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Forside: Plattform for kunst og krea-tivitet, Guimares, Portugal (side 14).

Bilde: Joo Morgado

Sjefsredaktr: Robert Pinter

Redaktr: Chris Hodson RIBA

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

E-post: [email protected]

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

Utgiver: Nigel Cotton, ECI

Layout og teknisk produksjon: Jorma Naula Grafisk Design, Sverige

Trykk: Strlins Grafiska AB 2013, Sverige

Redaksjonsgruppe:

Birgit Schmitz, De birgit.schmitz@copper alliance.deKazimierz 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@copp eralliance.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 av den kontinuerlige kampanjenEuropeisk kobber i arkitektur. Magasinet har et opplag p 25.200 ogutgis to ganger i ret.

Magasinet leveres til arkitekter og byggesakky ndige i hele Europa

p engelsk, tsjekkisk, dansk, finsk, fransk, tysk, ungarsk, italiensk,norsk, polsk, russisk, spansk og svensk.

LEDERE

ENDRING OG KONTINUITET

Vi begynner denne utgaven med ta et varmt farvel med Lennart Engstrm, som gr avmed pensjon fra redaksjonen vr. Han startet Copper Forum for 18 r siden, og har spilten sentral rolle i utviklingen av magasinet siden den frste utgaven p fire sider rettet motskandinaviske arkitekter, frem til dagens frtisiders, alleuropeiske magasin som utgis i 25000 eksemplarer p 13 sprk. Alle v i i redaksjonen har verdsatt hans kunnskap og liden-

skap for kobber i arkitektur og hans forsiktige, men overbevisende vremte. arbeidemed Lennart har a lltid vrt gy.Vi har naturligvis utfrt endringer i lpet av de siste 33 utgavene, med kontinuerlige

forbedringer av bde utformingen av magasinet og innholdet, for gjenspeile arkitektenesaktuelle interesser. Men Copper Architecture Forums opprinnelige kjerneverdier vedvarer: presentere inspirerende, moderne arkitektur, sammen med aktuelle saker som berrerdesign med kobber og legeringer.

Vi vil ogs benytte anledningen til presentere vr nye sjefsredaktr Robert Pinter,og vr nye redaktr, arkitekt Chris Hodson. De har begge vrt en del av redaksjonen enstund, og har masse erfaring med kobber i arkitektur og konstruksjon. Med en arkitektsom redaktr kommer magasinet til speile lesernes interesser nye og utvikle et strreengasjement spesielt via partnernettstedet vrt copperconcept.org.

Nr vi redigerer Copper Architecture Forum, ser vi etter nye trender og fellestrekk

mellom prosjekter. I denne utgaven trekker vi frem en rekke temaer. For det frste er demange mulighetene med bruken av fasadeelementer i kobber for kombinere solskjer-ming og lystransmisjon eksemplifisert i flere bygninger. Lsningene spenner fra perforertekobberskjermer og trdnetting til gitter av profilert messing og skulpturelle, buede finner.Noen planer markerer ogs kobber som et gjennomfrt, moderne materiale som kjenne-tegner moderne tiltak for fornye eldre bygninger ofte historiske og med fredet status.il slutt tar kobberet ogs p seg en borgerlig rolle, der store prosjekter bidrar til utformeet bredere bymilj.

Vi hper du liker mangfoldet og kompetansen i den arkitektoniske utformingensom vises i denne utgaven.

Redaksjonen

Abonner p Copper Architecture Forum copperconcept.org

Vis tidligere utgaver copperconcept.org

Ta kontakt med Redaksjonen [email protected]

Last opp prosjektet ditt til nettsiden copperconcept.org

Delta i European Copper in Architecture Awards copperconcept.org

Lennart Engstrm, grunnleggerog redaktr emeritus i CopperArchitecture Forum.

Den frste utgaven av Copper Forumi 1995 hadde bare 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

INNHOLD

2 Endring og kontinuitet redaksjonens kommentar

49 Klassisk kobber forvandling av Gteborgs historiske postkontortil et landemerke med en borgerlig rolle

1011 Arkitektur i bilindustrien en hyllest til bilen med en fornyet bygningi Moskva

1213 Gjenoppfinning av det folkelige en ny vri p arkitekturen i landligeNormandie, omkranset av 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

KLASSISKKOBBEREtter ha sttt tomt i 20 r, har det sentrale Drott-

ningtorget Post Kontorbygg i Gteborg blitt forvandlet

til et 500-roms Clarion-hotell, med moderne tillegg

som gjenspeiler ambisjonene i denne pulserende

byen.

Den opprinnelige bygningen ble designet mellom 1918og 1925 av den gteborgske arkitekten Ernst Torulf i enmanieristisk, klassisk stil, ved bruk av murstein med stei-nutsmykninger, og mansardtak av skifer med detaljeringi kobber, som med tiden har blitt patinert. Postkontoret ern fredet som nasjonalmonument. Arkitektene Semrn& Mnssons utrolig enkle strategi var lukke igjen gapeti det opprinnelige, hesteskoformede planet med et nyttbyggtillegg, og g innover for oppta den gamle lasteplas-

sen til postkontoret. Den eksisterende bygningen har blittrestaurert og tilpasset den nye bruken, samtidig som vi harrespektert den opprinnelige karakteren, detaljeringen ogden beskyttede statusen. Resten av grden ble ogs fyltmed nye soverom p lavere niver, og et glasstak lar lysetflomme over of fentlige omrder.

Et nytt landemerke i byen

Operasjonen med lukke grden inn skapte en ny, pen,offentlig fasade p bygningens stside, som vender motkareplatsen og Odinsgatan. Utfyllingen fortsetter fra hverside en fly kledd i kobber, den andre i skifer, de samme

materialene som ble brukt p det gamle postkontoret ogtilpasser seg det opprinnelige takskjegget. Der flyenemtes, stiger de opp sammen som to monolit tiske former,adskilt av en vertikal glassflis. Det 13 etasjer hye trnetutgjr et nytt landemerke for byen, og signaliserer ogs endaen inngang til hotellet: hovedinngangen, som markeres av enoverddig gullmosaikk, beholdes p den vestlige fasaden avden eksisterende bygningen mot Drottningtorget, som er etoffentlig torg.

av Chris Hodson

De nye tilleggene respekterer og reflekterer det horisontalerutenettet av de gamle vinduene, men bryter opp den enklevertikale justeringen av pningene. Nye fasader ses somfirkantede paneler med horisontale kobberstriper eller skiferog smlst innfelte glassruter, tilsynelatende tilfeldig plas-sert. Iflge arkitektene ble denne skarpe, flate, tverrstr ipedeoverflaten delvis inspirert av Lajasalo-kirken i Finland, somer kledd i horisontale striper av ferdigpatinert kobber.

Men her er vertikaliteten gjeninnfrt av panelkryssene, ogfremhevet av endringene i farger av mtende, horisontalekobberstriper. Hjrnene er uttrykte med en moderne vri ptradisjonelle, vertikale hjrnesteiner (som p den opprin-nelige bygningen) i en tynn stripe tykkelsen p panelene som enkelte steder innlemmer innfelte vinduer blantkobberet. Fasadenettet forblir uavbrutt over hele bygningen,til tross for en solterrasse p taket og et pent basseng medutsikt over Gteborg.

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Den opprinnelige byggfasaden og hotellets inngang mot et torg.

Bilde: Krister Engstrm

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Plan niv 13

Plan niv 9

Plan niv 3

Plan niv 2

Plan niv 1

(gateniv)

Bilde:Semrn&

Mnsson

Foto: Krister Engstrm

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Rike og levende kobberoverflater

Fra begynnelsen av v ille arkitektene at de nye

fasadene skulle vre av en tynn konstruksjon, enpapiraktig kledning. Lsningen innebar diskretepaneler, hvert enkelt ferdigprodusert p fabrik-ken og deretter montert p stedet for danne enutvendig gardinmur etasjestrukturen. Dette tilloen tett kontroll av kompleksiteten i utformingen ade individuelle panelene i den generelle fasadeut-forming, med forskjellige strrelser p innfelteglass og en variert, tverrstripet kobberoverflate.Denne ble laget av kobber i tre bndhyder 200,250 og 300 mm og tre forskjellige intensiteter avferdigpatinert kobber, ved variere mengden av

grnt over den mrkebrune bakgrunnen. Kombi-nasjonen av disse elementene tillot utformingen arike og levende kobberoverflater.

Arkitekt: Semrn & Mnsson

Kobbermontr: Skandinaviska Glassystem AB

Kobberprodukt: Nordic Green Living

Bilde: Chris

Bilde: Lennart Hyse

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Del

Bilde: Chris Hodson

En borgerlig rolle

Clarion Hotel Post har en sentral beliggenhet i Gteborg by,rett ved sentralstasjonen og det store kjpesenteret Nord-staden. Det nye trnet svarer med en borgerlig rolle somet klassisk, urbant fokuspunkt som binder sammen akserp tvers av byen, som lenge har vrt usammenhengende.Det ligger tydeligst p linje med Odinsgatan, og stenger

for utsikten ned denne rette gaten. Det rager ogs over detgamle Postkontoret nr det ses fra torget og andre steder isentrum.

Minimal miljpvirkning

Under planleggingen oppstod det diskusjon med miljadmi-nistrasjonen i Gteborg angende effekten av avrenning avregnvann fra kobberet ned til Gta lv. Professor Inger Odne-vall Wallinder p Royal Institute of Technology utfrte en studieav miljkonsekvensene som beregnet at en svrt liten mengdeav kobber (160-230 gram) kom til passere ned i elva rlig,

med en ubetydelig miljpvirkning, selv om til og med dettesannsynligvis v ille sette seg i materialer nr bygningen. Dettekobberet ville ogs vre umulig mle mot bakgrunnen avomtrent 20 tonn som allerede renner ned i elven rlig. Det villeogs likestilles mot effekten av 300 personer som bor nrhotellet og daglig tar vitaminpiller som inneholder 2 mg kobber.

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Resten av intervjuet med Professor

Mnsson kan leses p copperconcept.org

INTERVJUChris Hodson intervjuer professor MagnusMnsson, eieren av arkitektene Semrn &

Mnsson, om Clarion Post Hotel.

CH: Hvordan ble du involvert i HotelPost-prosjektet?

MM: En utbygger ba meg om finne enplassering til et stort hotell her i Gteborg, inrheten av sentralstasjonen. Jeg var alleredeigang med designe et annet hotell, og varopptatt med anatomien av bygningstypologi-en. Postkontoret ble omgjort til et kontorbyggp slutten av 80-tallet, men da jeg fikk se det,tenkte jeg: dette er ikke et kontor, dette er ethotell helt enkelt p grunn av vinduene. Ut-

byggeren likte forslaget mitt om et spektaku-lrt prosjekt som kombinerte nytt og gammelt og dette er n 8 r siden.

CH: Hva var utfordringene i arbeidet med ens fremtredende bygning, som ogs var fredet?

MM: Frst og fremst mtte vi naturligviskjempe med de ulike myndighetene. Bygnin-gen er fredet med det hyeste beskyttelsesni-vet i Sverige, og vi mtte ikke bare forholdeoss til de lokale myndighetene, men den na-sjonale organisasjonen i Stockholm, s det blevanskelig. Man kunne faktisk ikke endre noep utsiden, og det var ett av utgangspunktene.

CH: Selv om du har tre andre kontorer, er duen lokalt basert praksis i Gteborg. Tilnrmerdu deg et prosjekt annerledes p hjemmebane,enn nr du jobber andre steder?

MM: Det hper jeg ikke. Men jeg passererdenne bygningen hver dag p vei til jobb, sden er selvflgelig spesiell for meg.

CH: Med tanke p urban planlegging, ser duat Post Hotel kan ha en viktig rolle i bysam-

funnet?

MM: S absolutt. Da den svenske regjerin-

gen bygget postkontoret, dekket det faktiskto kvartaler, selv om det var ment at en gateskulle g tvers gjennom. Dette stanset en na-turlig utvidelse av byen mot st, med bare ensmal gate med trikker som l presset inntilbygningen. S n signaliserer det nye kobber-og skifertrnet den nye byen mot st, sett fradet gamle sentrum. Men det vil ogs fungeresom et samlingspunkt som lukker gaten motst, og med et nytt torg foran, som for tiden erunder planlegging.

CH: Er det noen symbolikk i de sammenkob-

lede trnene i kobber og skifer?

MM: Ikke som sdan. Det opprinnelige de-signkonseptet innebar et hyere trn, som bleavsltt av kommunen. Det var da jeg fikk id-en om lage det i to materialer, for oppnbedre proporsjoner. Og det er forskjeller i vrtilnrming til de to materialene, med mindreog frre vinduer i skifertrnet, som gir et mo-nolittisk inntrykk. Kobbertrnet gir inntrykkav ha et mye tynnere materiale. Det er man-ge sm tegn p at du skal tolke forskjellene .

CH: Var det andre grunner til bruke kob-

ber og skifer, enn referere til det opprinne-lige taket?

MM: I 1920-rene var alt veldig lokalt, mendet var helt naturlig og vi var stolte over hamaterialer som kobber. Vi nsket utvikledenne arven med et materialsprk som gjordede nye delene karakteristiske, men med kon-tinuitet. Jeg ser p den nye bygningen som enung slektning, men med samme DNA. Kob-ber var veldig viktig for vr design.

CH: Og du har brukt kobberet i forskjell

bndbredder og patineringsintensiteter. Hvar intensjonen bak denne tilnrmingen?

MM: Ja, jeg er veldig fornyd med resultet, det var en fantastisk mte lage kobbeoverflater p. Faktisk antydet de oppkutteskiferstrrelsene en lignende tilnrming tistrukturere kobberbndene for gi en lignede tekstur, og horisontaliteten speiler et tdisjonelt murverk som finnes over hele bye

CH: S vel som drive en vellykket arkitekpraksis med fire kontorer, underviser du. Ndu har muligheten til det, hvordan slapp

du av?MM: Jeg m sjonglere, og det blir ikke mfritid p meg. Men nr jeg har tid, liker j tegne.

Et nytt torg er planlagt p stsiden av hotellet, med trnet som skal fungere som et samlingspunkt for gaten u

Bilde:Semrn&

Mnsson

N signaliserer det nye kobber- og skifertrnetden nye byen mot st, sett fra det gamle sentrum

Bilde: Chris Hodson

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Euromotors ba oss om lage en ny profil til bilservice-senteret som skulle gjenspeile selskapets viktigstemerkeegenskaper: konsistens, plitelighet og service

av hy kvalitet. Bygningen str ved en trafikkert vei, og detteinspirerte det arkitektoniske konseptet . Dynamikken avpasserende biler bevegelsen, lysene, skinnende, metalliskekarosserier alt dette projiseres p bygningens fasade. Fordiden ligger tett inntil den offentlige gangveien, mtte fasadenutvikles som en todimensjonal overflate, men p samme tidantyde en tredje dimensjon og en horisontal bevegelse.

ARKITEKTUR IBILINDUSTRIEN

Mrkebrunt, foroksidert kobber ble valgt som materiale.Dette edle og plitelige metallet fremhevet statusen til Euro-motors og deres servicefilosofi i hndteringen av biler av hykvalitet. Bruken av per forerte kobberplater beriker bygnin-gens design og gir en illusjon av skiftende overflate nr dubeveger deg langs utsiden av bygget. P dagtid gir per fore-ringene en spesiell dybde i fasaden, takket vre et samspillmellom lys og skygge. P kveldstid forsterkes den dynamiskeeffekten av refleksjonen av billykter p overflaten samtspesielle lamper som skinner gjennom panelene i horisontalemnstre, p samme mte som billys.

En skjemmende sovjetisk bygning fra midten av det

20. rhundre omgjres fullstendig med en perforert

kobberfasade, og gjenoppdager en arkitektonisk hyllest

til bilen. Frst forklarer Pavel Khegay og Amir Idiatulin

fra IND Architects designkonseptet sitt.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Bilde:AndreyMarshal

Her drfter Andrey Kulagin Technical Designers og

Installers PacificStroy utfringen av designen.

Dette var det frste prosjektet i Russland med en opphengtfasade laget av perforerte kobberplater med bakbelys-ning. Dette ga oss en rekke utfordringer med den tekniskedesignen, tolkingen av arkitektenes tegninger og 3D-visua-liseringer spesielt for kunne skjule lys, stttestruktur ogandre elementer i fasadehulrommet. Arbeid med naturligematerialer som kobber, gjr alltid til at man fler et spesieltansvar og inspirasjon. Men problemer under monteringenble unngtt fordi hver eneste detalj var tatt hensyn til ogstod beskrevet i den tekniske dokumentasjonen.

Nr metallpaneler perforeres, pvirkes stivheten, og viimtekom denne utfordringen ved lage hull i et rutemn-ster og justere kobbertykkelsen. Panelkantene ble ikkeperforert fr de ble montert til de rustfrie stlstttene medkobbernagler. Den ferdige fasaden representerer Euromot-ors tilnrming til industrien, og skaper en assosiasjon tilbiler og kvalitetsteknologi. Perforeringsmnsteret minnerom radiatoren p en veteranbil, og de naglede leddene min-

ner om ytterlaget p et fly.I Russland og i andre land er bilservicesentre vanligviskjedelige industribygg men Euromotors skiller seg ut medsin unike arkitektur, tolket i kobber.

Den livlse, hvite fasaden p den gamle byg-ningen har blitt erstattet med et pulserendeog levende dekke av perforert kobber.

Foto: Andrey Marshal

Arkitekt: IND Architects

Designere og montrer av kobberkledningen: PacificStroy (KrovExpo)

Kobberprodukt: Nordic Brown

Bilde: Evgeniy Golytkin

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Dette nye kultur-og mediesenteret i den landlige byen

Gournay en Bray i det franske Normandie tar sin inspira-

sjon fra de lokale bygningene som er omgjort til moderne

verk, preget av skiferoverflater og glassvinduer omkran-

set av en trdnetting i kobber.

Prosjektet bestr av to atskilte flyer som bindes sammen iet sentralt mottakelsesomrde. Den 65 meter lange stflyeninneholder multimediebiblioteker for voksne og barn. Vest-flyen er lengre enn 75 meter, og huser bde en musikkskoleog en danseskole. Arkitektene nsket en moderne bygning

i hjertet av omrdet som skulle omdefinere forholdet medde naturlige omgivelsene (hager, aller, steingjerder) og detutviklede miljet (tradisjonelle bygninger og hus). De utvikletplanen for de ulike kulturelle rommene som en voksende

jordstengel koblet til ved mottakelsesomrdet. Her gjr destore glassvinduene at de beskende kan stupe rett inn ide grnne omgivelsene som fremheves med en eng av villeblomster mellom de to flyene.

Den bratte skrtakprofilen p de eksisterende bygningenereflekteres i den nye, men med en moderne kontinuitet avoverflater i lilla skifer, avbrutt av gjennomsiktige nettingomr-

der av forhndsoksiderte kobberlag over store glassvinduer.Inngangen til komplekset fra gaten markeres av en demateri-alisert ekstrudering av folkelige bygninger, ogs omkranset avet nett av kobber.

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

Kobberprodukt: TECU Oxid

Bilder: Luc Boegly

av Chris Hodson

GJENOPPFINNINGAV DET FOLKELIGE

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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:

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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

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3

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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Refurbished Areas

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6

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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, whichour office won. Te new building is locatedin Powisle Plnocne Warsaws Latin Quar-ter and home to the University of Warsawand the Academy of Fine Arts. Te area sitsat a lower level than the main University and

Academy buildings and the Old own: thispicturesque topography played an importantpart in our design strategy. Immediatelyadjacent is the copper-clad University Library(opened in 1999) which also influenced thenew 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 ofa promenade, linking the higher Universitycampus to the Library. Along this promenadewe situated all reading rooms demanded bythe programme of different faculties belong-ing to the Linguistic Department. In order

to connect the two new buildings we used aglass wall a long Dobra Street which reflectsthe rich copper facade of the Library with itsengravings and texts in different languages.Te 140 m long southern wall along LipowaStreet aims to give readers the impression ofbeing 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 limefoils on the double- skin glazed southernfacade.

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 onlya third of the whole complex. So the impres-sion given by some facades is temporary.

When complete, the whole building will readas having two wall finishes essentially, glassand 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 ofthe district which is full of parks and close tothe river. But, of course, the green mood ofnew architecture was previously introducedby the Library building. Although continu-ing down this line of thought, we choose adifferent finish for the copper pre-patinatedwith a living surface colour to differentiateour building from the Library. But we alsowanted to show the variety of copper finisheswhich are possible.

Copper is a living material, like nature. Itsappearance changes over the years, with theweather, at different times of the day and indifferent 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 introducingyellow patches amongst the copper was toenliven it with artificial sun-beams. Tereis also a timber patch on this elevation,signalling a wooden terrace on the roof whichslides down the elevation. Te full effectwill become clear when the whole complex isfinished.

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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.

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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:

7/30/2019 Caf34 No Web

40/40

Documents

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