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2 COPPER ARCHITECTURE FORUM 35/2013

:

: , ( RIBA) : Ari Lammikko, Chris Hodson,Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

: [email protected]

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

: Nigel Cotton, ECI

: Jorma Naula Grafisk Design,

:

:

Birgit Schmitz, De birgit.schm [email protected]

Kazimierz Zakrzewski , Pl kazimierz .zakrzewsk [email protected] l

Marco Crespi, It marco.crespi@copper alliance.it

Nicholas Hay, UK nick.hay@copp eralliance.org.uk

Nikolaos Vergopoulos, Gr nick.vergopoulos@co pperalliance.grNuno Diaz, Es nuno.diaz@copp eralliance.es

Olivier Tissot, Fr olivier.tissot@copper alliance.fr

Pia Voutilainen, Se, No, Fi, Dk pia.voutilainen@copp eralliance.se

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

Vadim Ionov, Ru vadim.ionov@copp eralliance.ru

Yolande Pianet, Benelux yolande.pianet@copp eralliance.eu

Copper Architecture Forum 2013

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www.copperconcept.org

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Reference projects

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Copper Architecture Forum

Articles

. :

Copper Architecture Forum 2013

2

4 9 10 -

10 15 Alpine Aesthetic Plasma Stdis apatment bilding in Italy eects

its damatic hillside cntext

16 19 A Bigger Splash the fst tw pjects by Wilkinsn Eye is this

sea-nt swimming pl and leise cmplex

20 23 Copper Exeter Forum an innvative cppe-clad defnes

a new nivesity bilding, als by Wilkinsn Eye

24 27 Illuminating Copper Lahdelma & Mahlamkis Histy Plish

Jews in Wasaw pesents itsel as a geen lanten in the citys pak

28 33 Golden Transformation Fste + Patnes additins t Mnichs

Lenbachhas Msem make distinctive se a cppe ally

34 37 Brass Reeds this new msem by Staab Achitekten makes eeence

n seveal levels t lcal thatched bildings

38 39 Copper Recycling Clsing the Lp achieving 100 % ecycled cntent

with a clsed-lp appach

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alPinEaEstHEtiCu He P s ce he e eey he e h he peb se, iy, eec e pphy eefe he c ec.

Located at the edge o a residential area in the Dolomites, the buildingsmass was, in part, determined by the unctional elements required to

host six independent apartments with underground parking and a com-

mon circulation core. A ormal incision marks the main access and the

division o the units, splitting the main volume in two halves. Apart rom

its unctional connotations, this incision becomes the dening element

o the building. From either side o the cut, strips unold to orm the bal-

ustrades o generous covered balconies that merge with the surrounding

topography. Following the steep natural hillside with each foor, the strips

and the aade jump back.

AWARDSSHORTLISTED2013

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All six, generous holiday homes are orientated

to catch the southern sun and panoramic view

o the Dolomites. The design maximises privacy

through both the splitting o the building volume into two

parts and the stepped balustrades, which block views o

each terrace space rom the unit above and rom passers-by.

Every apartment enjoys an extension o the internal living

area through a covered, sun- and view-acing terrace which

terminates in a small private garden.

The residential area location has a very eclectic appearance.

We responded by generating a volume which grows naturally

out o its surrounding topography and blends into it by limit-

ing the material palette to a very local almost vernacular

code comprising larch wood and pre-oxidised copper. Both

the copper and the larch wood are subject to natural change

in colour through the atmospheric infuence o sun, rain and

snow. By borrowing rom the colour palette o nearby arm-

houses with their dark, sunburned larch wood aades, the

building blends into its natural surroundings. This local larch

wood is used to dene both internal and external living areas.

South acing foor-to-ceiling glazing maximises views and

winter solar gain, whilst external brise soleil and the bal-

cony overhangs minimise overheating during summertime.

Site plan


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The main circulation a continuation o the ormal incision

is very compact and repeats the use o the local larch woodrom the aade. Particular care was taken with the design

o the copper balustrades, which stem rom the natural

topography and wrap around to meet the building at the

central incision, then peel o again and end once more in the

surrounding landscape. When peeling o, the metal sheets

divided into horizontal strips describe a curved, hyperbol-

ic-paraboloid geometry. Here, the cratsmans expertise is

showcased to its ull extent.

The dark, pre-oxidised copper surrounds the volume rom all

sides. The copper strips orm a second skin, o ering shelter

and dening the roo as a continuation o the overall aadeand building volume. The orm o the roo itsel draws on a

local planning regulation demanding only a pitched roo or

this specic building plot. Reinterpreted, it became part o

our design concept, reerencing the traditional pitched roo

typology not through replication but, rather, by exploring

its hidden potential.

The restrained material palette carries through rom outside to interior spaces.


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a

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1st foor

Garage

achec: Plasma Studio

Cppe ie: Zingerle Boniaz

Cppe Pc: Nordic BrownTM

Ph: Hertha Hurnaus, www.hurnaus.com

0 5

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A BIGGER SPLASHWk Eye achec ecbe he ecey cpee

sphp lee Cee, whch cee p ew

pbc cy ce cppe-c b ek

he e Wh he h c E.

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We were appointed to design this new swimming pool or Worthing

Borough Council ollowing a hotly contested RIBA competition that

attracted over 400 entries. The new complex, located close to the town

centre, is an exciting development on a unique searont site. The new pool com-

plex includes a six lane, 25 metre pool; a combined learner/diving pool; indoor

leisure pools with rapids, fumes and outdoor waters; a health and tness centre;

ca; crche and fexible space or other activ ities.

Our design maximises the potential o the site with ribbons o accommodation

fowing rom north to south to emphasise the connection between land and sea.

Each pool orm has its own terrace, opening up the aade to animate the beach-

ront elevation and enlivening this prominent location in line with the Councils

aspirations or an Active Beach Zone.

The dynamic, ragmented shape o the new leisure centre is arranged to respond

to the surrounding mix o built orms and landscape. The buildings dramatic

sawtooth roo, with its ranks o sinuous ridges, recalls a series o dunes that

curve and twist towards the coast. This shape reduces the visual mass o the

buildings and mediates the change in scale rom the terraced houses that line

the coastal road to the expansiveness o the open sea.

COPPER IN PRACTICE

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Worthing is one of the most quintessential English seaside

towns, a place with an interesting history and a fantastic

seafront. Our ambition was to design a building that carefully

responded to these surroundings, creating a structure that

has both a human and civic scale. Our building seeks to draw

on forms already present in the town, taking on the undulat-

ing linearity of the ranks of surrounding terraced houses andthe breakwater groynes on the beach. The building occupies

a prominent location on the seafront, but rather than domi-

nating the site in the style of a grand seaside pavilion, it sits

informally, even playfully, within its setting.

Chris Wilkinson

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Sel-fnished Natural Materials

The structure is clad in copper and red cedar a palette o

sel-nished natural materials selected to age graceully in

the maritime conditions. The aade integrates a series o sub-

stantial glazed panels, creating the eect o picture rames

to the windows and roo-lights. Copper and timber are materi-

als that are synonymous with the tradition o English seaside

culture. These materials are also robust against the erce

coastal elements, complement each other aesthetically and

are sensitive to the history o this beautiul seaside town.

Copper is a material that truly roots itsel to the

site; the material metamorphoses rom its tradi-

tional rich, refective copper red through

to the dull dark browns and urther

to a vibrant green patinated nish.

Two dierent nishes have been

used to create variation along the

length o the western aade: the

primary wall and roo suraces

use fat cladding panels and the

projected windows use a per-

orated rain screen system.

From the inside, the building is emphatically ocussed towards

the sea. The spans between the longitudinal ridges o the roo

widen as the height o the building increases, running towards

the sea and terminating in a series o glazed acades that di-

rectly overlook the water. The building has been raised so that,

rom pool level, there is a powerul v isual connection between

the pool and the sea, creating the impression o an innity pool.

achec: Wilkinson Eyre Architect

Cppe Pc: Nordic Standard

Ph: Julian Abrams

COPPER IN PRACTICE

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COPPEREXETER FORUMthe ec pjec ee by Wk Eye achec ee

hee the F, ew cp ece hb e

he uey Exee, chcee by be-e,

EtFE cppe he chec exp.

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The Forum links essential acilities such as the Great

Hall, lecture theatres and the Student Guild along a

galleried, indoor high-street lined with caes, a shop

and a bank. A student services centre takes a prominent po-

sition within the new building, broadening and enhancing the

range and availability o pastoral services that the University

oers. A newly built state-o-the-art auditorium, speciallycommissioned public art, landscaped open spaces and reur-

bished library complete the Forum, making it the heart o the

social and academic lie o the University.

The starting point or our design was the natural eatures o

Exeters amously hilly Streatham campus. The orientation

and arrangement o the building and its adjacent landscaped

piazzas respond to the contours o the hillside setting, which

are traced by a green corridor the main pedestrian route

through the scheme. The steep topography o the hillside has

been rationalized into two circulation levels that connect the

Library and the Great Hall, uniying two vital centres onceseparated by a steep slope.

achec: Wilkinson Eyre Architects

Cppe Pc: TECU Classic

Ph: Huton and Crow

COPPER IN PRACTICE

2

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Undulating Copper Clad Roo

A landscaped Entrance Piazza denes a new ront door to

the campus and provides students with high quality open

space or relaxation at the natural centre o the campus.

At the north western end o the Entrance Piazza stands a

new entrance building that provides a reception area or the

1. Green oak curvinG roof edGe2. Pylon column

3. Precast claddinG Panel

4. clerestorey shuffle GlazinG

5. coPPer roof

University and Great Hall. The smooth cur ve o the entrance

building rises one storey, tracing the northern elevation o the

Great Hall above a covered walkway beore merging with the

centrepiece o the Forum project: an undulating timber grid-

shell roo, clad in copper and ETFE, designed in conjunction

with engineering experts, Buro Happold.

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COPPER IN PRACTICE

Beneath the roo and behind the glass acades that enclose

the space between the existing buildings, the Forum is an

airy, galleried hall which shelters and unies a series o new

student-ocused spaces. The upper level gives access to the

Great Hall, Student Guild and a new suite o learning labs

and seminar spaces designed or Harvard-style exploration

sessions. The Forums vertical arrangement unies the two

circulation levels o the plan, creating new accessible routes

that make the campus more legible and easier to get around.

At ground level, the green corridor runs through the build-

ing, creating a covered high street with a bank, shops, caes,

breakout spaces and access to the library, student serv ices

centre and auditorium. The auditorium is a new building also

designed by Wilkinson Eyre providing a 400-seat lecture

theatre with state-o-the-art equipment and seating, and

spectacular views out to landscaped lawns.

Column-ree Floor Area

The Forums roo encloses 3,500 m2

o airy, column-ree foorarea making it one o the largest timber roos o its kind. Its

fowing orm contrasts with the orthogonal brick architecture

o the existing campus, responding to the hillside setting and

preserving key views across the city to Dartmoor. Beneath the

roos copper cladding, which will graceully develop a green

patina over the next 15 years or so, lies an innovative hybrid

timber structure. A matrix o timber members joined at steel

nodes emulates the traditionally all-steel construction o a

grid-shell roo, weaving between the existing buildings o the

campus.

The triangular cells o the grid are either clad in copper, withoak-slatted acoustic bafing on the interior surace, or lled

with ETFE pillows which food the loty interior spaces o

the Forum with natural light. Smaller panels o conventional

glazing are used in the roo windows above teaching areas to

mitigate any possible noise caused by alling rain.

Sustainability Credentials

The Forum was designed to achieve a BREEAM excellent

rating. While the sustainability credentials o the timber

structure and copper cladding are apparent, other eatures

such as natural stack ventilation, a labyrinth pipe air-cooling

system and energy ecient lighting maximise the environ-

mental perormance o the main building in use.

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ILLUMINATINGCOPPER

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The new buildings design, by Lahdelma & Mahlamki

(working in conjunction with Kuryowicz & Associates

in Poland), stems rom the architects 2005 competi-

tion-winning entry. The Museums location in Warsaws Willy

Brandt Park is signicant, as it was part o the Jewish ghetto

during the war, and the design relates closely to the adjacent

memorial to the uprising in the ghetto. However, it is not

seen as a museum o the Holocaust but rather a celebration

o 1,000 years o shared history. The Museum will act as a

multiunctional centre or research and exhibition o Jewish

heritage, education and culture.

A Shimmering Green Lantern

Conceived as a simple box, the competition design envisaged

a lantern illuminating its park surroundings. The designers

solution is a regular grid o vertical, alternating glass and

copper panels, saw-toothed across all our acades, in ront

o a corrugated copper backdrop. This animates the building,

presenting varying degrees o transparency and changing

eects rom dierent viewpoints. In sunshine, the gossamer-

like glass panels shimmer with a copper green hue. At night,

the lantern concept is realised by the play o advanced LED

lighting behind the decorated glass onto the green corru-

gated copper.

by Chris Hodson

Photo: Wojciech Krynski

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The competition-winning design concept has been developed and realised: a copper-green square lantern in the park, pi erced by an organic hall space.

achec: Lahdelma & Mahlamki (in conjunction with Kuryowicz & Associates) Cppe Pc: Nordic GreenTM Living

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The sharp, engineered rhythm o the copper and glass saw-

toothed acades contrasts with a sculptural, curvilinear

entrance. This opens into a cavernous hall space almost

an internal biblical landscape symbolising the parting o

the Red Sea and deliverance o the Jews rom Egypt. A gentlysloping bridge, foating above the permanent exhibition be-

low, brings visitors into the central hall which leads through

the building, terminating at a massive, glass wall overlooking

the Ghetto Heroes monument.

The curved, polished concrete walls rise up some 20 m

creating animated, organic orms that embrace the space.

The main hall is the most important element o the scheme,

intended as a pure and silent space, introducing visitors to the

museum. The building also provides an auditorium, cinema,perormance hall or ve hundred visitors, an educational

centre, club, restaurant and ca.

We wanted to make the lobby emotional, warm and soft and the faades cold and sharp like ice

Proessor Rainer Mahlamki

Third Floor First Floor Ground Floor

Photo: Wojciech KrynskiPhoto: Juha Salminen

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COPPER IN dETAIl

Living Copper Facades

The Museum acades consist o vertical glass and copper

panels in a saw-tooth arrangement creating, in eect, a ven-

tilated rain-screen supported by a steel ramework in ront

o the structural walls. The copper panels are pierced with

square holes or ventilation, although earlier trials experi-

mented with expanded copper sheet. This contrasts with theglass, which is decorated with a white silk-screen printed

abstract design suggesting Hebrew and Latin text motis.

Behind, and separated by a void, the concrete structure is

also clad with copper, this time in vertically corrugated sheet

orm, interspersed with occasional windows also behind the

rain-screen.

All the aade copper is pre-patinated to give a specic liv-

ing surace, comprising green fecks against a dark oxidised

background, chosen by the architect. The nal acade build-

up is the result o on-site trials with ull-scale mock-ups. It

aims to create the luminous green, vertically olded sur aceenvisioned in the competition winning design. Copper and

bronze have also been used extensively inside the building or

handrails, door handles and specially designed light ttings.

Trial area o aade showing corrugated pre-patinated copper claddingbehind acid etched glass and pierced copper end panels.

Detailed drawing showingsaw-toothed arrangement oglass and pierced copper withcorrugated copper behind.

Photo: Juha Salminen

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The Museums historic buildings have been careully restored and the ex-

hibition spaces augmented by a spectacular new wing. As well as radically

improving the buildings environmental perormance, the remodelling hascreated a new entrance and social spaces, including a restaurant, terrace,

education acilities and a dramatic ull-height atrium, where the old is ar-

ticulated within the new.

Built in 1891 as a studio and villa or the ar tist Franz von Lenbach, the

Lenbachhaus Museum has been gradually extended over the last century.

However, its buildings were in need o renewal and the museum lacked the

acilities to cater to a growing audience o 280,000 people a year. Reden-

ing circulation throughout the site, the project has transormed a complex

sequence o spaces o dierent periods into a unied, legible museum that

is accessible and open to all.

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Our main challenge has been to maintain the same amount of exhibition area,

within the museums footprint, while creating new circulation and visitor

spaces. Given the way that the different parts of the museum had evolved,

there was no such thing as a typical space every corner is unique and requiredindividual attention and different design decisions. This has been a fascinating

process. Another important aspect of our design ha s been creating new oppor-

tunities for works of art to be exhibited outside the traditional confines of the

galler y, such as in the atrium. This space develops the idea of the urban room

it is the museums public and social heart, and point of connection with the

wider city.

Lord Foster

achec: Foster + Partners Cppe Pc: TECU Gold Ph: Nigel Young, Foster + Partners

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Complementary Copper Alloy Intervention

Peeling away the unnecessary historical accretions, a 1972 extension

has been removed to reveal the wall o the original villa, which has been

sympathetically restored in ochre render. The dierent historical ele-

ments are then unied along Richard-Wagner Street by a new gallery

pavilion, containing two levels o exhibition space. The new building is

intended as a jewel box or the treasures o the gallery it is clad in

metal tubes o an alloy o copper and aluminium, their colour and orm

designed to complement the villas rich ochre hue and textured acades.

Inside the new building, a sequence o intimate galleries display

the Museums internationally renowned Blue Rider collection o early

twentieth-century Expressionist paintings, echoing the domestic scale

o their original setting in the villa Lenbach. As many o the works o art

were painted in plein-air, indirect natural light has been deliberately

drawn into the upper level galleries to create the optimum environment

or their display.

A new entrance has been created adjacent to the restaurant, ac-

cessed via a new landscaped piazza to the east o the museum this

move reclaims the courtyard garden, turning it rom a pedestrian

thoroughare into a tranquil space or visitors. The restaurant is open

outside o the Museums opening hours and its seating continues

outside, helping to enliven the surrounding streets and attracting new

visitors into the galleries.

The new social heart o the building is a dramatic top-lit atrium, with

ticket and inormation desks, access to a new temporary exhibition

space on the ground foor and a grand, cantilevered stair to the upper

level galleries. Clearly articulating the old within the new, its impressive

volume incorporates the ochre

exterior wall o the original villa

and is scaled to accommodate

large-scale works o art. The

Museum commissioned the

artist Olaur Eliasson or a site

specic work titled Wirbelwerk.

During the day, sunlight washes

the white walls via a long, slen-

der opening at roo level and

horizontal louvres cast chang-

ing patterns o light and shade

within the space.

As well as repairing the abric o the existing buildings, one o the

main aims o the project has been to radically improve the museums

environmental perormance. A water-based heating and cooling system

within the foors has been implemented using signicantly less energy

than an air based heating, this represents an innovative step in a gallery

context. Rainwater is also collected and recycled and lighting has been

replaced and upgraded with low-energy systems.

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Lenbachhaus Ground Floor Plan / Foster + Partners

Lenbachhaus First Floor Plan / Foster + Partners

BPR/Foster + Partners

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Developing the Facade

Golden copper alloy sheets ormed into 10 cm diameter

cylindrical bars around 4 m high are the dening eature o

the second and third foor aade o the southern extension.Behind these cylindrical bars, the aade is clad in concave

sheets o the same copper alloy. The western ace o the

building, along Richard-Wagner-Strae, oers a par ticularly

compelling view o how this metal aade structures the build-

ing. The cylindrical bars highlight the completely new sections

o the building, whereas the section based on an underlying

historic structure presents a series o concave golden panels

and existing structures that have been integrated into the new

building are clad in fat sheets.

COPPER IN dETAIl

Drawings: Foster + Partners

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BRASS REEDSbased on an article by Klaus Sikora

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Ahrenshoop - located between the Baltic Sea and the salt marsh

coast o Germany - is historically important as a ormer artists

colony and, today, is well known as an attractive tourist destina-

tion. The new Kunstmuseum Ahrenshoop will house works o art

created locally over the years that display an intense connection

with the landscape. The new building itsel is destined to become

a signicant landmark and a magnet or the many visitors who,

especially in summer, pass through the isthmus near Ahren-

shoop heading or the string o islands o the coast.

Staab Architektens design was inspired by an old photo o theregion, showing an irregular grouping o similarly shaped,

traditional, buildings - obviously a armstead characterised by

steep thatched roos. From this image, the architecture o the

new museum developed rom the local agricultural vernacular,

resonating with the exhibited artists strong local connections.

A cluster o houses

The result is a homogeneous ensemble o ve, largely window-

less, single-room buildings with hipped roos virtually cut o

below the ridge-line a dev ice that enables the internal exhibition

spaces to be naturally lit. The individual houses, constructed

entirely rom reinorced concrete, are clustered together as ina traditional village - ace dierent directions and are interlinked

by a central fat roo at their eaves. The entire complex is de-

signed as a sculptural whole with a central oyer rom which the

individual exhibition spaces can be accessed.

From the outset, the architects sought a modern interpretation

o the reed thatch used to cover traditional buildings to clad the

new museum. A sustainable copper cladding was avoured as

it naturally exhibits similar ageing properties. Ultimately, brass

was chosen to exhibit colour changes resulting rom oxidisa-

tion mirroring those o traditional thatch. Initially, the brass is

reminiscent o a reed-covered roo glowing in the sunlight. Likethe reed, the metal will gradually change with shades o greenish

brown, through grey-brown to dark brown-anthracite, caused by

the ormation o a natural protective layer that guarantees the

resistance and longevity o the material.

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COPPER IN dETAIl

Animated profled surace structure

But the architects went a step urther with their analogy,seeking a surace orm resembling reeds to act as the

buildings skin. This involved a patented process and close

collaboration with specialist metal orming company MN

Metallverarbeitung Neustadt. A unique sheet prole was de-

veloped that exhibits the depth and complexity o a thatched

surace on the preabricated brass acade.

The apparently random, animated proled surace structure

fows continuously with no visible oset even in the transi-

tion where the eaves meet giving the impression that the

whole has been cast as one piece. The variations o light and

shadow on the edges and curves o the brass surace allowthe cladding to change in alternating shades, already sug-

gesting how the colour o the surace will alter over time as

a result o oxidisation.

Architect: Staab Architekten

Copper Product: TECU Brass

Photos: Christian Richters / KME / MN

716

700

6

20 10 20 205

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by Nigel Cotton and Irina Dumitrescu

Cppe recyc

C he lp

Copper is one o the most valuable materials in mod-

ern construction. This value results in the high level o

recovery o copper which, in turn, can be recycled or

building applications including roos and acades. Ac-

cording to the International Copper Study Group (ICSG)

overall 41.5 % o the copper used in Europe in 2011 came

rom recycling. Although this rate has been stable or

the last decade, the 2012 estimate o 44 % reveals that

our copper requirements will increasingly be met by re-

cycling in uture. The physical nature o copper means

that it can be recycled again and again without loss o

perormance and copper products or construction can

be made o up to 100 % recycled copper content.

For building construction, the demand or 100 % re-

cycled content is also increasingly being satised,

as suppliers receive more materials back rom the

recycling chain. Selective dismantling or building dem-

olition or reverse-construction rom roo to oundation

can result in closed loop recycling. Most o the recov-

ery processes are done manually and although this is

not the astest method, it is the most ecient. Ater-

wards, in partnership with their architectural copper

suppliers, architects can ensure that the copper taken

rom the building site is transormed into new copper

or use in their regeneration projects. The ollowing two

case studies demonstrate this closed loop recycling ap-

proach.

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Renovation o this 12,500 m2, typical midtwentieth cen-

tury styled civic building included re-cladding using the

very same copper material originally installed in the

1960s an impressive demonstration o the extreme-

ly long-term value o copper as an asset to buildings.Technically, there was nothing wrong with the original

copper but moisture ingress and a lack o thermal insu-

lation created some problems or the owners. Around

70 tons o copper and 10 tons o brass were stripped

and taken back to the original supplier who recycled it

back into replica parts or the restoration o the build-

ing. Samples or the new cassettes and trim were taken

rom the dismantled aade and were aithully repro-

duced.

Pre-oxidised copper, giving a warm shade o light

brown, was used throughout the project. Copper has

been re-used here in a versatile way rom cornice tobase. The aades now consist o the original brick wall,

contrasting with proled copper panels and protrud-

ing pilasters. Major savings resulted rom this process

both in nancial and environmental terms. This clear-

ly demonstrates how the whole lie cost o a project

needs to be considered and how copper can save em-

bodied energy or carbon ootprint i correctly managed.

The County Administrative Building in Turku, Finland

St Michaelis Church, Hamburg, Germany

The re-roong o the church roo o St Michaelis Church

in Hamburg was necessary because the previous 72

cm wide copper plates were too large to withstand the

suction orces o the strong local winds. This was par-

ticularly true in the lee o the tower, where the copper

sheets were coming loose and even threatened to fyaway in a storm. A technical assessment o the copper

roo was carried out and recommended replacing the

old roo with new, smaller (52 cm wide, 0.7 mm thick)

copper roong panels that could withstand the wind

suction. A total o 3,250 m2 o copper sheets, weighing

44 tonnes, were installed as part o the restoration pro-

ject.

The old copper was removed rom the site, melted

down, cast and re-rolled into new sheets ready or

installation. Original olding techniques used in the

cladding o the original roo design were used to restore

the roo. The church originally built in 1751 and hav-ing survived a re in 1906 and damage rom the second

world war is today a distinctive landmark in Hamburg

restored to its ormer glory.

For more inormation on this project, see Copper Architecture Forum 30/2011

or http://copperconcept.org/reerences/county-administrative-building-nland

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