

This series of dissonant elements resulted from the need tocreate a variety of different spaces in the exhibition area.It creates a tension manifested in the volumes of the buildingand the relationship with the space of the square, making itthe main feature of its design.

For the square, we formulated a design significantly moreclinical, using large concrete slabs which act as a counterpart

to the surrounding buildings. It is conceived as a large mul-tifunctional meeting area and obviously a public space byits very nature. It will remain intentionally sparsely equipped,with large trees to the east preserved and planting introducedalong the north building, but leaving most of the space freefor spontaneous or organised activities on the Plat form.

RADICALLY DIFFERENT APPROACH

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COPPER ARCHITECTURE FORUM 34/2013 17

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A TRANQUIL

BACKDROPIN BRASS

The architects choice of brass for the facadesof the new building was informed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-effective solution tothe complexities of the program. Brass profiles,in conjunction with exposed glazed areas, ef-fectively dematerialise the massive geometricforms of the new building which is 150 m longand stands 8 m high sof tening its relationshipto the public square.

The consistent grid, made up of 20 x 10 mmrectangular brass profiled sections, matchesthe scale and proportions of the surroundingbuildings without overwhelming them. Despitethe regularity of the brass grid, it provides atranquil backdrop to the square, constantlychanging with the light then transformingfrom opaque to transparent at night.

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P4

P2

P3

P1

Brass section detail

1. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

2. IRON BAR 70 x 6 mm, TO BE METALLIZED AND PAINTED

3. BRASS BAR 25 x 4 mm

4. TOOTHED BRASS BAR 4 mm, FOR FITTING THE TUBULAR

BRASS, WELDED TO THE VERTICAL BARS

5. FACADE COVERING IN BRASS PANELS

6. BRASS BAR 20 x 2 mm

7. ROUNDED BRASS SHEET 2 mm

8. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

9. NEOPRENE WEDGE

10. THRE ADED ROD OF IRON 8 mm IN DIAMETER, WELDED TO

THE IRON BAR, TO BE METALLIZED AND PAINTED

Assembley and fixation of the facade panels

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In the summer of 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transformits services and facilities for visitors. The East Wingproject forms the second phase of the Museums re-development programme, following the renovation of

the West Wing in 2003. The Museums core is a Tudormanor house dating from 1561. It was acquired byMaidstone Borough Council in 1855 and opened asa Museum in 1858. The Museum is a Grade II* listedbuilding protected by law.

More Public InvolvementThe collections of over 600,000 ar tefacts and speci-mens are outstanding in their diversity and quality,forming the largest mixed collections in Kent and oneof the largest in the South-East of England. Someelements such as the Japanese Art Collection are ofinternational significance. The East Wing projectskey aims were the long-term preservation of the col-lections, more public involvement and increased useof the Museum and its collections.

The new interventions allow greater public visibilityof the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian founders, and better views of theMuseum from the town centre. Public facilities, easeof visitor flow through the building and accessibilityfor all have also been substantially improved.

Hugh Broughton Architects explain the project for

the upgrade of Maidstone Museum, a protected

historic building in the South-East of England,

dating back as far as the time of King Henry VIII.Their thoroughly contemporary design involves

crisply detailed golden copper alloy and glass

rectilinear forms, interweaving amongst ancient

buildings to create new vistas from both inside

and out.

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal roofing & Cladding)

Copper Product: TECU Gold

Photos: Hufton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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Over time the shingles may loose their shine but not their beauty

The Japanese Art Collection

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Winning DesignOur competition-winning design is a direct response tothese key objectives. At the lower levels of the revitalisedEast Wing, a new entrance and orientation area faceMaidstones High Street and welcome visitors. A gallerycreated between an improved shop and the refurbishedstores provides a home for a Solomon Islands War Canoe the only example of its kind outside the Islands. V iewsfrom this gallery reveal a public courtyard and Tudorfaades unseen by the public for over 40 years.

A young learners education room is complementedat first floor level by a glazed meeting room, creatingdramatic views of St. Faiths Church and visually re-con-necting the museum with Brenchley Gardens. A dynamicnew gallery space above the reception, lit by curvaceous,north facing rooflights, provides a permanent homefor the collection of Japanese Art. The extensions werecomplemented by refurbishment and reorganisation ofthe existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagridof golden copper alloy shingles, creating a contemporarycounterpoise to the existing brick faades. Over time theshingles may loose their shine but not their beauty.

1

1

2

3

4

5

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Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

4

5

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Bearsted WingSt. Faith's StreetBrenchley Gardens

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Reception / Visitor Information CentreShop and OrientationJapanese GalleryUpper Bearsted GalleryEscape stairCorridorGlass roomPlant roomWCs9

8

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6

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4

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1

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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Refurbished Areas

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1

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45

6

7

8

9

10

11

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Extension

Refurbished Areas

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COPPER

CONTEXT

CH: How did you come to design the new

university building and what are the contex-tual impacts of its surroundings?

EK: Te Linguistic department buildingresulted from a competition in 2006, which

our office won. Te new building is locatedin Powisle Plnocne Warsaws Latin Quar-

ter and home to the University of Warsaw

and the Academy of Fine Arts. Te area sits

at a lower level than the main University and

Academy buildings and the Old own: this

picturesque topography played an important

part in our design strategy. Immediately

adjacent is the copper-clad University Library(opened in 1999) which also influenced the

new building particularly its materiality.

CH: What was the strategy behind your

design and the different faade treatments in

particular?

EK: Our project was considered as a sort of

a promenade, linking the higher University

campus to the Library. Along this promenadewe situated all reading rooms demanded by

the programme of different faculties belong-ing to the Linguistic Department. In order

to connect the two new buildings we used a

glass wall along Dobra Street which reflects

the rich copper facade of the Library with its

engravings and texts in different languages.Te 140 m long southern wall along Lipowa

Street aims to give readers the impression of

being in a garden space where light flickersthrough green leaves, creating a special, col-oured light inside a sunny environment,

despite gloomy weather outside.

Tis is achieved using yellow, green and lime

foils on the double- skin glazed southern

facade.

CH: What are the reasons for the variety of

treatments and materials on the facades?

EK: Te whole project is in two phases andthe now-completed first phase represents only

a third of the whole complex. So the impres-

sion given by some facades is temporary.

When complete, the whole building wil l read

as having two wall finishes essentially, glass

and copper.

CH: Why did you choose pre-patinated copper?

EK:. We selected copper for a number of

Chris Hodson discusses the University of Warsawsnew Linguistics Department building with its architect,Professor Ewa Kuryowicz of Kurylowicz & Associates. The new Linguistics building faces the Libraryacross Dobra Street, continuing its green theme.

reasons. Firstly, to accentuate the character of

the district which is full of parks and close to

the river. But, of course, the green mood of

new architecture was previously introducedby the Library building. Although continu-ing down this line of thought, we choose a

different finish for the copper pre-patinated

with a living surface colour to differentiate

our building from the Library. But we also

wanted to show the variety of copper finishes

which are possible.

Copper is a living material, like nature. Its

appearance changes over the years, with theweather, at different times of the day and in

different lighting conditions. Tis is demon-

strated on the Wislana Street faade which ismostly copper, including service door facings.

Also on this facade, the idea of introducing

yellow patches amongst the copper was to

enliven it with artificial sun-beams. Tere

is also a timber patch on this elevation,

signalling a wooden terrace on the roof whichslides down the elevation. Te full effect

will become clear when the whole complex is

finished.

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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

Copper Installer: ME Wielkopolska CoCopper Product: Nordic Green LivingPhotos: Artur Biakowski (Grande)

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATION

The Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-ing, it is a key part of Worcesters river frontage, highly visiblefrom the rising ground to the south and west. The articulationof its unique external form resonates with the scale and grainof the setting: the roofline echoes the profile of the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic funnels are as fundamental to the interior of thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart of the floor plates.

The Hive evolved from a groundbreaking partnership to create

a fully integrated public and university library, which is com-pletely new to the UK and highly innovative internationally.The building also includes the county archives and recordoffice, a local history centre, the countys archaeology serviceand a multi-agency customer service centre. The Hive is acultural, learning and information centre of excellence promoting lifelong learning, engendering social inclusionand raising aspirations in the broadest sense for the wholecommunity, regardless of age, background, or ability.

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The cladding of golden copper alloy shingles reflects the richpalette of colours and materials which characterise the citycentre - the red and gold of brick, terracotta and stone embel-lished with gilded filigree and finely decorated encaustic tiles.The elevational language of solid walls and punched openingsalso draws on the local vernacular: solid and void are balancedto optimise light, air and view, with care to avoid overheatingand glare, and the need for excessive mechanical systems tomaintain a comfortable environment.

The articulation of the roof form as a ser ies of irregular conesis designed to reduce the scale of this significant new publicbuilding to better relate to the fine grain of the historic city.

The distinctive roof cones are formed in solid laminated timberpanels that span between the eaves beam and a timber ringbeam at the top of each cone. The plinth, which varies in heightaround the perimeter, is clad in Forest of Dean Pennant stoneto match the paving to the public realm: the ochre streaks echothe golden cladding.

by Nick Hodges, Envelope Package Architect for Feilden Clegg Bradley Studios

Golden CloakThe copper alloy cladding was chosen to allow the use ofa single material to roof and elevations a golden cloakdraped over the form. The scale of the 600 x 600 mm tilesand the slight offset with which they are laid gives the im-pression of carapace of scales. As an architectural language,the copper shingles are articulated as thin expressedat the window reveals and soffits as 25 mm deep, with theremaining depth to the glazing finished with dark anodisedaluminium to match the curtain walling.

The shingles are intentionally overlapped rather than tightly

coursed to provide a natural element of variation thatallowed openings in the copper alloy to be more freely po-sitioned. It was felt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the dif ference in additionalmaterial was around 1 % and this was considered acceptablein terms of ease of working on site. More critically it was feltthat the coursing of the copper should align from the walls tothe roof cones, so that there was a feeling of continuity.

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Articulation of the metal fabric was developed in the

detailing of the material at corners, eaves and windowcills. A critical part of the material expression was toensure that it appeared seamless and that cover piecesor horizontal elements of gold that might break up theshingle pattern were avoided. The design team wereaided by the excellent copper installers who mocked-up a number of the key detail junctions (some shownhere) for discussion and exploration ahead of the startof their site works.

As the installations progressed to site, the installersidentified potential difficulties with particular gutter

junctions early enough for the design team to discusspractical solutions on site. These conversations weresupported by sketches and formal drawings, and test-ing where necessary. The quality of the copper alloyskin, as part of the overall finished building, is evidenceof how well the design and installation team workedtogether.

At nearly 12,000 m2 it would be easy for the sheervolume of such a striking material to be the definingcharacteristic but, by developing the details togetherwith a dedicated and skilled installer, the claddingbecomes more than simply distinctive. Instead, the

prominence of the material is embellished and refined:the subtleties of the golden cloak demonstrated in itscareful stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

Photos: Hufton+Crow; Feilden Clegg Bradley Studios; Martin Quest

ArchitectonicDetailing

of Copper

Alloy Shingles

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to appear thin, as a drape or[VWg^X!lî]VgZkZVai]^X`cZhh

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All horizontal changes of direction for both elevations and

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fully setting out the shingle pattern to key points on the

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Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing foldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

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30 COPPER ARCHITECTURE FORUM 34/20130 COP ER ARCHITECTUR F RU 34/201

The roof hip is subtly dif ferent to the elevation hip to

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From the outset, the roof intended to have a horizontal

break that gave a datum against the various pitches and

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SOLAR WAVESOne of Londons best-known public sector schools has been completely redeveloped with

a single, state of the art building replacing a sprawling campus. The competition-winning

design takes an innovative, highly architectural approach to controlling and optimising

sunlight with its brise soleil arrangement of copper, brass and bronze fins.

Opened in 1958, Holland Park School became the flagship forcomprehensive education in England, known as the social-ist Eton due to its impressive reputation. But by 2004, whenan architectural competition for redevelopment was insti-gated, the schools existing buildings were beyond economicrepair and failed to meet modern demands, with inflexibleaccommodation and tortuous circulation. The greatest chal-lenge for architects Aedas was to design a new building to bebuilt on the original site while the existing school remained inoperation and that allowed part of the site to be sold to fundthe construction but also left more usable external spacethan before.

Two Halves UnitedThe result is a new block, approximately 100 m long and30 m wide. A large, 7 m deep basement extends across theentire building footprint to a depth of 7 m, accommodating thesports hall and swimming pool as well as kitchen and dining

areas. The above-ground, five storey parts are conceivedas two distinct halves united by a central atrium stretchingits full length and linked by a series of walkways. The easthalf contains the more conventional teaching spaces andis constructed using in-situ concrete columns and flat slabconstruction. The west half is a more dramatic, steel A-framestructure enabling the larger teaching and assembly rooms.This structure then straddles the larger spaces within thebasement to create clear-span spaces.

Maximising natural lighting deep into the building with exten-sive glazing, while controlling glare and solar gain, provedcentral to the architects strategy for design of the facades.But reducing visual impact of the long block on its sensitivesurroundings close to Holland Park and with mature treeson site was also impor tant. The east elevation is finishedwith a gently undulating stainless steel mesh, passing overa central copper canopy signalling the main entrance.

by Chris Hodson

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Dynamic Three-dimensional Character

In contrast, the west facade is defined by a series of verticalfins in pre-oxidised copper, brass and bronze which take on astrong, dynamic three-dimensional character. The architectfor the project, Peter Runacres, explains the development oftheir design: Due to the buildings orientation, this eleva-tion receives more solar gain than the east side and vertical

fins are more effective in controlling glare while maximising

daylight. The initial design had an arrangement of broken up,

smaller fins but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and found that

this arrangement created too much visual mass so, instead,

A copper canopy announces the main entrance on the east faade.

We selected the mix of copper and its alloys to give a natural richness, with timeless yetcontemporary qualities, as well as to deliver longevity and minimal maintenance.

P h

t

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B

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Viewed obliquely, the curved copper and alloy fins generate sinuous wave forms.

settled on full-height fins set at three - apparently random

spacings, continuing over the roof. A soft, sine curve was

developed for the fin profiles, which gives an organic feel

reflecting the mature trees both on the site and facing this fa-ade from the adjacent Holland Park. We selected the mix of

copper and its alloys to give a natural richness, with timeless

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad fins are thin in section,minimising the impact on views from inside the building. Buttheir depth acts as an effective barrier to glare and unwantedsolar gain from afternoon sunshine. Viewed from an angle,the fins come together to generate a stunning effect of dy-namic sinuous forms across the faade.

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The brise soleil fins appear randomly spaced and continue over the roof.

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

Photos: Aedas/Daniel Hopkinson (except where stated otherwise)

The thin external fins have minimal impact on views towards Holland Park.

Section

Site Plan

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Improving the environmentalperformance of products forconsumers and the buildingconstruction sector is importantto the copper industry. EU initi-atives, such as the SustainableConsumption and Productionaction plan, emphasise greaterresource efficiency and thecommercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-front of industries committedto reducing the environmentalimpact of its operations. Today,one third of the energy consump-tion of modern European coppermanufacturing is used to operate envi-ronmental protection measures.

Recently, the copper industry has de-veloped an environmental profile whichcovers around 90% of the EUs produc-tion of both copper metal and copper

products. A critical review by externalexperts has confirmed the high qual-ity, consistency and correctness of theresults. Based on ISO 14040/44, all as-pects of ore extraction, the productionof other raw materials, energy supplyand the production of the metal itselfare detailed. As such, it captures the fullimpact of the so-called cradle-to-gateapproach and shows where the greatestenvironmental impacts occur and whereimprovement actions would deliver themost benefits.

Whilst this profile is based on a cra-dle to-gate assessment, many of thebenefits to society derived from copperwill be found during the downstreamuse phase. The copper industry pro-vides support to those wishing to usethe LCI data in their own Life Cycle As-sessments including the use phase andend-of-life phases.

Only about 20% of the total impact aris-es from EU copper production sites,influenced mainly by technology, lo-cal authority permit requirements, thesource of energy supplying the produc-tion site and a companys own standards.Geologically, copper is associated with

other valuable metals, such as molybde-num, silver and gold. Since their naturalconcentrations are much lower, the oreneeds careful treatment. Modern miningtechniques require less energy than inthe past, making the recovery of smallamounts of metal possible.

Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-tecture has evolved from an add-on to anexpectation and societys understand-

ing of what a sustainable building is hasbecome more complex. Sustainablebuilding rating systems have respondedto this shift by expanding their focusfrom operational impacts towards amore holistic life cycle approach.

To date, various green building ratingschemes exist. They differ in their ap-proach to considering building product

sustainability in the context ofthe whole building. LCAs areprovided by the copper industryto represent the ecological per-formance of copper products(e.g. sheets, tubes and wire ofcopper) in a transparent way.Moreover, the copper industryhas developed EnvironmentalProduct Declarations (EPD)

based on LCAs for commu-nicating reliable quantitativeenvironmental data for prod-ucts based upon independentlyverified calculations.

Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification isa useful starting point for assessing thesustainability of architectural materialsand provides independent endorsementof the low environmental impact of both

copper roofing and cladding. It rates awide range of complete building elementsfrom A+ to E, using LCA techniques.Ratings form an important part of theCode for Sustainable Homes and otherassessment tools such as BREEAM.

Various complete wall or roof build-upsare considered, each including materialsfor structure, insulation, moisture con-trol and finishes. All the copper-finishedroofs and most copper wall claddingspecifications included achieved A+ orA summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,without affecting the copper skin itself.Coppers longevity is a major strength,resulting from its complex patinationprocess that ensures extreme durabil-ity with no maintenance and resistanceto corrosion in virtually any atmosphericconditions.

by Nigel Cotton and Irina DumitrescuCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performance

of multiple applications in energy, transportation and buildings.

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But despite these high summary ratings,coppers life-span is one aspect that theGreen Guide simply underestimates. Itincludes unexpectedly low replacementintervals for copper cladding and roof-ing generally just 45 years that arenot justified either by experience or byscience. Many historic copper roofs have

survived for hundreds of years and some

are known to have performed well forover 700 years.

Below are some examples of gainingcredits in green building rating schemes,but there are many more opportunitiesto use copper to gain credits in buildingrating schemes not least in plumbing, re-

newables, heating and cooling.

The UKs Environmental AssessmentMethod for Buildings (BREEAM 2011)Credits are available for using specifi-cations for key building elements (e.g.external walls and roofs) with low embod-ied environmental impact as measuredby the Green Guide to Specification.Copper product manufacturers provingthat their product is better than the aver-age in terms of embodied impact of the60 year study period, because of reduced

impact in manufacture, reduced mate-rial or increased durability can obtainproduct specific Green Guide ratings byundertaking certification to BRE GlobalsEnvironmental Profiles Scheme.

For the responsible sourcing of ma-terials, credits can be achieved whenconstruction materials at least 80 % ofmaterials used - are responsibly sourced.Points are awarded depending on the type

of certification available for the materialsused in each building element.

The USs Leadership in Energy andEnvironmental Design (LEED)This system developed by the US GreenBuilding Council addresses: Sustain-able Sites; Water Efficiency; Energy &

Atmosphere; Material & Resources; In-door Environmental Quality andInnovation & Design. Life-cycleis not part of the current version(LEED 2009) but it will be incor-porated into the next one (LEEDV4) that will assess the buildingslife cycle impact reduction. LEEDcategories where copper cancontribute include:

MR Credit 1 Building reuse:credits can be achieved if build-

ing products can be reusedduring renovations, which is usu-ally possible due to the durabilityof copper.

MR Credit 2 Diversion fromlandfill: credits apply to end of

life of the building and its materials. Sinceit encourages the recycling of productsinstead of their disposal, credits can beachieved if materials such as copper areused in buildings which have a high valueas secondary materials and high recy-cling rates.

MR Credit 4 Recycling content: creditsare given if the recycled content of usedmaterials in the construction is high. Usu-ally, this is the case for copper products.

MR Credit 5 Regional materials: i.e.extracted, processed and manufacturedregionally. If copper products from re-gional processing or manufacturing sitesare used in buildings, additional creditscan be achieved.

SS Credit 7 Heat island effect: creditsare awarded depending on the Solar Re-

flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roofor cladding, manufacturers can providean initial SRI and one 3 years after instal-lation.

The German Sustainable BuildingCouncil (DGNB)This rating scheme addresses the threepillars of sustainability. It doesnt as-sess individual measures, but the overall

performance of buildings and an LCA caculation are mandatory.

ECO1.1 Life cycle costs (LCC): the manufacturing costs of faade and roof havto be considered. No maintenance costduring use phase. Please note, the end olife scenario is not part of the LCC calculation.

SOC1.6 Exterior quality: this criterioevaluates the design of outdoor areas.The goal of the criterion is to maximizthe roof area by integration of technicastructures in the building and reductioof fascia/parapets. Special outdoor area

(balcony, loggia, terraces, etc.) gain morpoints in this criterion.

TEC1.6 Ease of dismantling and recyclingcopper is a non-toxic, recyclable material, which is a requirement for a gooevaluation of this criterion. The effort odismantling and sorting is low and thvalue is high, which helps ensure the reuse of copper metal at the end of its life.

To learn more about the copper Life Cycl

visit our dedicated website www.copper

life-cycle.org. The site provides importan

information on aspects related to the usof life cycle data and the methodologie

used for copper, and also provides a lin

for practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads theWay in Copper Recycling.

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COPPER TAKES CONTROL

The Prfecture du Rhne building designedby architects GARBIT & BLONDEAU is theadministrative centre for the Rhne depart-ment, demanding a strong public presence. Itreplaces a previous building on a corner plotin the central Third Arrondissement of Lyon,the departments capital city. Its plan-form isstraightforward with six storeys plus a set-back penthouse and external roof areas, anda 2-storey basement.

Copper Clad Volumes

The two main facades are articulated asdistinct, copper-clad volumes aligning withthe typical Mansard-roofed blocks eitherside. The volumes are separated on the westfront by an inset cloak of suspended stainlesssteel mesh reaching up to the penthouse andsignaling the buildings entrance. Copper wasthe architects first choice and its sustainable

credentials a consideration. Opaque claddingis generally pre-oxidised copper, selected forits more regular brown shade than mill finishmaterial.

The defining external features of the newbuilding are vertical shutters clad in perfo-rated, pre-oxidised copper. In conjunction

This new, civic building in the southern French city of Lyon is characterisedby rotating copper brise soleil shutters within its deep facades, controlling

solar gain and optimising natural lighting.

with the suspended stainless steel meshscreens at street level, the perforated cop-per gives transparency but the motorised,pivoting shutter arrangement also animatesthe facades. This brise soleil arrangementallows direct response to external condi-tions, controlling solar gain and glare, whilstmaximizing potential for daylighting deepinto the building. This strategy is thoroughlysustainable in terms of both environmentalperformance and choice of materials.

West Elevation

by Chris Hodson

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SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

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Environmental Control with CopperThe external copper shutters each pivot centrally and areoperated in groups by electric motors, enabling local re-sponse to external conditions in combination with openingwindows for ventilation. Even when closed, the shutters allowfiltered natural light into the building and, at night, internal

lighting transforms the building when seen from outside.The purely architectural impact of the design can be judgedby comparison with the new facades before the brise soleilwere installed.

Vertical faade sectionshowing stainless steelmesh below perforatedcopper brise soleil.

Motorised pivoting coppershutter arrangement.

Vertical detail ofpivoting coppershutter.

Brise soleilbuild-up.

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ARCHITECTURALAWARDS LAUNCH

Entries 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 entrJes mVst Jncorporate facaEes roomnH or otIer arcIJtectVral

elements of copper or copper alloys. Any scale or type of projectcan Ce entereEo from major lanEmarLCVJlEJnHs to moEest scIemes.

ArcIJtects anE crJtJcsEraXn from a panel JnclVEJnH some of tIe

most JnnVentJal EesJHners Jn &VropeXJll jVEHe all tIe entrJes on

tIeJr arcIJtectVral RValJtJes from HrapIJc sVCmJssJons.

Final deadline for receipt of entries: 31st May 2013

'or more JnformatJon on enterJnH tIe AXarEs anE on preWJoVs

aXarEs entrJes anE resVltsWJsJtwww.copperconcept.org/awards

Awards Ceremony

and Exhibition of all projects

will take place in partnership

withBATIMAT

on 04 08 November 2013

in Paris Nord Villepinte

Visit us at:

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