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Ptoimittaja: Robert Pinter

Toimittaja: Chris Hodson, RIBA

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

Shkposti: [email protected]

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

Julkaisija: Nigel Cotton, ECI

Layout ja tekninen tuotanto: Jorma Naula Grafisk Design, Ruotsi

Painopaikka: Strlins Grafiska AB 2013, Ruotsi

Toimitusraati:Birgit Schmitz, De [email protected]

Kazimierz Zakrzewski, Pl [email protected]

Marco Crespi, It [email protected]

Nicholas Hay, UK [email protected]

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux [email protected]

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

Robert Pintr, Hu, Cz, SVK [email protected]

Vadim Ionov, Ru [email protected]

Copper Architecture Forum 2013

PKIRJOITUS

Copper Architecture Forum 34, toukokuu 2013

Copper Architecture Forum -lehti kuuluu European Copper In Architecture Cam-paign -kampanjaan. Sit julkaistaan kahdesti vuodessa, ja sen levikki on 25 000.

Lehte jaetaan arkkitehdeille ja rakennusalan ammattilaisille kaikkialla Euroo-passa ja mys sen ulkopuolella seuraavilla kielill: englanti, espanja, italia, norja,puola, ranska, ruotsi, saksa, suomi, tanska, t ekki, unkari ja venj.

Vuonna 1995 ilmestynyt ensimminenKoppar Forum -lehti oli vain nelisivuinen.

MUUTOS JA JATKUVUUS

Aloitamme numeron hyvstelemll lehtemme toimituksen jttvn Lennart Engstrmin.Hn perusti Copper Forum -lehden 18 vuotta sitten ja on ollut avainroolissa kehittmsslehte Skandinavian arkkitehdeille suunnatusta nelisivuisesta ensipainoksesta nykyiseksinelikymmensivuiseksi ja Euroopan laajuiseksi lehdeksi, jonka levikk i on 25 000 kappalet-ta ja jota julkaistaan 13 kielell. oimituksessamme on osattu arvostaa Lennartin viisaut-

ta, intohimoa kupariarkkitehtuuria kohtaan sek lempe mutta vakuuttavaa luonnetta.yskentely Lennartin kanssa on ollut aina miellyttv.Viimeisten 33 numeron aikana on tehty mys muutoksia, kun sek lehden ulkoasua

ett sen sislt on paranneltu vastaamaan arkkitehtien vallitsevia mielenkiinnon kohtei-ta. Copper Architecture Forum -lehden alkuperiset ydinarvot ovat kuitenkin pysyneetsamoina: innostavan nykyarkkitehtuurin esittely sek kuparia ja kupariseoksia hydynt-vn muotoiluun liittyvien ajankohtaisten aiheiden julkaiseminen.

Esittelemme samalla lehden uuden ptoimittajan, Robert Pinterin, sek uudentoimittajamme, arkkitehti Chris Hodsonin. Heist molemmat ovat kuuluneet toimituk-seemme jo jonkin aikaa, ja molemmilla on runsaasti kokemusta arkkitehtuurista ja raken-tamisesta. Koska toimittajamme on mys arkkitehti, voimme peilata tarkasti arkkitehti-lukijoidemme mielenkiinnon kohteita ja kehitt laajempaa yhteistyt heidn kanssaan etenkin yhteistysivustomme kautta osoitteessa copperconcept.org.

Copper Architecture Forum -lehden toimitus pyrkii lytmn uusia trendej japrojekteja yhdistvi linkkej. ss numerossa tulee esille useita teemoja. Yksi teemoistaon kuparisten julkisivuratkaisuiden lukuisat kyttmahdollisuudet. Auringon varjoja javalon kulkeutumista korostavia elementtej on kytetty useissa rakennuksissa. Ratkaisutvaihtelevat reiitetyist kuparilevyist ja -verkoista muotoiltuihin messinkiristikkoihin javeistosmaisiin kaareviin siivekkeisiin. Joissain suunnitelmissa kupari nyttytyy tysinmodernina materiaalina, jota kytetn hydyksi vanhojen usein mys historiallisten

ja suojattujen rakennusten korjausrakentamisprojekteissa. Lisksi kupari saa julkisenroolin suurissa rakennuskohteissa, joiden myt muokataan mys ympriv kaupunki-ymprist.oivomme, ett nautit tmn numeron tarjoamasta arkkitehtonisen muotoilun monimuo-toisuudesta ja laadukkuudesta.

oimitus

Lennart Engstrm, Copper Archi-tecture Forum -lehden perustaja

ja emeritusptoimit taja.

Kansi: Taiteen ja luovuuden keskus,Guimares, Portugali (sivu 14).Valokuva: Joo Morgado

Rekisteridy Copper Architecture Forum -lehden tilaajaksi copperconcept.org

Katsele lehden aikaisempia numeroita copperconcept.org

Ota yhteys toimitukseen [email protected]

Lataa projektisi sivustolle copperconcept.org

Ilmoittaudu European Copper in Architecture Awards -kilpailuun copperconcept.org

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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

SISLT

2 Muutos ja jatkuvuus pkirjoitus

49 Kupari kunniapaikalla Gteborgin historiallisen postirakennuksen muutohotelliksi ja kaupungin uudeksi maamerkiksi

1011 Autoteollisuuden arkkitehtuuria rakennuksen uudistusprojekti nostiautot aitiopaikalle Moskovassa

1213 Kansanperinnett uudistamassa Normandian maalaisarkkitehtuurinuusi kupariverhoiltu ilme

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

KUPARIKUNNIAPAIKALLARuotsissa Gteborgin Drottningtorget-aukiolla 20

vuoden ajan kyttmttmn ollut postirakennus

muutettiin 500 huoneen Clarion Hotel Post -hotelliksi

nykyaikaisilla lisosilla, joissa kuvastuu eloisan kau-

pungin henki.

Gteborgilainen arkkitehti Ernst Torulf suunnitteli alkuperi-sen rakennuksen vuosina 19181925 manierismin hengesskyttmll tiilt ja kivikoristeita sek liuskekivist tehty

ja kuparisilla yksity iskohdilla koristeltua mansardikattoa.Katto on ajan myt patinoitunut vihreksi. Postirakennus onnykyisin suojeltu kansallismonumentti. Arkkitehtien Semrn& Mnssonin yksinkertaisilta vaikuttavissa suunnitelmissaoli sulkea alkuperinen hevosenkengn muotoinen rakennusuudella lisosalla ja kytt hydyksi vanhan postirakennuk-sen kuormauspihaa. Olemassa oleva rakennus kunnostettiin

ja muutettiin uuteen kytttarkoitukseen sopivaksi senalkuperist ilmett, yksityiskohtia ja suojattua asemaakunnioittaen. Loput pihatilasta otettiin kyttn rakentamal-la alimpiin kerroksiin uusia huoneita. Lasikaton kautta valopsee tulvimaan yleisiin tiloihin.

Kaupungin uusi maamerkki

Pihan sulkemisella saatiin luotua uusi, avonainen julkisivurakennuksen itpuolelle kareplatsen- ja Odinsgatan-ka-duille. Lisosa muodostuu kahdesta siivest, joista toinen on

verhoiltu kuparilla ja toinen liuskekivell. Samoja materiaa-leja kytettiin mys vanhassa postirakennuksessa. Lisosan

ja alkuperisen rakennuksen rystslinja on samalla tasolla.Siipien yhtymkohdassa kohoaa yhteninen torni, jota erottaapystysuuntainen lasikaistale. 13-kerroksisesta tornista ontullut kaupungin uusi maamerkki, ja siell sijaitsee myshotellin toinen sisnkynti. Kultaisella mosaiikilla koristeltuylellinen psisnkynti on nykyisen rakennuksen lnsipuo-lella Drottningstorget-aukiolla.

teksti Chris Hodson

Uusien lisosien ikkunoissa noudatetaan vanhaa vaakasuun-taista linjaa, mutta pystysuunnassa ikkuna-aukkojen vanhaalinjausta on rikottu. Uusi julkisivu muodostuu nelinmuotoisis-ta levyist, jotka on peitetty kuparilevy ill tai liuskekivill seksaumattomalla lasituksella. Asettelu nytt sattumanvarai-selta. Arkkitehtien mukaan selken ja silen juovikkaaseenpintaan on haettu vaikutteita Helsingin Laajasalon kirkosta jasen vaakasuorista esipatinoiduista kuparikaistaleista.

Hotellissa pystysuuntaisuus nkyy levyjen liitoksissa, ja sitkorostavat vrimuutokset risteviss, vaakatasossa olevissakuparilevyiss. Kulmissa on perinteisten kulmakivien (nh-tviss alkuperisess rakennuksessa) muotoa jljittelevtnykyaikaiset ohuet kaistaleet, joissa kupari ja lasitus yhdistyvtlevyjen paksuuden mukaan. Julkisivun kuviointi on jatkuvahuolimatta katolla olevasta aurinkoterassista ja avoimestauima-altaasta.

Valokuva: Lennart Hyse

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Alkuperinen rakennuksen julkisivu ja hotellin sisnkynti ovat keskusaukion puolella.

Valokuva: Krister Engstrm

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Suunnitelma, taso 13

Suunnitelma, taso 9

Suunnitelma, taso 3

Suunnitelma, taso 2

Suunnitelma, taso 1

(katutaso)

Valokuva:Semrn&

Mnsson

Valokuva: Krister Engstrm

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Runsaat ja elvt kuparipinnat

Arkkitehdit suunnittelivat julkisivun alusta

alkaen ohueksi rakenteeksi tai pllysverhoiluk-si. Toteutukseen kytettiin erillisi levyj, jotkaesivalmistettiin tehtaassa ja asennettiin paikanpll. Levyjen avulla saatiin aikaan raken-teellisista kerroksista erillinen verhoava sein.Nin voitiin hallita yksittisten levyjen muotoilunmonimutkaisuutta erikokoisia lasitusalueita jaerilaisia juovikkaita kuparipintoja koko julkisivunalueella. Tss kytettiin kolmea kaistalepituutta(200, 250 ja 300 mm) ja kolmea kuparin esipa-tinointisvy, jotka saatiin vaihtamalla vihrenvrin mr tummanruskealla taustalla. Nit

elementtej yhdistelmll saatiin aikaan runsas,elv kuparipinta.

Arkkitehti: Semrn & Mnsson

Kuparin asennus: Skandinaviska Glassystem AB

Kuparituote: Nordic Green Living

Valokuva: Chris

Valokuva: Lennart Hyse

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Lpileikkaus

Kunnallinen rooli

Clarion Hotel Post sijaitsee aivan Gteborgin keskustassaprautatieaseman ja suuren Nordstaden-ostoskeskuksenvieress. Uusi torni on saanut julkisen roolin kaupunginnkyvn keskipisteen, joka pyrkii yhdistmn toisistaanerilleen ajautuneita alueita. Se on ennen kaikkea samassalinjassa Odinsgatan-kadun kanssa, mik yhtenist kadun

nkym. Lisksi torni nousee vanhan postirakennuksenylpuolelle, ja se nkyy keskusaukiolta ja kaupungin muistatrkeist kohteista.

Valokuva: Chris Hodso

Mitttmt ympristvaikutukset

Gteborgin kaupungin ympristviranomaisten kanssakytiin suunnitteluvaiheessa keskustelua kuparipinnoiltavaluvan sadeveden vaikutuksista Gtajokeen. Kuninkaal-lisen teknillisen korkeakoulun professori Inger OdnevallWallinder toteutti ympristn seurantatutkimuksen, jonkamukaan jokeen mahdollisesti ptyvn kuparin mr jisi

erittin vhiseksi (160230 g). Kuparin ympristvaiku-tukset ovat nin ollen mitttmn pieni, ja kuparijmtjisivt lisksi todennkisesti kiinni rakennuksen lhelloleviin materiaaleihin. Rakennuksesta aiheutuvia kupari-pstj olisi mys mahdotonta tutkia joesta, jonka mukanakulkeutuu vuosittain 20 tonnia muuta kuparia. Tilannettavoidaan verrata siihen, ett 300 hotellin lheisyydessasuvaa ihmist nauttisi pivittin 2 mg kuparia sisltvnvitamiinitabletin.

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Professori Mnssonin haastattelu on luettavisskokonaan osoitteessa copperconcept.org.

HAASTATTELUChris Hodson keskustelee Clarion PostHotel-projektista Semrn & Mnssonarkkitehtitoimiston omistajan professori

Magnus Mnssonin kanssa.

CH: Miten pdyitte mukaan Hotel Post-projektiin?

MM: Rakennuttaja pyysi minua etsimn G-teborgin prautatieaseman lhistlt sijainti-paikan suurelle hotellille. Olin parhaillaansuunnittelemassa toista hotellia ja syventynytrakennustypologian maailmaan. Postira-kennus oli muutettu toimistorakennukseksi1980-luvun loppupuolella, mutta katsoessanisit ajattelin: tm ei ole toimisto vaan hotelli sen nki ikkunajaosta. Rakennuttaja hyvk-

syi ehdotukseni ja suostui loistokkaaseen pro-jektiin, jossa yhdisteltiin uutta ja vanhaa. Siiton nyt kulunut kahdeksan vuotta.

CH: Minklaisia haasteita tunnetun ja suoja-tun rakennuksen parissa tyskentelyyn liittyi?

MM: Aluksi jouduimme tietysti taistele-maan eri viranomaisten kanssa. Rakennus onsuojeltu Ruotsissa korkeimman luokituksenmukaan, joten jouduimme tekemisiin sekpaikallisten ett kansallisten viranomaistenkanssa, mik oli raskasta. Yksi lhtkohta oli,ett rakennuksen ulkokuorta ei saanut muut-taa milln tavalla.

CH: Vaikka teill on kolme muuta toimis-toa, kiinte toimipaikkanne on Gteborgissa.Poikkeaako lhestymistapanne normaalista,kun projekti toteutetaan nin lhell?

MM: oivottavasti ei. Ohitan tmn raken-nuksen kuitenkin pivittin, joten se on mi-nulle erityisen lheinen.

CH: Onko Post Hotel -hotellilla mielestnnesuuri julkinen rooli kaupunkisuunnittelunnkkulmasta katsottuna?

MM: otta kai. Ruotsin hallitus rakensi posti-rakennuksen itse asiassa kahden korttelin ko-koiseksi, vaikka niiden vlist olisi kuulunutkulkea tie. m esti kaupungin luonnollisenlaajentumisen itn. Raitiovaunujen ja muunliikenteen oli mahduttava rakennuksen vie-ress kulkevalle kapealle kadulle. Uusi kupa-rista ja liuskekivest rakennettu torni osoittaakaupungin uutta itosaa vanhasta keskustastakatsottuna. Lisksi se toimii keskipisteen,

joka sulkee itn pin kulkevan kadun ja par-haillaan hotellin eteen rakennettavan aukion.

CH: Liittyyk kuparilla ja liuskekivell ver-

hoiltuun torniin symboliikkaa?MM: Ei niinkn. Alkuperisess suunni-telmassa torni oli korkeampi, mutta paikal-listen viranomaisten takia sit jouduttiinmadaltamaan. st sa in idean korostaa mit-tasuhteita kyttmll kahta eri materiaalia.Ksittelimme niit mys eri tavalla. Liuskeki-vill peitetyn osan ikkunat ovat pienemmt janiit on vhemmn kuin kupariosassa, miklis rakennuksen massiivisuutta. Kupari-osassa materiaalin tuntu on ohuempi. Monetpienet erot innostavat tulkintoihin.

CH: Oliko kuparin ja liuskekiven kytlle

muitakin syit kuin viittaukset alkuperisenrakennuksen kattoon?

MM: 1920-luvulla paikallisuus nkyi ka ikes-sa. Se oli hyvin luonnollista, ja ihmiset olivatylpeit kuparin kaltaisista materiaaleista. Ha-lusimme kehitt tt perint korostamallauusia osia materiaalilla, joka mahdollisti jat-kuvuuden silymisen. Nen uuden raken-nuksen vanhan rakennuksen nuorena suku-laisena, jolla on sama geeniperim. Kuparillaoli trke rooli suunnitelmassamme.

CH: Kytitte kuparia mys eri levyisin ka

taleina ja patinointisvyin. Minklaistarkoituksia thn liittyi?

MM: Kyll, olen hyvin tyytyvinen tuloseen. apa sopi mainiosti kuparipintojtystmiseen. Itse asiassa kuparilevyjen mutoilussa seurattiin leikattujen liuskekivien kkoja, mik toi pintoihin samanlaista rakenetta. Levyjen horisontaalisuus tuo mieleperinteiset tiilirakennukset, joita on nhtvl kaikkia lla kaupungissa.

CH: Sen lisksi, ett johdatte arkkitehtitmistonne nelj menestyv haaraa, toimimys opettajana. Miten rentoudutte, kun s

hen on mahdollisuus?

MM: Elmni on tasapainottelua, eik vpaa-aikaa ole paljon. Piirrn kuitenkin ainkun se on mahdollista.

Hotellin itpuolelle on suunnitteilla uusi aukio. Torni on hotellille kulkevan kadun kiintopiste.

Valokuva::Semrn&

Mnsson

Uusi kuparista ja liuskekivest rakennettu torni osoittaakaupungin uutta itosaa vanhasta keskustasta katsottun

Valokuva: Chris Hodson

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Euromotors pyysi meit luomaan autojen huoltokes-kukselle uuden yrityskuvan, joka kuvastaisi yrityksentuotemerkin trkeimpi ominaisuuksia: yhtenisyytt,

luotettavuutta ja korkealaatuista palvelua. Rakennus sijaitseevilkkaan tien varrella, mik inspiroi arkkitehtonista konsep-tiamme. Ohikulkevien autojen dynamiikka niiden liike, valot

ja kiiltvt metallipinnat nkyvt heijastuksina rakennuksenjulkisivussa. Aivan jalankulkutien vieress olevaa julkisivuaoli kehitettv kaksiulotteisena pintana, mutta mukaan tuotiinmys kolmiulotteisia piirteit ja horisontaalista liikett.

AUTOTEOLLISUUDEN

ARKKITEHTUURIA

Materiaaliksi valittiin tummanruskea esihapetettu kupari.Tm luotettava jalometalli korostaa Euromotorsin asemaa japalveluperiaatteita korkealaatuisten autojen huollossa. Reiite-tyill kuparilevyill rikastutettiin rakennuksen ty yli, ja niidenavulla ulkopuolella liikkuville ihmisille luodaan illuusio muut-tuvasta pinnasta. Pivsaikaan reiitykset tuovat julkisivuunerityist syvyytt valojen ja varjojen ansiosta. Iltaisin dynaa-minen vaikutus korostuu pinnalle heijastuvien autonvalojenkautta. Lisksi levy jen lpi loistavilla erikoisvaloilla luodaanhorisontaalisia kuvioita, jotka muistuttavat autojen ajovaloja.

1900-luvulla rakennettu ruma neuvostoaikainen rakennus

muuttui reiitetyn kupariverhoilun ansiosta autoteolli-

suutta kunnioittavaksi uudenlaiseksi arkkitehtoniseksi

kohteeksi. Aluksi IND Architects -toimiston Pavel Khegay

ja Amir Idiatulin kertovat suunnitelmastaan.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Valokuva:AndreyMarshal

Technical Designers and Installers PacificStroy

-yrityksen Andrey Kulagin kertoo suunnitelman

toteuttamisesta.

Tm oli ensimminen Venjll toteutettu projekti, jossajulkisivussa kytettiin takaapin valaistua reiitet tykuparipaneeliripustusta. Suunnitelman tekninen toteut-taminen, arkkitehtien piirustusten ja 3D-mallinnustentulkitseminen asettivat haasteita etenkin valojen, tukien ja

muiden elementtien piilottamiseen. Luonnonmateriaalien,kuten kuparin, kanssa t yskentely inspiroi ja tuo mukanaanerityist vastuuntuntoa. Asennuksen aikana ongelmiltavltyt tiin, sill jokainen yksityiskohta oli otettu huomioon jakuvattu teknisiss asiakirjoissa.

Metallilevyjen reiitys vaikuttaa levyjen lujuuteen, minkhuomioimme tekemll reiki akkiruutukuvion mukaan

ja kuparin paksuutta stmll. Levyjen reunat jtettiinreiittmtt, jotta ne voitiin kiinnitt ruostumattomastaterksest valmistettuihin tukiin kupariniiteill. Valmis

julkisivu kuvastaa Euromotorsin liiketoimintankemyst jaluo mielikuvia autoista ja korkealaatuisesta insinritaidos-ta. Reiitetty kuvio tuo mieleen kerilyauton jhdyttimen, janiittiliitokset muistuttavat lentokoneen pintaa.

Venjll ja muissa maissa autojen huoltokeskukset ovatusein tylsi teollisuusrakennuksia, mutta Euromotors erot-tuu ainutlaatuisen kuparisen arkkitehtuurinsa ansiosta.

Alkuperisen rakennuksen eloton julkisivu vaih-dettiin eloisaan, vivahteikkaaseen reiitettyy nkuparipintaan.

Valokuva: Andrey Marshal

Arkkitehti: IND ArchitectsKupariverhoilun suunnittelu ja asennus: PacificStroy (KrovExpo)Kuparituote: Nordic Brown

Valokuva: Evgeniy Golytk

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Pohjoisranskalaiseen Gournay en Brayn maalaiskaupunkiin

rakennettu uusi kulttuuri- ja mediakeskus on saanut vai-

kutteita paikallisten rakennusten muodoista, jotka tuotiin

nykyaikaan liuskekivipintojen ja kuparilevyill peitetyn

lasituksen avulla.

Rakennus koostuu kahdesta erillisest siivest, joita yhdistkeskell oleva vastaanottoaula. 65 metrin pituisessa itsiivesson aikuisten ja lasten multimediakirjastot, ja pidemmss 75 met-rin pituisessa lnsisiivess on sek musiikki- ett tanssikoulu.Arkkitehdit pyrkivt suunnit telemaan tontille nykyaikaisen raken-

nuksen, joka sulautuisi sek sen luonnonympristn (puutarhat,kujat ja kiviseint) ett rakennettuun ympristn (perinteisetrakennukset ja suojarakennukset). Erilaiset kulttuuritilat voidaannhd juurina, jotka yhdistyvt vastaanottoaulassa. Aulan lasituk-sen ansiosta vierailijat saavat nauttia vihrest ympristst, jotakorostaa kahden siiven vliin jv villi kukkaniitty.Olemassa olevien rakennusten jyrkk harjakattoprofiili kuvas-tuu uudessa rakennuksessa tosin nykyaikaisuus tulee esiinpurppuran svyisiss liuskekivipinnoissa ja lpinkyviss esiha-petetuissa kupariverkkolevyiss. Rakennuksen sisnkynti onperinnetaloa jljittelevss ulokkeessa, joka on niin ikn peitettykupariverkolla.

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

Kuparituote: TECU Oxid

Valokuvat: Luc Boegly

teksti Chris Hodson

KANSANPERINNETTUUDISTAMASSA

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A Platformfor Arts & Creativity

A 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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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

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Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

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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

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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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 United

The 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.

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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 Cycle

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 the

Way 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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