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COPPERCONCEPT.ORG 32 COPPER ARCHITECTURE FORUM 38/2015

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© Copper Architecture Forum 2015

COPPERCONCEPT.ORG

CONTENTS

2 Copper Comparisons – editorial comment

4 – 7 Dancing Flames – a beacon of copper flames greets visitors to this

Polish exhibition pavilion

8 – 9 Copper and Timber Confrontation – this visitor centre in

Germany celebrates a major archaeological discovery

10 – 11 Copper and Timber Shoreline – a cleverly designed boathouse

straddles the shore of an Austrian lake

12 – 15 Copper and Timber Nature – another visitor centre, this time in

Iceland and inspired by its dramatic surroundings

16 – 19 Wrap Music – this new Paris music school comes alive with

motorised shutters in perforated copper

20 – 23 Reaching for the Sky – a new theatre in Poland features a

remarkable openable copper roof

24 – 27 Copper Box – a deceptively simple but elegant and sophisticated

interpretation of the sports hall typology

28 – 31 Civic Pride – reconciling the technical demands of archiving with

public accessibility, in style

32 – 33 A House with Many Doors – brass is a defining element of this

London cultural and community centre

34 – 36 Sustainable Learning – a children’s nursery for the University of

Edinburgh has a firm sustainability agenda

37 – 39 Carbon Innovation with Copper – a bronze intervention is at the

heart of this regeneration creating a new university facility

Read on iPad for free


2 COPPER ARCHITECTURE FORUM 38/2015

Copper Architecture Forum 38, June 2015Copper Architecture Forum is part of the ”European Copper In Architecture Campaign”. It is published twice a year and has a circulation of 25.000 copies.

The magazine is distributed to architects and building professionals throughout Europe – and beyond – in English, Czech, French, German, Hungarian, Italian, Polish, Russian and Spanish languages.

EDITORIAL

Front Cover: Conservatoire Claude Debussy, Paris, France (page 16)Photo: Basalt Architecture architects / Sergio Grazzia

Register for Copper Architecture Forum – copperconcept.org

View magazine back issues – copperconcept.org

Contact the Editorial Team – [email protected]

Upload your project to the website – copperconcept.org

See the European Copper in Architecture Awards – copperconcept.org

Editor in Chief: Robert Pinter

Editor: Chris Hodson RIBA

Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,Hermann Kersting, Irina Dumitrescu, Robert Pinter

E-mail: [email protected]

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

Publisher: Nigel Cotton, ECI

Layout and technical production: ECI

Printing: Copy & Consulting Kft., Hungary

Editorial panel:Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintér, Hu, Cz, Svk, Ru [email protected] Pianet, Benelux [email protected]

Our first two buildings share sculptural, symbolic responses to historical contexts: a city’s ancient links with fire in Poland (page 4) and a fierce Roman battle in Lower Saxony (page 8). The latter also begins a triptych of buildings exploring dialogues between copper and timber – initially as opposing armies, then reinforcing the shoreline of an Austrian lake (page 10) and finally expressing the glacial forces that formed Iceland’s natural landscape (page 12).

Change is the defining theme of two very different cultural buildings where transformations subvert the permanence of their traditional roles. The Paris Conservatoire Claude Debussy comes to life with a copper façade animated by perforated folding shutters (page 16). In Gdansk, the massive, copper-clad roof of the new Shakespearean Theatre can be opened to the sky or closed, in conjunction with various internal arrangements, to give different theatrical experiences (page 20).

Our next two projects are exemplars of the skilful reconciliation of technical, architectural and cultural demands defined by their typologies. The ubiquitous sports hall is handled with deceptive simplicity and style in Villach, Austria, characterised by a transparent copper facade (page 24). Meanwhile in Lyon, a new municipal archive provides the environmental conditions needed to protect documents whilst maximising public access and generating a real sense of civic pride (page 28).

Bringing this issue to a close are three buildings from the UK showcasing copper and its alloys while demonstrating excellent sustainability credentials. Particular care was taken with the finish of brass panels on a new community centre in London, which achieved a ‘BREEAM Excellent’ rating (page 32). Finally, it is fascinating to compare two projects, both designed by the same architects and both for the University of Edinburgh: a new children’s nursery facility (page 34) and The Edinburgh Centre for Carbon Innovation (page 37).

The Editorial Team

ARCHITECTURAL AWARDS PUBLIC CHOICE

As this issue goes to press, judging of the 2015 European Copper in Architecture Awards comes to an end. The shortlisted projects will be announced on 1st June on our website, where you can vote to select the Public Choice Award winner until 30th August.

All the shortlisted projects will be on exhibition at the Vision event from 2nd –3rd June at Olympia in London, where visitors can also vote. All the Awards winners will be announced later this year and covered in the next issue of Copper Architecture Forum.

copperconcept.org/awards

COPPER COMPARISONSOne of this magazine’s strengths is its ability to offer comparisons of different architectural approaches to a single material - copper.


38


COPPERCONCEPT.ORG

CONTENTS

2 Copper Comparisons – editorial comment

4 – 7 Dancing Flames – a beacon of copper flames greets visitors to this

Polish exhibition pavilion

8 – 9 Copper and Timber Confrontation – this visitor centre in

Germany celebrates a major archaeological discovery

10 – 11 Copper and Timber Shoreline – a cleverly designed boathouse

straddles the shore of an Austrian lake

12 – 15 Copper and Timber Nature – another visitor centre, this time in

Iceland and inspired by its dramatic surroundings

16 – 19 Wrap Music – this new Paris music school comes alive with

motorised shutters in perforated copper

20 – 23 Reaching for the Sky – a new theatre in Poland features a

remarkable openable copper roof

24 – 27 Copper Box – a deceptively simple but elegant and sophisticated

interpretation of the sports hall typology

28 – 31 Civic Pride – reconciling the technical demands of archiving with

public accessibility, in style

32 – 33 A House with Many Doors – brass is a defining element of this

London cultural and community centre

34 – 36 Sustainable Learning – a children’s nursery for the University of

Edinburgh has a firm sustainability agenda

37 – 39 Carbon Innovation with Copper – a bronze intervention is at the

heart of this regeneration creating a new university facility




Copper Architecture Forum 38, June 2015Copper Architecture Forum is part of the ”European Copper In Architecture Campaign”. It is published twice a year and has a circulation of 25.000 copies.

The magazine is distributed to architects and building professionals throughout Europe – and beyond – in English, Czech, French, German, Hungarian, Italian, Polish, Russian and Spanish languages.

EDITORIAL

Front Cover: Conservatoire Claude Debussy, Paris, France (page 16)Photo: Basalt Architecture architects / Sergio Grazzia

Register for Copper Architecture Forum – copperconcept.org

View magazine back issues – copperconcept.org

Contact the Editorial Team – [email protected]

Upload your project to the website – copperconcept.org

See the European Copper in Architecture Awards – copperconcept.org

Editor in Chief: Robert Pinter

Editor: Chris Hodson RIBA

Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,Hermann Kersting, Irina Dumitrescu, Robert Pinter

E-mail: [email protected]

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

Publisher: Nigel Cotton, ECI

Layout and technical production: ECI

Printing: Copy & Consulting Kft., Hungary

Editorial panel:Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintér, Hu, Cz, Svk, Ru [email protected] Pianet, Benelux [email protected]

Our first two buildings share sculptural, symbolic responses to historical contexts: a city’s ancient links with fire in Poland (page 4) and a fierce Roman battle in Lower Saxony (page 8). The latter also begins a triptych of buildings exploring dialogues between copper and timber – initially as opposing armies, then reinforcing the shoreline of an Austrian lake (page 10) and finally expressing the glacial forces that formed Iceland’s natural landscape (page 12).

Change is the defining theme of two very different cultural buildings where transformations subvert the permanence of their traditional roles. The Paris Conservatoire Claude Debussy comes to life with a copper façade animated by perforated folding shutters (page 16). In Gdansk, the massive, copper-clad roof of the new Shakespearean Theatre can be opened to the sky or closed, in conjunction with various internal arrangements, to give different theatrical experiences (page 20).

Our next two projects are exemplars of the skilful reconciliation of technical, architectural and cultural demands defined by their typologies. The ubiquitous sports hall is handled with deceptive simplicity and style in Villach, Austria, characterised by a transparent copper facade (page 24). Meanwhile in Lyon, a new municipal archive provides the environmental conditions needed to protect documents whilst maximising public access and generating a real sense of civic pride (page 28).

Bringing this issue to a close are three buildings from the UK showcasing copper and its alloys while demonstrating excellent sustainability credentials. Particular care was taken with the finish of brass panels on a new community centre in London, which achieved a ‘BREEAM Excellent’ rating (page 32). Finally, it is fascinating to compare two projects, both designed by the same architects and both for the University of Edinburgh: a new children’s nursery facility (page 34) and The Edinburgh Centre for Carbon Innovation (page 37).

The Editorial Team

ARCHITECTURAL AWARDS PUBLIC CHOICE

As this issue goes to press, judging of the 2015 European Copper in Architecture Awards comes to an end. The shortlisted projects will be announced on 1st June on our website, where you can vote to select the Public Choice Award winner until 30th August.

All the shortlisted projects will be on exhibition at the Vision event from 2nd –3rd June at Olympia in London, where visitors can also vote. All the Awards winners will be announced later this year and covered in the next issue of Copper Architecture Forum.

copperconcept.org/awards

COPPER COMPARISONSOne of this magazine’s strengths is its ability to offer comparisons of different architectural approaches to a single material - copper.


DANCINGFLAMES

A beacon of copper flames now welcomes visitors to Żory in Upper Silesia, Poland, a potent symbol of the city’s historical links with fire. Architects Barbara and Oskar Grabczewski explain the project and its conception.

A SHOWCASE FOR ŻORYThe programme for this project was an exhibition pavilion to showcase and promote Żory to newcomers and tourists, as well as partners and investors. The pavilion was to be built in an open and prominent location close to the main access road into the city. This site presented a number of challenges, especially extensive underground infrastructure that left only a strange, irregularly shaped piece of land to build on.

We spent some time exploring different options but decided to revisit the programme and seek out a defining theme for the building. The name Żory means ‘fire’, ‘burnt’ or ‘flames’ and there are several references to fire in the city’s history. Forests were burnt in the XII century, when Żory was founded, to create space for the new city and it subsequently suffered sieges and fires over the years. Residents still celebrate a Festival of Fire each summer to protect the city and its logo is a small flame.


DANCINGFLAMES

A beacon of copper flames now welcomes visitors to Żory in Upper Silesia, Poland, a potent symbol of the city’s historical links with fire. Architects Barbara and Oskar Grabczewski explain the project and its conception.

A SHOWCASE FOR ŻORYThe programme for this project was an exhibition pavilion to showcase and promote Żory to newcomers and tourists, as well as partners and investors. The pavilion was to be built in an open and prominent location close to the main access road into the city. This site presented a number of challenges, especially extensive underground infrastructure that left only a strange, irregularly shaped piece of land to build on.

We spent some time exploring different options but decided to revisit the programme and seek out a defining theme for the building. The name Żory means ‘fire’, ‘burnt’ or ‘flames’ and there are several references to fire in the city’s history. Forests were burnt in the XII century, when Żory was founded, to create space for the new city and it subsequently suffered sieges and fires over the years. Residents still celebrate a Festival of Fire each summer to protect the city and its logo is a small flame.


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THE IDEA CRYSTALLIZEDIt became obvious to us that the new pavilion should symbolise fire. The strange shaped plot suddenly resembled dancing flames and the idea crystallized. The building consists of three walls that ‘swim’ independently but next to each other. Their composition and shapes, covered with copper strips, conjure up flames. Spaces between the walls are fully glazed forming entrances to the pavilion. The walls are made of architectural concrete, clad on the outside with copper but left exposed inside. The floor is paved with black stone, which reaches out into the landscape.

During construction, our client decided to use excavated, below-ground space for a large exhibition hall. That is how we came up with the concept for the final project as the Museum of Fire. The building now has three entrances serving: a multifunctional hall and reception/information on the ground floor, and an exhibition hall underground with a multimedia exposition devoted to the phenomenon of fire.

The new Museum is surrounded by extensive landscaping. Building and landscape work together creating a synthesis of spaces, with pedestrian routes running through the pavilion and green walkways. A further outdoor exhibition space is anticipated that will be used during the Festival of Fire.

Architect: OVO Grabczewscy Architekci KatowiceCopper Installer: DachTom, KutnoCopper Product: Nordic StandardPhotos: Tomasz Zakrzewski / archifolio

1 Hall2 Reception / Information3 Multifunctional hall

1 Exhibition space2 Outdoor underground exhibition

GROUND FLOOR LEVEL

UNDERGROUND LEVEL

SECTION


123

1

2

THE IDEA CRYSTALLIZEDIt became obvious to us that the new pavilion should symbolise fire. The strange shaped plot suddenly resembled dancing flames and the idea crystallized. The building consists of three walls that ‘swim’ independently but next to each other. Their composition and shapes, covered with copper strips, conjure up flames. Spaces between the walls are fully glazed forming entrances to the pavilion. The walls are made of architectural concrete, clad on the outside with copper but left exposed inside. The floor is paved with black stone, which reaches out into the landscape.

During construction, our client decided to use excavated, below-ground space for a large exhibition hall. That is how we came up with the concept for the final project as the Museum of Fire. The building now has three entrances serving: a multifunctional hall and reception/information on the ground floor, and an exhibition hall underground with a multimedia exposition devoted to the phenomenon of fire.

The new Museum is surrounded by extensive landscaping. Building and landscape work together creating a synthesis of spaces, with pedestrian routes running through the pavilion and green walkways. A further outdoor exhibition space is anticipated that will be used during the Festival of Fire.

Architect: OVO Grabczewscy Architekci KatowiceCopper Installer: DachTom, KutnoCopper Product: Nordic StandardPhotos: Tomasz Zakrzewski / archifolio

1 Hall2 Reception / Information3 Multifunctional hall

1 Exhibition space2 Outdoor underground exhibition

GROUND FLOOR LEVEL

UNDERGROUND LEVEL

SECTION


COPPER AND TIMBER CONFRONTATION

Architect: K17 – Steingräber ArchitektenCopper Installer: Henkel BedachungenCopper Product: TECU® GoldPhotos: Tim Grimme

by Chris Hodson

Visible from nearby main roads, the Information Pavilion ‘Römerschlacht am Harzhorn’ celebrates a major archaeological discovery in Lower Saxony that changed perceptions of Roman history in Germany. More than 1800, mainly military artefacts attest to a fierce battle between the Romans and the Germans in the 3rd century AD. The Harzhorn battlefield lies at the edge of a hill range running from the Harz mountains.

The new pavilion is conceived as two angular forms – one clad in rustic oak, the other golden copper alloy shingles – emerging from the ground like two warring forces confronting each other. A narrow path forces its way between the two, echoing an ancient trade route pass cutting through the adjacent hills. The pavilion will house an exhibition and is the starting point for tours. The golden copper alloy also identifies information displays at key points around the battlefield site.


COPPER AND TIMBER CONFRONTATION

Architect: K17 – Steingräber ArchitektenCopper Installer: Henkel BedachungenCopper Product: TECU® GoldPhotos: Tim Grimme

by Chris Hodson

Visible from nearby main roads, the Information Pavilion ‘Römerschlacht am Harzhorn’ celebrates a major archaeological discovery in Lower Saxony that changed perceptions of Roman history in Germany. More than 1800, mainly military artefacts attest to a fierce battle between the Romans and the Germans in the 3rd century AD. The Harzhorn battlefield lies at the edge of a hill range running from the Harz mountains.

The new pavilion is conceived as two angular forms – one clad in rustic oak, the other golden copper alloy shingles – emerging from the ground like two warring forces confronting each other. A narrow path forces its way between the two, echoing an ancient trade route pass cutting through the adjacent hills. The pavilion will house an exhibition and is the starting point for tours. The golden copper alloy also identifies information displays at key points around the battlefield site.


Architect: MHM architects, ViennaCopper Installer: Lendorfer SchmiedeCopper Product: TECU® Classic_mesh

by Chris Hodson

This cleverly designed boathouse on the shore of Austria’s Millstätter See lake divides land and water with its rigorous use of materials. Over the lake, the simple box form is clad in varying width horizontal slats of Siberian larch. At the lower level, folding door elements are integrated within the facades, doubling-up as access decks when open to reveal the boat store and other outside activity areas. The land-side is clearly defined by a veil of expanded copper panels. Both materials were selected for their natural weathering characteristics.

Detailing of the copper facades is almost rustic in character. The expanded metal was simply folded around an aluminium frame, forming panels that were then directly screwed onto the substructure. The expanded copper also forms an external handrail with integrated LED strip lighting, as well as sliding window shutters on the timber facade. The material language continues inside, including expanded copper staircase ballustrading and entrance door cladding.

COPPER AND TIMBER SHORELINE

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Architect: MHM architects, ViennaCopper Installer: Lendorfer SchmiedeCopper Product: TECU® Classic_mesh

by Chris Hodson

This cleverly designed boathouse on the shore of Austria’s Millstätter See lake divides land and water with its rigorous use of materials. Over the lake, the simple box form is clad in varying width horizontal slats of Siberian larch. At the lower level, folding door elements are integrated within the facades, doubling-up as access decks when open to reveal the boat store and other outside activity areas. The land-side is clearly defined by a veil of expanded copper panels. Both materials were selected for their natural weathering characteristics.

Detailing of the copper facades is almost rustic in character. The expanded metal was simply folded around an aluminium frame, forming panels that were then directly screwed onto the substructure. The expanded copper also forms an external handrail with integrated LED strip lighting, as well as sliding window shutters on the timber facade. The material language continues inside, including expanded copper staircase ballustrading and entrance door cladding.

COPPER AND TIMBER SHORELINE

Phot

o: ©

pau

l ott

pho

togr

afie

rt

Phot

o: C

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COPPER AND TIMBERNATURE

The building form is inspired by the eternal creative force of the glacier: how it breaks its way through terrains or retreats, then carves new, ever changing natural wonders into the landscape. These creations provide models for the spaces and forms found in the building.

Defined by an X-shaped plan, the building is divided into three parts so that it can be utilized in different ways, depending on the season. Its main ‘exhibitions and education’ axis is raised above both sides and creates a framework for an exhibition space and a library. This axis rises up from a ‘Rock Foundation’ like a living and ever changing glacier. The Rock Foundation, or service axis, crosses the exhibition axis and houses a café and restrooms in addition to staff facilities. Weaving through the two axes is the information path, terminating in an outdoor amphitheatre.

Another visitor centre - this time in Iceland and described here by ARKÍS ARCHITECTS - is also highly sculptural but draws its inspiration directly from a dramatic natural landscape.

Snæfellsstofa Visitor Centre communicates the dignity of the surrounding nature and is closely connected to its immediate surroundings. Its unique appearance and location attracts visitors for indoor and outdoor activities. It is intentionally positioned at a pronounced change in elevation, so that the building gently glides out over the terrain. Its location was selected to ensure shelter from winds, ample daylight and mountain views.


COPPER AND TIMBERNATURE

The building form is inspired by the eternal creative force of the glacier: how it breaks its way through terrains or retreats, then carves new, ever changing natural wonders into the landscape. These creations provide models for the spaces and forms found in the building.

Defined by an X-shaped plan, the building is divided into three parts so that it can be utilized in different ways, depending on the season. Its main ‘exhibitions and education’ axis is raised above both sides and creates a framework for an exhibition space and a library. This axis rises up from a ‘Rock Foundation’ like a living and ever changing glacier. The Rock Foundation, or service axis, crosses the exhibition axis and houses a café and restrooms in addition to staff facilities. Weaving through the two axes is the information path, terminating in an outdoor amphitheatre.

Another visitor centre - this time in Iceland and described here by ARKÍS ARCHITECTS - is also highly sculptural but draws its inspiration directly from a dramatic natural landscape.

Snæfellsstofa Visitor Centre communicates the dignity of the surrounding nature and is closely connected to its immediate surroundings. Its unique appearance and location attracts visitors for indoor and outdoor activities. It is intentionally positioned at a pronounced change in elevation, so that the building gently glides out over the terrain. Its location was selected to ensure shelter from winds, ample daylight and mountain views.


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ACCESSIBILITY AND SUSTAINABILITY The building stands alone and vehicles are kept to the side and screened by planting and landscaping walls. Visitors walk up to the building, much like climbers experiencing the glacier’s grandeur. Enjoyment of the exterior spaces is encouraged, focused on accessibility and universal design. Pedestrian paths, ramps and decks are built from local wood and their forms steer the approach of visitors up to the building. Staff facilities such as workshop, garage and technical rooms are located so that they are not visible from the approach.

A clear and straightforward palette of largely local materials was chosen for the building including larch boarding, turf roof and landscaping walls of rock. The nearby forest will become apparent in the building’s texture.

The Rock Foundation is in situ concrete with insulation and wood board texture both inside and out. In addition, larch panels break up the concrete walls internally and externally. The exhibition and education axis, the ‘Ice Stream’, is a timber framed and clad in dark-brown pre-oxidised copper with timber inside. Crossing and connecting the two axes is the information path.

The plan form and generous ceiling heights allow for permanent exhibitions in parts of the exhibition space and temporary exhibitions in other parts. Spaces can easily be combined and connected, both indoor and outdoor. For example, the meeting room and central hall can be opened up to the external amphitheatre, as can the café onto the exterior deck. Indoor and outdoor lighting is informed by the building’s location and designed to minimize light pollution, while maximizing use of daylight. The visitor centre has been designed with special emphasis on sustainable design and is undergoing BREEAM assessment.

01 Wooden terrace02 Entrance 03 Foyer 04 Coffee05 Shop / Library06 Meeting area07 Staff coffee

08 Office09 Office 10 Staff entrance11 Staff lavatory12 Staff hallway13 Exhibition computers14 Exhibition area

15 Wooden terrace 16 Kitchen17 Hallway 18 Lavatories 19 Accessible lavatory20 Storage 21 Wooden terrace

Architect: ARKÍS ARCHITECTSCopper Installer: SjörnublikkPhotos: Sigurgeir Sigurjónsson

glacier

rock

rock


01

21 20 1918

17

16

15

141302 03 04

0506 07 08 09 10

1112

North

ACCESSIBILITY AND SUSTAINABILITY The building stands alone and vehicles are kept to the side and screened by planting and landscaping walls. Visitors walk up to the building, much like climbers experiencing the glacier’s grandeur. Enjoyment of the exterior spaces is encouraged, focused on accessibility and universal design. Pedestrian paths, ramps and decks are built from local wood and their forms steer the approach of visitors up to the building. Staff facilities such as workshop, garage and technical rooms are located so that they are not visible from the approach.

A clear and straightforward palette of largely local materials was chosen for the building including larch boarding, turf roof and landscaping walls of rock. The nearby forest will become apparent in the building’s texture.

The Rock Foundation is in situ concrete with insulation and wood board texture both inside and out. In addition, larch panels break up the concrete walls internally and externally. The exhibition and education axis, the ‘Ice Stream’, is a timber framed and clad in dark-brown pre-oxidised copper with timber inside. Crossing and connecting the two axes is the information path.

The plan form and generous ceiling heights allow for permanent exhibitions in parts of the exhibition space and temporary exhibitions in other parts. Spaces can easily be combined and connected, both indoor and outdoor. For example, the meeting room and central hall can be opened up to the external amphitheatre, as can the café onto the exterior deck. Indoor and outdoor lighting is informed by the building’s location and designed to minimize light pollution, while maximizing use of daylight. The visitor centre has been designed with special emphasis on sustainable design and is undergoing BREEAM assessment.

01 Wooden terrace02 Entrance 03 Foyer 04 Coffee05 Shop / Library06 Meeting area07 Staff coffee

08 Office09 Office 10 Staff entrance11 Staff lavatory12 Staff hallway13 Exhibition computers14 Exhibition area

15 Wooden terrace 16 Kitchen17 Hallway 18 Lavatories 19 Accessible lavatory20 Storage 21 Wooden terrace

Architect: ARKÍS ARCHITECTSCopper Installer: SjörnublikkPhotos: Sigurgeir Sigurjónsson

glacier

rock

rock


WRAP MUSICBasalt Architecture discuss their new Paris Conservatoire Claude Debussy, defined by its external cloak of perforated copper which comes to life with motorised, folding brise soleil shutters.

Located between two high-rise buildings, the conservatory stands at the interface between architectural scripts linked to the city’s built heritage on the edge of the 17th arrondissement. To the south, Haussmann style buildings look across at social housing of a more recent period.

The new music school is located strategically, as the 17th arrondissement’s history is closely linked with French music, and building this new edifice has to be worthy of this past. It is also on the rue de Courcelles, an important corridor into the city with its sight-line extending from the Boulevard Périphérique ring-road, between two architectural eras and styles. And it acts as a catalyst for a new building fringe on the rue de Courcelles.

Aligned along the rue de Courcelles, the project is an oscillation from down to up through the play of external surfaces. It sends a strong signal through the city, a 20-metre-high landmark within a green alley dominated by vegetation. Visible from the Périphérique, it is identified by its architectural treatment, setting it apart from the landscape of publicity that predominates along the Parisian ring-road.

“Given its appearance and location, it is in constant dialogue with the city.”


WRAP MUSICBasalt Architecture discuss their new Paris Conservatoire Claude Debussy, defined by its external cloak of perforated copper which comes to life with motorised, folding brise soleil shutters.

Located between two high-rise buildings, the conservatory stands at the interface between architectural scripts linked to the city’s built heritage on the edge of the 17th arrondissement. To the south, Haussmann style buildings look across at social housing of a more recent period.

The new music school is located strategically, as the 17th arrondissement’s history is closely linked with French music, and building this new edifice has to be worthy of this past. It is also on the rue de Courcelles, an important corridor into the city with its sight-line extending from the Boulevard Périphérique ring-road, between two architectural eras and styles. And it acts as a catalyst for a new building fringe on the rue de Courcelles.

Aligned along the rue de Courcelles, the project is an oscillation from down to up through the play of external surfaces. It sends a strong signal through the city, a 20-metre-high landmark within a green alley dominated by vegetation. Visible from the Périphérique, it is identified by its architectural treatment, setting it apart from the landscape of publicity that predominates along the Parisian ring-road.

“Given its appearance and location, it is in constant dialogue with the city.”


The dance studios in the upper floors, signalled by their expansive windows, stand out from the city with a dedicated volume that responds to the apartment buildings to the north. On the other side to the south, the building’s pleated skin of perforated copper creates a dialogue with the sturdy architecture of the classic Haussmann-style buildings.

Our project was designed from the inside out; we conceived the conservatory as a place for exchange and emulation - a crossroads of practices. This is the idea that drove the project, from the auditorium at its heart to the music rooms. A place where people play, learn, dance and create. Sounds and movement emerge from this swirl of activities, this school of practice.

Reflecting these activities, the building also comes to life: a skin perforated by the beat of the melody that emerges and takes shape in the outer walls. The script is there with the surfaces folding and undulating in the light and the beat of the perforations that enliven it by day and by night.

The interior and exterior volumes shimmer and move, reinforced by the play of passageways and aerial walkways; the materials sometimes reflecting, sometimes absorbing the light like the superb acoustics of the place. Although the exterior volume is intended to be monolithic, it is wrapped with folds – much like a Christo installation – and we have sought to dematerialise the core interior space to render it impalpable and vital.

Music room

Dance studio

Auditorium / Concert hall

Music room

Receptiondesk

Reception desk

Concert hall

Computer labC.A.M.

Singing room

Music room

1ST FLOOR

GROUND FLOOR 2ND FLOOR

3RD FLOOR

Concert hall

Control room

Organ room

Music room

Orchestra hall

Jazz hall

Drum room

Musicclasses

Administration

Drama classes

Musicclasses

Musicclasses

Dance studio

Dance studio

Dance studio

Musicappreciationworkshop

SECTION

PLEATED SKIN OF COPPER

Architect: Basalt ArchitectureCopper Installer: Antonangeli SACopper Product: TECU® ClassicPhotos: Basalt Architecture architects / Sergio Grazzia


The dance studios in the upper floors, signalled by their expansive windows, stand out from the city with a dedicated volume that responds to the apartment buildings to the north. On the other side to the south, the building’s pleated skin of perforated copper creates a dialogue with the sturdy architecture of the classic Haussmann-style buildings.

Our project was designed from the inside out; we conceived the conservatory as a place for exchange and emulation - a crossroads of practices. This is the idea that drove the project, from the auditorium at its heart to the music rooms. A place where people play, learn, dance and create. Sounds and movement emerge from this swirl of activities, this school of practice.

Reflecting these activities, the building also comes to life: a skin perforated by the beat of the melody that emerges and takes shape in the outer walls. The script is there with the surfaces folding and undulating in the light and the beat of the perforations that enliven it by day and by night.

The interior and exterior volumes shimmer and move, reinforced by the play of passageways and aerial walkways; the materials sometimes reflecting, sometimes absorbing the light like the superb acoustics of the place. Although the exterior volume is intended to be monolithic, it is wrapped with folds – much like a Christo installation – and we have sought to dematerialise the core interior space to render it impalpable and vital.

Music room

Dance studio

Auditorium / Concert hall

Music room

Receptiondesk

Reception desk

Concert hall

Computer labC.A.M.

Singing room

Music room

1ST FLOOR

GROUND FLOOR 2ND FLOOR

3RD FLOOR

Concert hall

Control room

Organ room

Music room

Orchestra hall

Jazz hall

Drum room

Musicclasses

Administration

Drama classes

Musicclasses

Musicclasses

Dance studio

Dance studio

Dance studio

Musicappreciationworkshop

SECTION

PLEATED SKIN OF COPPER

Architect: Basalt ArchitectureCopper Installer: Antonangeli SACopper Product: TECU® ClassicPhotos: Basalt Architecture architects / Sergio Grazzia


REACHING FOR THE SKY

What you see here is the remarkable openable roof of the new Gdansk Shakespearean Theatre in Poland - two wings of pre-patinated copper turning skywards from a massive, black brick base. Renato Rizzi tells us more about his competition-winning design (executed in partnership with Pro.Tec.O.).

Two fundamental assumptions converge in the project: historical nature and political-cultural nature. Historically, the Baltic city had already known at the beginning of the seventeenth century the wooden building of the Elizabethan Theatre. About four centuries later, the new theatre is built in the same place but in a completely different urban and landscape context, restarting from the archaeological traces found of that far away presence.

Politically, in 2004 Poland joined the European Union – in the same year as the international competition for the design of the new Elizabethan Theatre. It was as if the new theatre had to represent on the stage of Gdansk the reversal of the political horizon.

The theatre building is divided formally and functionally into three main parts: the walkway around the outer edges, the theatre itself and the administrative area including offices, restaurant and dressing rooms.

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies 6 metres above the entrance level. This height offers a new viewpoint over the historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways from the theatre and pedestrian links with all levels of the complex, including the basement, five metres below level ground.

About the architect - Professor Renato Rizzi

After graduating in Venice, Renato Rizzi worked with Peter Eisenman in the United States for several years before returning to Italy. He is involved with teaching, research and design as an integrated approach to architecture, and has won numerous awards and competitions.

Phot

o: D

ekar


REACHING FOR THE SKY

What you see here is the remarkable openable roof of the new Gdansk Shakespearean Theatre in Poland - two wings of pre-patinated copper turning skywards from a massive, black brick base. Renato Rizzi tells us more about his competition-winning design (executed in partnership with Pro.Tec.O.).

Two fundamental assumptions converge in the project: historical nature and political-cultural nature. Historically, the Baltic city had already known at the beginning of the seventeenth century the wooden building of the Elizabethan Theatre. About four centuries later, the new theatre is built in the same place but in a completely different urban and landscape context, restarting from the archaeological traces found of that far away presence.

Politically, in 2004 Poland joined the European Union – in the same year as the international competition for the design of the new Elizabethan Theatre. It was as if the new theatre had to represent on the stage of Gdansk the reversal of the political horizon.

The theatre building is divided formally and functionally into three main parts: the walkway around the outer edges, the theatre itself and the administrative area including offices, restaurant and dressing rooms.

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies 6 metres above the entrance level. This height offers a new viewpoint over the historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways from the theatre and pedestrian links with all levels of the complex, including the basement, five metres below level ground.

About the architect - Professor Renato Rizzi

After graduating in Venice, Renato Rizzi worked with Peter Eisenman in the United States for several years before returning to Italy. He is involved with teaching, research and design as an integrated approach to architecture, and has won numerous awards and competitions.

Phot

o: D

ekar


OPENABLE ROOFOn the outside, the theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, and an openable roof. From the volume’s profile, two very distinct parts emerge. The first belongs to the Elizabethan theatre and sets the height of the building at 12 metres. The second belongs to the 18 metre high scenic tower. Technical, systems related and symbolic requirements make it the highest panoramic point.

When the theatre roof is open, the view from the tower includes the interior of the theatre. Masonry ribs in the outer walls characterise the volumes of the theatre and scenic tower. On the outside, they indicate the rhythm of the modular indoor structure. They are needed to absorb the pressure that the open “wings” of the roof exert on the walls below in order to counteract the force of northerly winds.

ENTRY LEVELTRANSVERSE SECTION

“The ‘arms’ of the theatre are raised up to the sky in invocation, for a prayer, as a gesture of hope and grace.”

Architect: Renato Rizzi in partnership with Pro.Tec.O.Copper Installer: NDICopper Product: Nordic GreenTM

Photos: Matteo Piazza - unless marked otherwise

The openable roof derives from typological and symbolic needs. With its wings opened straight up, the edges reach a height of 24 metres, concluding the vertical progression of levels (6, 12, 18, 24m). In plan, the whole assumes the figure of a diapason or tuning fork with the main axis oriented east-west. The scenic tower transversely divides the theatre area from the administrative one. Its central position restricts the pathways of the outer pedestrian edges.

Situated within the perimeter of the diapason (3.6 metres thick) are all the horizontal and vertical walkways. This figuratively autonomous part is set back from the outer edges precisely in order to express the spatial hierarchy between the different formal systems.

COPPER CONTEXTSelection of the material for the roof wings - green pre-patinated copper - was always guided by the nearby Cathedral of St. Mary: a mountain of dark bricks in the historic city centre, from which rise towers with their spires. Tall and thin, and copper clad, the spires appear like sensitive antennas seeking out even the faintest theological signal transmitted to the world. By the same analogy, the open wings of the theatre act like radar, with their rhomboid structures as receivers - not so much of magnetic fields but rather the infinite spiritual shades of our inner singularity.


OPENABLE ROOFOn the outside, the theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, and an openable roof. From the volume’s profile, two very distinct parts emerge. The first belongs to the Elizabethan theatre and sets the height of the building at 12 metres. The second belongs to the 18 metre high scenic tower. Technical, systems related and symbolic requirements make it the highest panoramic point.

When the theatre roof is open, the view from the tower includes the interior of the theatre. Masonry ribs in the outer walls characterise the volumes of the theatre and scenic tower. On the outside, they indicate the rhythm of the modular indoor structure. They are needed to absorb the pressure that the open “wings” of the roof exert on the walls below in order to counteract the force of northerly winds.

ENTRY LEVELTRANSVERSE SECTION

“The ‘arms’ of the theatre are raised up to the sky in invocation, for a prayer, as a gesture of hope and grace.”

Architect: Renato Rizzi in partnership with Pro.Tec.O.Copper Installer: NDICopper Product: Nordic GreenTM

Photos: Matteo Piazza - unless marked otherwise

The openable roof derives from typological and symbolic needs. With its wings opened straight up, the edges reach a height of 24 metres, concluding the vertical progression of levels (6, 12, 18, 24m). In plan, the whole assumes the figure of a diapason or tuning fork with the main axis oriented east-west. The scenic tower transversely divides the theatre area from the administrative one. Its central position restricts the pathways of the outer pedestrian edges.

Situated within the perimeter of the diapason (3.6 metres thick) are all the horizontal and vertical walkways. This figuratively autonomous part is set back from the outer edges precisely in order to express the spatial hierarchy between the different formal systems.

COPPER CONTEXTSelection of the material for the roof wings - green pre-patinated copper - was always guided by the nearby Cathedral of St. Mary: a mountain of dark bricks in the historic city centre, from which rise towers with their spires. Tall and thin, and copper clad, the spires appear like sensitive antennas seeking out even the faintest theological signal transmitted to the world. By the same analogy, the open wings of the theatre act like radar, with their rhomboid structures as receivers - not so much of magnetic fields but rather the infinite spiritual shades of our inner singularity.


COPPERBOX

This deceptively simple copper and glass box in Villach, Austria is an elegant and sophisticated interpretation of the sports hall typology. Dietger Wissounig Architekten describe their award-winning design.

The new sports hall is used by the adjoining secondary school, as well as various sports clubs, and is suitable for international ball game tournaments. The elongated structure runs almost parallel to the street which gives it a strong public presence, shields the outdoor sports ground behind it and retains existing parking spaces on the northwest side.

At the front of the building is the main entrance with a small forecourt. A row of trees and additional parking spaces serve as a buffer zone to the busy street. The three-storey building is sunk four metres below street level in order to create a direct underground access to the school and also to give the main hall a total height of 11.8 metres in a form that meets urban development requirements.


COPPERBOX

This deceptively simple copper and glass box in Villach, Austria is an elegant and sophisticated interpretation of the sports hall typology. Dietger Wissounig Architekten describe their award-winning design.

The new sports hall is used by the adjoining secondary school, as well as various sports clubs, and is suitable for international ball game tournaments. The elongated structure runs almost parallel to the street which gives it a strong public presence, shields the outdoor sports ground behind it and retains existing parking spaces on the northwest side.

At the front of the building is the main entrance with a small forecourt. A row of trees and additional parking spaces serve as a buffer zone to the busy street. The three-storey building is sunk four metres below street level in order to create a direct underground access to the school and also to give the main hall a total height of 11.8 metres in a form that meets urban development requirements.


LIGHT COLOURED INTERIOR Contrasting with the transparent copper façade on a black background, the interior is dominated by light colours: the floor and walls of the gym are oak-paneled, while all other surfaces - even the floors - are cream white. This creates a friendly atmosphere where sports equipment and the lighting system on the underside of the ceilings remain in the background. The entire ventilation technology is integrated into the walls.

Geothermal preheating of supply air, a heat recovery ventilation system and a corresponding insulation ensure high levels of energy efficiency, resulting in an annual heating demand of 16.9 kWh/m².

BASEMENT

CROSS SECTION

ELEVATION

GROUND FLOOR

Architect: Dietger Wissounig ArchitektenCopper Installer: Reinhard Eder Blechbau Copper Product: TECU® Classic_punchPhotos: © paul ott photografiert - unless marked otherwise

Phot

o: J

asm

in S

chul

ler


LIGHT COLOURED INTERIOR Contrasting with the transparent copper façade on a black background, the interior is dominated by light colours: the floor and walls of the gym are oak-paneled, while all other surfaces - even the floors - are cream white. This creates a friendly atmosphere where sports equipment and the lighting system on the underside of the ceilings remain in the background. The entire ventilation technology is integrated into the walls.

Geothermal preheating of supply air, a heat recovery ventilation system and a corresponding insulation ensure high levels of energy efficiency, resulting in an annual heating demand of 16.9 kWh/m².

BASEMENT

CROSS SECTION

ELEVATION

GROUND FLOOR

Architect: Dietger Wissounig ArchitektenCopper Installer: Reinhard Eder Blechbau Copper Product: TECU® Classic_punchPhotos: © paul ott photografiert - unless marked otherwise

Phot

o: J

asm

in S

chul

ler


This beautifully executed municipal building in Lyon, France - for the safekeeping of the Rhône Department’s history - is an assured reconciliation between the technical demands of document conservation and a cultural drive for public accessibility, described by its designers gautier+conquêt.

Little by little, France's departmental authorities are rediscovering their heritage and, consequently, their archives. Archives represent the collective memory of a department and the buildings housing them become showcases. We have moved away from technical and empirical archiving towards a more publicly accessible methodology, located in the city centre and with user-friendly environments.

The building must also reconcile architectural considerations with the storage of documents kept in protective conditions. Here, the challenge is to enable air renewal while maintaining good hygrothermic stability and minimising energy consumption.

The new building must also express the heritage of the city, accommodate the public and encourage them to visit, and promote knowledge. In short, it must form part of a cultural and urban approach. Locating the project in a currently evolving district, close to the universities and easily accessible by tram, kept this approach in mind. In particular, the project will become part of a ‘cultural corridor’ with flourishing public and cultural facilities helping to enrich the district and increase its population. The specific site - between an up-and-coming urban boulevard and the high-speed railway line connecting Lyon with Europe – places it very much in the spotlight.

“Collect, classify, communicate, conserve: the four functions of an archive”

CIVIC PRIDE


This beautifully executed municipal building in Lyon, France - for the safekeeping of the Rhône Department’s history - is an assured reconciliation between the technical demands of document conservation and a cultural drive for public accessibility, described by its designers gautier+conquêt.

Little by little, France's departmental authorities are rediscovering their heritage and, consequently, their archives. Archives represent the collective memory of a department and the buildings housing them become showcases. We have moved away from technical and empirical archiving towards a more publicly accessible methodology, located in the city centre and with user-friendly environments.

The building must also reconcile architectural considerations with the storage of documents kept in protective conditions. Here, the challenge is to enable air renewal while maintaining good hygrothermic stability and minimising energy consumption.

The new building must also express the heritage of the city, accommodate the public and encourage them to visit, and promote knowledge. In short, it must form part of a cultural and urban approach. Locating the project in a currently evolving district, close to the universities and easily accessible by tram, kept this approach in mind. In particular, the project will become part of a ‘cultural corridor’ with flourishing public and cultural facilities helping to enrich the district and increase its population. The specific site - between an up-and-coming urban boulevard and the high-speed railway line connecting Lyon with Europe – places it very much in the spotlight.

“Collect, classify, communicate, conserve: the four functions of an archive”

CIVIC PRIDE


1 23

4

5

6

1

2

3

1

23

4

5

HIERARCHY OF BOXESThe public entrance is at street level, with a dramatic raised central cube offering access to visitors. The spacious reading room, located between two cubes, is unencumbered by the structure of the upper levels and enjoys plenty of natural light, engendering respect and silence. Archiving calls for the careful and skilled ‘boxing up’ of documents. The boxes should be well designed and attractive, signalling by their very nature the value of their contents. Our city-scale project comprises three such boxes, containing another layer of boxes - the archive rooms - themselves encompassing yet smaller boxes - the archives.

The building ‘boxes’ are therefore made of valuable materials: stone, copper and glass. The stone base is split black granite in horizontal layers. The central spaces containing the archives are clad with golden copper alloy sheets, embossed to add texture. This durable alloy will retain its colour over time. The offices form the crown of the building, sheltered by a ventilated double-skin glass façade, like a protective lid on a precious treasure casket.

Architect: gautier+conquet architects et paysagistesSubcontractors: Dumetier Design / Séquences ArchitectureCopper Installers: Alain Le NY (copper roofing); SMAC (copper façades)Copper Products: TECU® Gold / Nordic RoyalTM

Photos: Renaud AraudSECTION THROUGH THE LECTURE ROOM GROUND FLOOR

TYPICAL ARCHIVE LEVEL

7TH FLOOR

GROUND FLOOR

1 Reading room2 Entrance and reception3 School group area4 Auditorium5 Administration6 Service and delivery area

ARCHIVE LEVEL

1 Archive storage2 Sorting area3 Intern office

7TH FLOOR

1 Offices2 Plant room3 Break room4 Meeting room5 Workshops

COPPER IN DETAIL

ACTIVE FACADESThe external skin plays an active role, based on the principles of Thermos flasks. A lightweight insulating façade, clad with the golden copper alloy panels, is installed around 80 cm from the structural concrete walls, creating an empty space or plenum. This enables slow circulation of the air ventilating the archive rooms and ensures excellent protection in terms of light, hygrothermics and security.

Ventilation

Administration

Dual flow air system with heat recoveryReversible chilled beam ceiling terminalHigh efficiency lighting

Administration

Atmospheric treatment of the document conservation roomsAir supply from the perimeter plenumTemperature and hygrometry controlled by an all air system with recycling, completed by air handling units with a dual flow air system and heat recovery

Document storage

Document storage

Administration levels

Double skin, single glazing steel subframe

Sun protectionHorizontal venetian blinds

OfficesLow emission double glazing

Aluminium framing with thermal breakOpening panels for natural ventilation

Ventilation controlled by centralised energy management system

Air plenum

Ventilation grill with fire damper

Document storageLoad bearing reinforced concrete wall

Wall complexDocument conservation area

Copper aluminium panel

External steel panelThermal insulation

Internal skin steel decking


1 23

4

5

6

1

2

3

1

23

4

5

HIERARCHY OF BOXESThe public entrance is at street level, with a dramatic raised central cube offering access to visitors. The spacious reading room, located between two cubes, is unencumbered by the structure of the upper levels and enjoys plenty of natural light, engendering respect and silence. Archiving calls for the careful and skilled ‘boxing up’ of documents. The boxes should be well designed and attractive, signalling by their very nature the value of their contents. Our city-scale project comprises three such boxes, containing another layer of boxes - the archive rooms - themselves encompassing yet smaller boxes - the archives.

The building ‘boxes’ are therefore made of valuable materials: stone, copper and glass. The stone base is split black granite in horizontal layers. The central spaces containing the archives are clad with golden copper alloy sheets, embossed to add texture. This durable alloy will retain its colour over time. The offices form the crown of the building, sheltered by a ventilated double-skin glass façade, like a protective lid on a precious treasure casket.

Architect: gautier+conquet architects et paysagistesSubcontractors: Dumetier Design / Séquences ArchitectureCopper Installers: Alain Le NY (copper roofing); SMAC (copper façades)Copper Products: TECU® Gold / Nordic RoyalTM

Photos: Renaud AraudSECTION THROUGH THE LECTURE ROOM GROUND FLOOR

TYPICAL ARCHIVE LEVEL

7TH FLOOR

GROUND FLOOR

1 Reading room2 Entrance and reception3 School group area4 Auditorium5 Administration6 Service and delivery area

ARCHIVE LEVEL

1 Archive storage2 Sorting area3 Intern office

7TH FLOOR

1 Offices2 Plant room3 Break room4 Meeting room5 Workshops

COPPER IN DETAIL

ACTIVE FACADESThe external skin plays an active role, based on the principles of Thermos flasks. A lightweight insulating façade, clad with the golden copper alloy panels, is installed around 80 cm from the structural concrete walls, creating an empty space or plenum. This enables slow circulation of the air ventilating the archive rooms and ensures excellent protection in terms of light, hygrothermics and security.

Ventilation

Administration

Dual flow air system with heat recoveryReversible chilled beam ceiling terminalHigh efficiency lighting

Administration

Atmospheric treatment of the document conservation roomsAir supply from the perimeter plenumTemperature and hygrometry controlled by an all air system with recycling, completed by air handling units with a dual flow air system and heat recovery

Document storage

Document storage

Administration levels

Double skin, single glazing steel subframe

Sun protectionHorizontal venetian blinds

OfficesLow emission double glazing

Aluminium framing with thermal breakOpening panels for natural ventilation

Ventilation controlled by centralised energy management system

Air plenum

Ventilation grill with fire damper

Document storageLoad bearing reinforced concrete wall

Wall complexDocument conservation area

Copper aluminium panel

External steel panelThermal insulation

Internal skin steel decking


1

2

345

Brass is a defining element - both inside and out - for this new London cultural and community complex, described here by architects Lifschutz Davidson Sandilands.

The JW3 is a new, award-winning community centre to serve the Jewish population in London. It aims to bring together the organisation’s many and diverse activities into a single building - a meeting point for Jews and non-Jews alike. The proposition of “a house with many doors” neatly sums up a central challenge of JW3: to create an attractive place for all Londoners interested in creativity; a building that is ‘cool’ irrespective of whether it is used by grandparents or grandchildren.

The response was to equip the building with spaces for multiple activities, programmed for different audiences at different times – whether music, dance, art, writing, theatre or debate. Uniting these various spaces and activities are the ground floor piazza, café and restaurant – a forum for all to mix and to meet. Fourteen apartments in a ‘campanile’ tower provided welcome revenue for the charity, and have impressive views over north London.

The building has been designed to be easy to navigate, accessible to all, and very environmentally friendly, with natural ventilation, a brown roof to encourage biodiversity, rainwater harvesting and solar panels. JW3 has achieved a ‘BREEAM Excellent’ rating.

JW3 uses a restrained palette of materials, with patinated brass bringing a warmth to the exterior of the building where it contrasts with cast stone and brickwork – all durable materials that are common to the area and found in London’s most appealing civic buildings. This is continued internally where brass details have been used in tactile locations such as the ironmongery, handrails and the main bar.

Careful consideration was put into the finish of the brass throughout the building, with particular attention to the external cladding. A project-specific finish was developed with Italian specialists, utilising a combination of chemical patination for texture and a wax topcoat to enhance the depth of colour.

Architect: Lifschutz Davidson SandilandsCopper Installer: ColorminiumCopper Product: TECU® BrassPhotos: KME

GROUND FLOOR

1 Youth centre2 Multipurpose hall

3 Hub4 Cafe / Bar

5 Screening room

A HOUSE WITHMANY DOORS

PATINATED BRASS


1

2

345

Brass is a defining element - both inside and out - for this new London cultural and community complex, described here by architects Lifschutz Davidson Sandilands.

The JW3 is a new, award-winning community centre to serve the Jewish population in London. It aims to bring together the organisation’s many and diverse activities into a single building - a meeting point for Jews and non-Jews alike. The proposition of “a house with many doors” neatly sums up a central challenge of JW3: to create an attractive place for all Londoners interested in creativity; a building that is ‘cool’ irrespective of whether it is used by grandparents or grandchildren.

The response was to equip the building with spaces for multiple activities, programmed for different audiences at different times – whether music, dance, art, writing, theatre or debate. Uniting these various spaces and activities are the ground floor piazza, café and restaurant – a forum for all to mix and to meet. Fourteen apartments in a ‘campanile’ tower provided welcome revenue for the charity, and have impressive views over north London.

The building has been designed to be easy to navigate, accessible to all, and very environmentally friendly, with natural ventilation, a brown roof to encourage biodiversity, rainwater harvesting and solar panels. JW3 has achieved a ‘BREEAM Excellent’ rating.

JW3 uses a restrained palette of materials, with patinated brass bringing a warmth to the exterior of the building where it contrasts with cast stone and brickwork – all durable materials that are common to the area and found in London’s most appealing civic buildings. This is continued internally where brass details have been used in tactile locations such as the ironmongery, handrails and the main bar.

Careful consideration was put into the finish of the brass throughout the building, with particular attention to the external cladding. A project-specific finish was developed with Italian specialists, utilising a combination of chemical patination for texture and a wax topcoat to enhance the depth of colour.

Architect: Lifschutz Davidson SandilandsCopper Installer: ColorminiumCopper Product: TECU® BrassPhotos: KME

GROUND FLOOR

1 Youth centre2 Multipurpose hall

3 Hub4 Cafe / Bar

5 Screening room

A HOUSE WITHMANY DOORS

PATINATED BRASS


AA

BB

SUSTAINABLE LEARNINGThe Arcadia Nursery is the first of two projects within the historic campuses of the University of Edinburgh designed by Malcolm Fraser Architects, characterised by a copper alloy and with a firm sustainability agenda in mind - as its designers explain.

The new building provides early-years education for over 100 children aged from six weeks to five years and has been designed to facilitate a ‘free-play’ concept, whilst ensuring the children are safe and easily supervised. It was conceived as a free-flowing series of interconnected spaces that could be opened-up or closed-off to suit the activities of the day, with the focus not solely being one playroom per age group, but a series of additional spaces - such as shared ‘messy’ and art rooms, a children’s kitchen, raised cosy mezzanine spaces for quieter times, and a music and reading room. These are all connected at the heart of the building with a flexible welcome and circulation space, used for many functions including dining and coat storage.

Externally, each age group’s playroom is clearly identifiable as a welcoming, domestic – but also contemporary - form, creating a sense of belonging and ownership for each age group. The roof forms and some facades are clad in a golden copper alloy which gives a visual lightness and warmth while adding a presence appropriate to the historic university location.

These three pavilions are then linked together by a single storey building, with large rooflight views to the tree canopy above. The desire to respect the façade of the adjacent ‘listed’ Joseph Black chemistry building led to a more compact footprint, with raised mezzanines for the children and a first floor area for offices, staff and a family room. The different trapezoidal roof forms of the pavilions reflect the varied internal spaces.

Architect: Malcolm Fraser ArchitectsCopper Installer: CLMCopper Product: Nordic RoyalTM

Photos: Angus Bremner

COPPER & SUSTAINABILITY

“Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint”

LEVEL 00 PLAN

ROOF PLAN

SECTION A-A SECTION B-B


AA

BB

SUSTAINABLE LEARNINGThe Arcadia Nursery is the first of two projects within the historic campuses of the University of Edinburgh designed by Malcolm Fraser Architects, characterised by a copper alloy and with a firm sustainability agenda in mind - as its designers explain.

The new building provides early-years education for over 100 children aged from six weeks to five years and has been designed to facilitate a ‘free-play’ concept, whilst ensuring the children are safe and easily supervised. It was conceived as a free-flowing series of interconnected spaces that could be opened-up or closed-off to suit the activities of the day, with the focus not solely being one playroom per age group, but a series of additional spaces - such as shared ‘messy’ and art rooms, a children’s kitchen, raised cosy mezzanine spaces for quieter times, and a music and reading room. These are all connected at the heart of the building with a flexible welcome and circulation space, used for many functions including dining and coat storage.

Externally, each age group’s playroom is clearly identifiable as a welcoming, domestic – but also contemporary - form, creating a sense of belonging and ownership for each age group. The roof forms and some facades are clad in a golden copper alloy which gives a visual lightness and warmth while adding a presence appropriate to the historic university location.

These three pavilions are then linked together by a single storey building, with large rooflight views to the tree canopy above. The desire to respect the façade of the adjacent ‘listed’ Joseph Black chemistry building led to a more compact footprint, with raised mezzanines for the children and a first floor area for offices, staff and a family room. The different trapezoidal roof forms of the pavilions reflect the varied internal spaces.

Architect: Malcolm Fraser ArchitectsCopper Installer: CLMCopper Product: Nordic RoyalTM

Photos: Angus Bremner


“Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint”

LEVEL 00 PLAN

ROOF PLAN

SECTION A-A SECTION B-B


SUSTAINABILITY IN PRACTICEAlong with a requirement to achieve a BREEAM Excellent rating, the client was keen from the outset to create a highly sustainable building. We also felt the building’s use leant itself as an educational tool in its own right, to teach children about the varying aspects of approaching life in a sustainable manner. It was also of foremost importance that a healthy, calm environment was created for the children. The cross-laminated timber structure provided the perfect combination of creating a warm, tactile interior, whilst also using a natural, sustainable product that could structurally achieve the clear roof volumes required to ensure the mezzanines spaces were not compromised.

The specification of all materials was carefully considered. Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint – criteria that the copper alloy easily met - whilst also creating a vapour-open, breathable building fabric with high air-tightness. This ensured that a high indoor air quality was achieved by minimising or eliminating products which emit low level toxicity. The design stage BREEAM assessment achieved a high score of 82.2%, with material and pollution sections achieving a 100% score.

COPPER FOR SUSTAINABLE BUILDINGSThe BRE ‘Green Guide to Specification’ is a useful guide for assessing the sustainability of architectural materials and provides independent endorsement of the low environmental impact of both copper roofing and cladding. It rates a wide range of complete building elements from ‘A+’ to ‘E’, using Life Cycle Assessment techniques.

Ratings form an important part of BREEAM and credits are available for using specifications for key building elements (e.g. external walls and roofs) with low embodied environmental impact. Various complete wall or roof build-ups are considered, each including materials for structure, insulation, moisture control and finishes. All the copper-finished roofs and most copper wall cladding specifications included achieved A+ or A summary ratings. Even the few build-ups with lower ratings could be improved easily with replacement components, without affecting the copper skin itself.

Copper’s longevity is a major strength, resulting from its complex patination process that ensures extreme durability with no maintenance and resistance to corrosion in virtually any atmospheric conditions.

This topic is covered in more detail in Copper Architecture Forum 34 (pages 34-35), available from copperconcept.org


CARBON INNOVATION WITH COPPERWith the second of their projects for the University of Edinburgh, Malcolm Fraser Architects begin by focusing on sustainability.

As a world-class interdisciplinary research and teaching facility focused on key climate related challenges facing society, it was important that The Edinburgh Centre for Carbon Innovation (ECCI) demonstrated the highest sustainability credentials. It has been designed to achieve an exceptionally low energy demand, in particular given that it involves the refurbishment of an existing and protected historic building. ECCI has achieved BREEAM Outstanding at design stage. This is the first refurbished or ‘listed’ historic building to achieve a BREEAM Outstanding rating (with the construction stage confirmation awaited).

We need to focus on maintaining and upgrading our existing building stock before creating new. Significantly, ECCI is the reuse of an existing building in a historic city centre location. It is possible - with careful consideration - to work with the historic fabric and provide a building which accommodates ‘current day’ user requirements, while acknowledging the importance of sustainable materials and low energy demand.

For example, the choice of façade material on the upper levels of new construction is bronze – an alloy of copper and tin. It is light in weight, which reduces demand on the structure and copper is a material which itself generally contains a high proportion of recycled material from scrap. It is also a durable and a recyclable material.


SUSTAINABILITY IN PRACTICEAlong with a requirement to achieve a BREEAM Excellent rating, the client was keen from the outset to create a highly sustainable building. We also felt the building’s use leant itself as an educational tool in its own right, to teach children about the varying aspects of approaching life in a sustainable manner. It was also of foremost importance that a healthy, calm environment was created for the children. The cross-laminated timber structure provided the perfect combination of creating a warm, tactile interior, whilst also using a natural, sustainable product that could structurally achieve the clear roof volumes required to ensure the mezzanines spaces were not compromised.

The specification of all materials was carefully considered. Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint – criteria that the copper alloy easily met - whilst also creating a vapour-open, breathable building fabric with high air-tightness. This ensured that a high indoor air quality was achieved by minimising or eliminating products which emit low level toxicity. The design stage BREEAM assessment achieved a high score of 82.2%, with material and pollution sections achieving a 100% score.

COPPER FOR SUSTAINABLE BUILDINGSThe BRE ‘Green Guide to Specification’ is a useful guide for assessing the sustainability of architectural materials and provides independent endorsement of the low environmental impact of both copper roofing and cladding. It rates a wide range of complete building elements from ‘A+’ to ‘E’, using Life Cycle Assessment techniques.

Ratings form an important part of BREEAM and credits are available for using specifications for key building elements (e.g. external walls and roofs) with low embodied environmental impact. Various complete wall or roof build-ups are considered, each including materials for structure, insulation, moisture control and finishes. All the copper-finished roofs and most copper wall cladding specifications included achieved A+ or A summary ratings. Even the few build-ups with lower ratings could be improved easily with replacement components, without affecting the copper skin itself.

Copper’s longevity is a major strength, resulting from its complex patination process that ensures extreme durability with no maintenance and resistance to corrosion in virtually any atmospheric conditions.

This topic is covered in more detail in Copper Architecture Forum 34 (pages 34-35), available from copperconcept.org


CARBON INNOVATION WITH COPPERWith the second of their projects for the University of Edinburgh, Malcolm Fraser Architects begin by focusing on sustainability.

As a world-class interdisciplinary research and teaching facility focused on key climate related challenges facing society, it was important that The Edinburgh Centre for Carbon Innovation (ECCI) demonstrated the highest sustainability credentials. It has been designed to achieve an exceptionally low energy demand, in particular given that it involves the refurbishment of an existing and protected historic building. ECCI has achieved BREEAM Outstanding at design stage. This is the first refurbished or ‘listed’ historic building to achieve a BREEAM Outstanding rating (with the construction stage confirmation awaited).

We need to focus on maintaining and upgrading our existing building stock before creating new. Significantly, ECCI is the reuse of an existing building in a historic city centre location. It is possible - with careful consideration - to work with the historic fabric and provide a building which accommodates ‘current day’ user requirements, while acknowledging the importance of sustainable materials and low energy demand.

For example, the choice of façade material on the upper levels of new construction is bronze – an alloy of copper and tin. It is light in weight, which reduces demand on the structure and copper is a material which itself generally contains a high proportion of recycled material from scrap. It is also a durable and a recyclable material.


Existing building arrangement with various additions to the Old High School made between 1830 - 1970

Link stair to be removed

New resolved connection between front and rear buildings; new Café to south and ancillary spaces to north

Massing of roofscape articulated

ATRIUM CROSS-SECTION

LEVEL 02/03 PLAN

COPPERCONCEPT.ORG 39

The ECCI involved a major alteration and extension of the protected Old High School building, Infirmary Street. The brief included consideration of adjoining buildings and proposals to reinvigorate the land within the High School Yards, to the boundary of Infirmary Street at the front and the enclosed space of Surgeon’s Square to the rear. High School Yards has always been a significant architectural site and has gone through many incarnations since its beginnings as Blackfriars Monastery from 1230.

Due to the piecemeal fashion of the many changes that had occurred over the years, the existing building as a whole was lacking a sense of cohesion and its circulation was not clear. By removing the linking stair that connected the two significant front and rear buildings, it has been possible to create a generous central heart and circulation space. From this atrium, all accommodation spaces have a direct connection and their presence is visually legible. In response to the clients brief, this circulation space is a focus for interaction between a variety of building users and will provide informal break out space for small post graduate student groups, staff and businesses.

Bronze cladding defines the new intervention running through the building and uniting the historic parts. The accommodation spaces throughout the building have been reconfigured to provide well-proportioned and suitably sized spaces which can be used as flexibly as possible, as office, teaching or meeting areas.

Specific decisions were made to provide varying degrees of services for ventilation and IT within different spaces, so that the building, as a whole, can suit changes in the future and also cater on a day-to-day basis for a variety of events. The accommodation now includes refurbished teaching/seminar space, lecture/conferencing facilities; meeting rooms; staff offices; a Masters student hub; café and external landscaped areas.


Architect: Malcolm Fraser ArchitectsCopper Product: TECU Bronze®Photos: Dave Morris Photography

“This would be the first refurbished or ‘listed’ historic building to achieve the BREEAM Outstanding rating”

BRONZE HEART


Existing building arrangement with various additions to the Old High School made between 1830 - 1970

Link stair to be removed

New resolved connection between front and rear buildings; new Café to south and ancillary spaces to north

Massing of roofscape articulated

ATRIUM CROSS-SECTION

LEVEL 02/03 PLAN

COPPERCONCEPT.ORG 39

The ECCI involved a major alteration and extension of the protected Old High School building, Infirmary Street. The brief included consideration of adjoining buildings and proposals to reinvigorate the land within the High School Yards, to the boundary of Infirmary Street at the front and the enclosed space of Surgeon’s Square to the rear. High School Yards has always been a significant architectural site and has gone through many incarnations since its beginnings as Blackfriars Monastery from 1230.

Due to the piecemeal fashion of the many changes that had occurred over the years, the existing building as a whole was lacking a sense of cohesion and its circulation was not clear. By removing the linking stair that connected the two significant front and rear buildings, it has been possible to create a generous central heart and circulation space. From this atrium, all accommodation spaces have a direct connection and their presence is visually legible. In response to the clients brief, this circulation space is a focus for interaction between a variety of building users and will provide informal break out space for small post graduate student groups, staff and businesses.

Bronze cladding defines the new intervention running through the building and uniting the historic parts. The accommodation spaces throughout the building have been reconfigured to provide well-proportioned and suitably sized spaces which can be used as flexibly as possible, as office, teaching or meeting areas.

Specific decisions were made to provide varying degrees of services for ventilation and IT within different spaces, so that the building, as a whole, can suit changes in the future and also cater on a day-to-day basis for a variety of events. The accommodation now includes refurbished teaching/seminar space, lecture/conferencing facilities; meeting rooms; staff offices; a Masters student hub; café and external landscaped areas.


Architect: Malcolm Fraser ArchitectsCopper Product: TECU Bronze®Photos: Dave Morris Photography

“This would be the first refurbished or ‘listed’ historic building to achieve the BREEAM Outstanding rating”

BRONZE HEART


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Copper forum 2015 38 en