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EDITORIAL

Register or Copper Architecture Forum copperconcept.org

View magazine back issues copperconcept.org

Contact the Editorial Team [email protected]

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Enter the European Copper in Architecture Awards copperconcept.org

Cover: Platform for Arts & Creativity,Guimares, Portugal (page 14).Photo: Joo Morgado

Copper Architecture Forum 34, May 2013

Copper Architecture Forum is part o the European Copper In ArchitectureCampaign. It is published tw ice a year and has a circulation o 25.000 copies.

The magazine is distributed to architects and building proessionals

throughout Europe - and beyond in English, Czech, Danish, Finnish,French, German, Hungarian, Italian, Norwegian, Polish, Russian, Spanishand Swedish languages.

Editor in Chief: Robert Pinter

Editor: Chris Hodson RIBA

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

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: Naula Grafsk Design, Sweden

Printing: Strlins Grafska AB 2013, Sweden

Editorial panel:

Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected]

Marco Crespi, It [email protected]

Nicholas Hay, UK [email protected]

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux [email protected]

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

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

Vadim Ionov, Ru [email protected]

Copper Architecture Forum 2013

The 1995 frst issue o Koppar Forumran to just our pages.

We begin this issue with a ond arewell to Lennart Engstrm who is retiring rom ourEditorial eam. He instigated Copper Forum magazine 18 years ago and has played a keyrole in its development rom the our-page rst issue targeted at Scandinavian architectsto todays orty-page, pan-European 25,000 circulation magazine published in 13 langu-ages. All o us in the Editorial eam valued his wisdom, passion or copper in architecture

and gentle yet persuasive nature, whilst working with Lennart was a lways un as well.O course, there have been changes over the last 33 issues, with continuing impro-vements to both the design o the magazine and its content to reect architects currentinterests. oday, however, Copper Architecture Forums initial core values remain: topresent inspirational contemporary architecture, alongside topical issues afecting design

with copper and its alloys.We take this opportunity to introduce the new Editor in Chie, Robert Pinter, and

new Editor, architect Chris Hodson. Tey have both been part o the Editorial eamor some time and have a wealth o experience in copper or architecture and construc-tion. With an architect as editor, the magazine will closely mirror our architect readersinterests and develop greater involvement with them particularly via our partnership

website copperconcept.org.When editing Copper Architecture Forum, we look out or emerging trends and

common threads between projects. In this issue, a number o themes become apparent.Firstly, the numerous possibilities o using copper aade elements to combine solarshading and light transmission are exemplied in several buildings. Solutions range romperorated copper screens and mesh, to grids o proled brass and sculptural curved ns.Some schemes also highlight copper used as a thoroughly modern material, characterisingcontemporary interventions to regenerate older buildings oten historic and protected.Finally, copper takes on a civic role where major projects help to shape the wider urbanenvironment.

We hope you enjoy the diversity and excellence o architectural design demonstratedin this issue.

Te Editorial eam

CHANGE AND CONTINUITY

Lennart Engstrm, Founderand Editor Emeritus o CopperArchitecture Forum

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3COPPER ARCHITECTURE FORUM 34/2013

49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

Free & available for iPhone, iPad

and Android devices.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum

Articles

:

Copper Architecture Forum 2013

2 Change and Continuity editorial comment

49 Iconic Copper transorming Gothenburgs historic post oce intoa landmark hotel with a civic role

1011 Automotive Architecture celebrating the automobile with a buildingregeneration in Moscow

1213 Reinventing the Vernacular a new take on rural Normandy architectureveiled in copper

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

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

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

2630 Seamless Articulation a new library or Worcester cloaked in skilullydetailed copper alloy

3133 Solar Waves highly architectural brise soleil ns shield the glazed rontageo a new London school

3435 Coppers Contribution to Improving the EnvironmentalPerformance of Buildings lie cycle assessments and building

rating systems

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

contents

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4 COPPER ARCHITECTURE FORUM 34/2013

ICONICCOPPERAter 20 years o redundancy, the central Drottning-

torget Post Oce building in Gothenburg, Sweden, has

been transormed into the 500-bedroom Clarion HotelPost with modern additions that refect the aspirations

o this vibrant city.

The original building was designed between 1918 and 1925by Gothenburg architect Ernst Torul in a mannerist classi-cal style using brick with stone embellishments, and slateMansard roos with copper detailing, now patinated greenwith time. The Post Oce is now a listed national monument.Architects Semrn & Mnssons deceptively simple strategywas to close-up the gap in the original horseshoe-shapedplan with a new addition, returning inwards to occupy the oldPost Oce loading yard. The existing building was restoredand adapted to suit its new use while respecting its originalcharacter, detailing and protected status. The remainder othe yard was also inlled with new accommodation at lowerlevels and a glazed roo foods public areas with light.

A New Landmark or the City

The intervention closing o the yard creates a new, open pub-lic ront to the buildings east side acing onto kareplatsenand Odinsgatan. The inll proceeds rom either side one

wing clad with copper, the other slate, the same materialsused on the old Post Oce and aligns with the originaleaves level. Where the wings meet, they rise up together asa pair o monolithic orms separated by a vertical sliver oglass. The resulting 13-storey tower creates a new land-mark or the city and also signals a subsidiary entrance tothe hotel: the main entrance, announced by its opulent goldmosaic, is on the west rontage o the existing building serv-ing Drottningtorget, a public square.

by Chris Hodson

The new additions respect and refect the horizontal grid othe old enestration but break up the simple vertical align-ment o openings. New acades are conceived as squarepanels each with horizontal bands o copper or slate andseamless fush glazing, apparently set at random. Accordingto the architects, this crisp, fat striated surace was partlyinspired by the Lajasalo church in Finland, with its horizontalstrips o pre-patinated copper.

But here, verticality is re-introduced by the panel junctions,highlighted by the changes in colour o meeting horizontalbands o copper. Corners are expressed with a modern takeon traditional ver tical quoins (seen on the original building)expressed as a thin strip the thickness o the panels sometimes incorporating fush glazing amongst the copper.The aade grid remains uninterrupted throughout despite arootop sun terrace and open pool overlooking Gothenburg.

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From the public square the new tower rises above the original building.

Photo: Krister Engstrm

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Plan level 13

Plan level 9

Plan level 3

Plan level 2

Plan level 1

Street level

Image:Semrn&

Mnsson

Photos: Krister Engstrm

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Rich Living Copper Suraces

From the start, the architects anticipated the newacades as thin construction, sheet cladding. Thesolution involved discrete panels, each preabricain the actory then installed complete on site to oa curtain wall external skin, independent o thestructural foors. This enabled close control o thcomplexities o the design o individual panels witthe overall aade layout, with dierent sizes o fglazing and a varied, striated copper surace. Thiswas made up o copper in three strip heights 20250 and 300 mm and three di erent intensitieso pre-patinated copper, by var ying the amount ogreen over the dark brown background. The com-bination o these elements enabled the creation orich, living copper suraces.

Architect: Semrn & Mnsson

Copper Installer: Skandinaviska Glassystem AB

Copper Product: Nordic Green Living

Photo: Chris

Photo: Lennart Hyse

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Section

Civic Role

The Clarion Hotel Post site enjoys a pivotal location at the very centre oGothenburg, next to the central station and the major Nordstaden shoppingcentre. The new tower responds with a civ ic role as an iconic urban ocalpoint, tying together axes across the city that have long been disjointed.Most obviously it aligns with Odinsgatan, closing o views down that straightavenue. It also rises above the old Post Oce when viewed rom the publicsquare and other key locations in the centre.

Photo: Chris Hodson

Copper was so importantfor our design

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Te full interview with Professor Mnsson

can be read at copperconcept.org

INTERVIEWChris Hodson discusses the Clarion Post

Hotel with Professor Magnus Mnsson,

Owner of architects Semrn & Mnsson.

CH: How did you become involved with the

Hotel Post project?

MM: I was invited by a developer to nd a lo-

cation or a big hotel here in Gothenburg, near

the central station. I was already designing

another hotel and was preoccupied with the

anatomy o the building typology. Te Post

Oce building was converted into an oce

building in the late 80s but when I looked at

it, I thought: this is not an oce, this is a hotel just by the window arrangement. Te devel-oper agreed with my proposal or a spectacular

project combining new and old and that was

8 years ago.

CH: What were the challenges in working on

such a prominent, protected building?

MM: O course there was a struggle rst o

all with the dierent authorities. Te build-

ing is protected by the highest classication

o protection in Sweden and we were involvedwith not just the local authorities but also the

national organisation in Stockholm, so that

was a struggle. Actually you could not change

anything on the exterior, that was one o the

starting points.

CH: Although you have three other oces, you

are a locally based practice in Gothenburg.

Do you approach a project on your door-step

diferently to working elsewhere?

MM: I hope not. But, o course, I pass this

building travelling rom my home everyday so

it is particularly close to me.

CH: From an urban planning point o view,

do you see the Post Hotel as having a major

civic roll?

MM: Oh yes it has. When the Swedish gov-

ernment built the Post Oce it actually cov-ered two blocks although it was meant to have

a street through. Tis stopped natural expan-

sion o the city to the east, with just a narrowstreet busy with trams squeezed next to the

building. So, the new copper and slate tower

signals the new town to the east, when viewed

rom the old centre. But it will also act as a o-

cal point closing the avenue to the east and a

new square in ront, currently being planned.

CH: Is there some symbolism in the paired

copper and slate towers?

MM: Not as such. Te original design con-

cept envisaged a taller tower, which was re-

duced by the local authority. Tat was when I

came up with the idea to make it in two mate-

rials to give better proportions. And there are

dierences in our approach to the two materi-als with smaller and less windows in the slate

tower giving a monolithic sense. Te copper

tower has a much thinner material eel. Tere

are lots o small signs telling you to interpret

the dierences.

CH: Were there other reasons or using cop-per and slate other than simply reerencing

the original buildings roo?

MM: In the 1920s everything was very lo-

cal, but it was very natural and we were proudthat we had materials like copper. We wanted

to develop this heritage with a material lan-

guage that made the new parts distinctive but

with continuity. I see the new building as a

young relative with the same DNA. Copper

was so important or our design.

CH: And you have used the copper in dif

ent band widths and intensities o patintion. What were your intentions behind thapproach?

MM: Yes, Im very pleased about the resu

it was a marvellous way to do the copper su

aces. Actually, the cut slate sizes suggest

a similar approach to structuring the coppbands to give a similar texture and the ho

zontality mirrors that o traditional bric

work ound throughout the city.

CH: As well as running a successul arch

tectural practice with our oces, you a

teach. When you have the opportunity, hodo you relax?

MM: Its a juggling act and there is not mu

spare time. But when I can, I draw.

A new square is planned to the east o the hotel with the tower acting as a ocal point or the avenue beyon

Photo:Semrn&

Mnsson

The new copper and slate tower signals the newtown to the east, when viewed rom the old centr

Photo: Chris Hodson

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Euromotors asked us to create a new image or the autoservice centre to refect key company brand eatures:consistency, reliability and high quality service. The

building stands on a busy road and this inspired our architec-tural concept. The dynamics o passing cars their movement,lights, shiny metallic bodywork all these images are projectedon the buildings aade. Running tight to the public ootpath,the acade had to evolve as a two-dimensional surace but, atthe same time, suggesting the third dimension and horizontalmovement.

AUTOMOTIVEARCHITECTURE

Dark brown pre-oxidised copper was chosen as the material.This noble and reliable metal emphasised the status o Eu-romotors and its ethos o service in looking a ter high qualitycars. Using copper perorated panels enriched the buildingdesign, giving an illusion o a changing surace as you movealong the outside. During daytime, the perorations give aspecial depth to the aade due to the play o light and shad-ow. At night the dynamic eect is enhanced by the refectiono car lights on the surace and also special lamps shiningthrough the panels in horizontal patterns like car headlights.

The transformation of an unsightly soviet building erected

in the middle of the 20th century, with a perforated copper

front rediscovers an architectural typology that celebrates

the automobile. To begin, Pavel Khegay and Amir Idiatulin

of IND Architects explain their design concept.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Photo:AndreyMarshal

Here, Andrey Kulagin o Technical Designers and

Installers PacicStroy discusses the realisation o

the design.

This was the rst project in Russia using a suspendedaade made o copper perorated panels with back-lighting. It presented us with a number o challengeswith the technical design, interpreting the architectsdrawings and 3-D visualisations par ticularly conceal-

ing lights, supports and other items within the aadevoid. Working with natural materials like copper alwaysmakes one eel a special responsibility and inspira-tion. But problems during the installation process wereavoided because every detail was taken into account anddescribed in the technical documentation.

Peroration o metal panels aects rigidity and we ca-tered or this by making holes in a checkerboard patternand adjusting the copper thickness. Panel edges werelet un-perorated or xing to the stainless steel sup-ports with copper rivets. The resulting aade representsEuromotors approach to business and creates asso-

ciations with automobiles and quality engineering. Theperoration pattern is like the radiator o some vintagecar and the riveted joints suggest the skin o an aircra t.

In Russia and other countries, automobile servicecentres are usually bland industrial buildings butEuromotors stands out with its unique architecture inter-preted in copper.

The lieless white aade o the original buildinghas been replaced with a vibrant, living skin operorated copper.

Photo: Andrey Marshal

Architect: IND ArchitectsCopper Cladding Designers and Installers: PaciicStroy (KrovExpo)Copper Product: Nordic Brown

Photo: Evgeniy Golytki

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This new cultural and media centre in the rural Normandy

town o Gournay en Bray in northern France takes its cue

rom the orms o local buildings transormed into modern

interventions, characterised by slate suraces and glazing

veiled by expanded copper sheet.

The project comprises o two distinct wings, linked by a centralreception area. The 65 m long east wing contains multimedialibraries or adults and children, the west wing is longer at 75 mand houses both a Music School and Dance School. The archi-

tects sought a contemporary building in the heart o the plot thatredenes the relationship with its natural surroundings (gardens,alleys, stone walls) and the built environment (traditional build-ings and shelters). They conceived the plan o the dierent culturalspaces as growing like a rhizome connected at the reception area.Here, ull glazing plunges the visitor into the green setting high-lighted by the wild fower meadow between the two wings.

The steep pitched roo prole o the existing buildings is refectedin the new but with a modern continuity o suraces in purple slate,interrupted by transparent mesh areas o expanded, pre-oxidisedcopper sheets over large glazed areas. The entrance to the com-

plex rom the street is announced by a dematerialised extrusiono vernacular buildings, also veiled in copper mesh.

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

Copper Product: TECU Oxid

Photos: Luc Boegly

by Chris Hodson

REINVENTINGTHE VERNACULAR

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A Platormfor Arts & Creativity

A thoroughly contemporary intervention is at the heart

o the regeneration o the ancient centre o Guimares,

one o Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profle acades in its realisation.

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

MULTIFUNCTIONAL SPACE

Now, the transormation o the marketplace into a multi-unctional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital oCulture 2012 status, has reintegrated the area into the urbanabric, so recovering a key area o the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration o the interior space o the block previously acharacterless area used or marble processing.

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

ArtCentrewhichhousesthepermanentCollectionof

Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

andshows,andcomplementaryservices.

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Architects: Pitgoras

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

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

Photos: Joo Morgado - Architecture Photography

CreativeLabs(businesssupportofces)forthereception

and installation of activities related to creative industries,

allowingthedevelopmentofbusinessprojects.

WorkshopstoSupportEmergingCreativityconsistingof

workspacesforyoungcreatorsinvariousareas,hopingto

developprojectsonatemporarybasis.

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

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

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

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

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The new building takes a radically dierent approach to itssurroundings, both rom the standpoint o architecturallanguage and image: discrete, repetitive, as well as by thesuccession o volumes, with ull and empty, marked by the

juxtaposition o contrasting sur aces. The external coverings

a grid o brass proles and tinted glazing over ventilated a-ades accentuate a range o textures changing rom denseand opaque on the majority o suraces, to transparent whenpartially concealing the buildings ew openings.

This series o dissonant elements resulted rom the need tocreate a variety o dierent spaces in the exhibition area.It creates a tension maniested in the volumes o the buildingand the relationship with the space o the square, making itthe main eature o its design.

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

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

RADICALLY DIFFERENT APPROACH

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A TRANQUIL

BACKDROPIN BRASS

The architects choice o brass or the acadeso the new building was inormed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-eective solution tothe complexities o the program. Brass proles,in conjunction with exposed glazed areas, e-ectively dematerialise the massive geometricorms o the new building which is 150 m longand stands 8 m high so tening its relationshipto the public square.

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

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P4

P2

P3

P1

Brass section detail

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

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

3. BRASS BAR 25 x 4 mm

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

BRASS, WELDED TO THE VERTICAL BARS

5. FACADE COVERING IN BRASS PANELS

6. BRASS BAR 20 x 2 mm

7. ROUNDED BRASS SHEET 2 mm

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

9. NEOPRENE WEDGE

10. THREA DED ROD OF IRON 8 mm IN DIAMETER, WELDED TO

THE IRON BAR, TO BE METALLIZED AND PAINTED

Assembley and fxation o the acade panels

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In the summer o 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transormits services and acilities or visitors. The East Wingproject orms the second phase o the Museums re-development programme, ollowing the renovation o

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

More Public InvolvementThe collections o over 600,000 ar teacts and speci-mens are outstanding in their diversity and quality,orming the largest mixed collections in Kent and oneo the largest in the South-East o England. Someelements such as the Japanese Art Collection are ointernational signicance. The East Wing projectskey aims were the long-term preservation o the col-lections, more public involvement and increased useo the Museum and its collections.

The new interventions allow greater public visibilityo the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian ounders, and better views o theMuseum rom the town centre. Public acilities, easeo visitor fow through the building and accessibilityor all have also been substantially improved.

Hugh Broughton Architects explain the project or

the upgrade o Maidstone Museum, a protected

historic building in the South-East o England,

dating back as ar as the time o King Henry VIII.Their thoroughly contemporary design involves

crisply detailed golden copper alloy and glass

rectilinear orms, interweaving amongst ancient

buildings to create new vistas rom both inside

and out.

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal rooing & Cladding)

Copper Product: TECU Gold

Photos: Huton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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

The Japanese Art Collection

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COPPER

CONTEXT

CH: How did you come to design the new

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

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

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

ter and home to the University o Warsaw

and the Academy o Fine Arts. Te area sits

at a lower level than the main University and

Academy buildings and the Old own: this

picturesque topography played an important

part in our design strategy. Immediately

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

new building particularly its materiality.

CH: What was the strategy behind your

design and the diferent aade treatments in

particular?

EK: Our project was considered as a sort o

a promenade, linking the higher University

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

the programme o dierent aculties belong-ing to the Linguistic Department. In order

to connect the two new buildings we used a

glass wall along Dobra Street which refects

the rich copper acade o the Library with its

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

Street aims to give readers the impression o

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

despite gloomy weather outside.

Tis is achieved using yellow, green and lime

oils on the double- skin glazed southern

acade.

CH: What are the reasons or the variety o

treatments and materials on the acades?

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

a third o the whole complex. So the impres-

sion given by some acades is temporary.

When complete, the whole building will read

as having two wall nishes essentially, glass

and copper.

CH: Why did you choose pre-patinated copper?

EK:. We selected copper or a number o

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

reasons. Firstly, to accentuate the character o

the district which is ull o parks and close to

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

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

dierent nish or the copper pre-patinated

with a living surace colour to dierentiate

our building rom the Library. But we also

wanted to show the variety o copper nishes

which are possible.

Copper is a living material, like nature. Its

appearance changes over the years, with theweather, at dierent times o the day and in

dierent lighting conditions. Tis is demon-

strated on the Wislana Street aade which ismostly copper, including service door acings.

Also on this acade, the idea o introducing

yellow patches amongst the copper was to

enliven it with articial sun-beams. Tere

is also a timber patch on this elevation,

signalling a wooden terrace on the roo whichslides down the elevation. Te ull eect

will become clear when the whole complex is

nished.

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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

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

The Wislana Street rontage is generally copper.

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SEAMLESS ARTICULATION

The Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon or learn-ing, it is a key part o Worcesters river rontage, highly visiblerom the rising ground to the south and west. The articulationo its unique external orm resonates with the scale and graino the setting: the roofine echoes the prole o the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic unnels are as undamental to the interior o thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart o the foor plates.

The Hive evolved rom a groundbreaking partnership to create

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

ReectingLocalMaterials

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

The articulation o the roo orm as a series o irregular conesis designed to reduce the scale o this signicant new publicbuilding to better relate to the ne grain o the historic city.

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

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

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

The shingles are intentionally overlapped rather than tightly

coursed to provide a natural element o variation thatallowed openings in the copper alloy to be more reely po-sitioned. It was elt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the di erence in additionalmaterial was around 1 % and this was considered acceptablein terms o ease o working on site. More critically it was eltthat the coursing o the copper should align rom the walls tothe roo cones, so that there was a eeling o continuity.

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Articulation o the metal abric was developed in the

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

As the installations progressed to site, the installersidentied potential diculties with particular gutter

junctions early enough or the design team to discusspractical solutions on site. These conversations weresupported by sketches and ormal drawings, and test-ing where necessary. The quality o the copper alloyskin, as part o the overall nished building, is evidenceo how well the design and installation team workedtogether.

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

prominence o the material is embellished and rened:the subtleties o the golden cloak demonstrated in itscareul stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

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

ArchitectonicDetailing

of Copper

Alloy Shingles

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Thecopperalloycladdingwas

to appear thin, as a drape orfabric,witharevealthickness

attheglazingofonly25mm.

All horizontal changes of direction for both elevations and

theroofcones(withoneexception)wereexpressedwitha

raisedcorner.

Verticalandhorizontalcontinuitywasachievedbycare-

fully setting out the shingle pattern to key points on the

elevations.Theeavesguttermeansthattheroofandwalls

arenotcontinuousanditwascriticaltoavoidacopingthat

couldbreaktheverticalcontinuity.

Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing oldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

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

preventwateringressitessentiallyformsapairofse -

cretguttersthatruneithersideofthecentralprow.

From the outset, the roof intended to have a horizontal

break that gave a datum against the various pitches and

roofs.Italsodemarkstheupperandlowerbafes.Itis

anexpressed100mmgap,acrosswhichtheshinglepat -

ternappearstobecontinuous.


Plandetailshowingcopperalloycorneratroofhip

Sectiondetailshowingroofbafeedge

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

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

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

sunlight with its brise soleil arrangement o copper, brass and bronze ns.

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

Two Halves United

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

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

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

by Chris Hodson

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Dynamic Three-dimensional Character

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

ns are more eective in controlling glare while maximising

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

smaller ns but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and ound that

this arrangement created too much visual mass so, instead,

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

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

P h

t

G

B

l l

Viewed obliquely, the curved copper and alloy ns generate sinuous wave orms.

settled on ull-height ns set at three - apparently random

spacings, continuing over the roo. A sot, sine curve was

developed or the n proles, which gives an organic eel

refecting the mature trees both on the site and acing this a-ade rom the adjacent Holland Park. We selected the mix o

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

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad ns are thin in section,minimising the impact on views rom inside the building. Buttheir depth acts as an eective barrier to glare and unwantedsolar gain rom aternoon sunshine. Viewed rom an angle,the ns come together to generate a stunning eect o dy-namic sinuous orms across the aade.

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The brise soleil ns appear randomly spaced and continue over the roo.

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

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

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

Section

Site Plan

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

survived or hundreds o years and some

are known to have perormed well orover 700 years.

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

newables, heating and cooling.

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

impact in manuacture, reduced mate-rial or increased durability can obtainproduct specic Green Guide ratings byundertaking certication to BRE GlobalsEnvironmental Proles Scheme.

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

o certication available or the materialsused in each building element.

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

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

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

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

MR Credit 2 Diversion romlandll: credits apply to end o

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

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

MR Credit 5 Regional materials: i.e.extracted, processed and manuacturedregionally. I copper products rom re-gional processing or manuacturing sitesare used in buildings, additional creditscan be achieved.

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

fection Index (SRI) o the roo, walls andsite paving area. I copper is used as a rooor cladding, manuacturers can providean initial SRI and one 3 years ater instal-lation.

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

perormance o buildings and an LCA caculation are mandatory.

ECO1.1 Lie cycle costs (LCC): the manuacturing costs o aade and roo havto be considered. No maintenance costduring use phase. Please note, the end olie scenario is not part o the LCC calculation.

SOC1.6 Exterior quality: this criterioevaluates the design o outdoor areas.The goal o the criterion is to maximizthe roo area by integration o technicastructures in the building and reductioo ascia/parapets. Special outdoor area

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

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

To learn more about the copper Lie Cycle

visit our dedicated website www.copper

lie-cycle.org. The site provides importan

inormation on aspects related to the uso lie cycle data and the methodologie

used or copper, and also provides a lin

or practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads the

Way in Copper Recycling.

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COPPER TAKES CONTROL

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

Copper Clad Volumes

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

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

The dening external eatures o the newbuilding are vertical shutters clad in pero-rated, pre-oxidised copper. In conjunction

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

solar gain and optimising natural lighting.

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

West Elevation

by Chris Hodson

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

lighting transorms the building when seen rom outside.The purely architectural impact o the design can be judgedby comparison with the new acades beore the brise soleilwere installed.

Vertical aade sectionshowing stainless steelmesh below peroratedcopper brise soleil.

Motorised pivoting coppershutter arrangement.

Vertical detail opivoting coppershutter.

Brise soleilbuild-up.

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ARCHITECTURALAWARDS LAUNCH

Entries are invited for the 2013 European Copper in Architecture Awards

a showcase for architects designing with copper and its alloys to promote

their work to an international audience.

All entries must incorporate facades, roong or other architectural

elements of copper or copper alloys. Any scale or type of projectcan be entered from major landmark buildings to modest schemes.

Architects and critics, drawn from a panel including some of the

most inuential designers in Europe, will judge all the entries on

their architectural qualities from graphic submissions.

Final deadline for receipt of entries: 31st May 2013

For more information on entering the 2013 Awards-16 and on previous

awards entries and results, visit: www.copperconcept.org/awards

Awards Ceremony

and Exhibition of all projects

will take place in partnership

withBATIMAT

on 0408 November 2013

in Paris Nord Villepinte

Visit us at:

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