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EDITORIAL
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View magazine back issues copperconcept.org
Contact the Editorial Team [email protected]
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Cover: Platform for Arts & Creativity,Guimares, Portugal (page 14).Photo: Joo Morgado
Copper Architecture Forum 34, May 2013
Copper Architecture Forum is par t 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, Danish, Finnish,French, German, Hungarian, Italian, Norwegian, Polish, Russian, Spanish
and 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, Herber t Mock
E-mail: [email protected]
Address: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Brussel s, Belgium
Publisher: Nigel Cotton, ECI
Layout and technical production: Naula Grafisk Design, Sweden
Printing: Strlins Grafiska AB 2013, Sweden
Editorial panel:
Birgit Schmitz, De birgit.schmitz@copper alliance.de
Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@ copperalliance.pl
Marco Crespi, It [email protected]
Nicholas Hay, UK nick.hay@copper alliance.org.uk
Nikolaos Vergopoulos, Gr [email protected]
Nuno Diaz, Es [email protected]
Olivier Tissot, Fr [email protected]
Paul Becquevort, Benelux paul.becquevor [email protected]
Pia Voutilainen, Se, No, Fi, Dk [email protected]
Robert Pintr, Hu, Cz, SVK robert.pinter@ copperalliance.hu
Vadim Ionov, Ru vadim.ionov@copp eralliance.ru
Copper Architecture Forum 2013
The 1995 first issue of Koppar Forum
ran to just four pages.
We begin this issue with a fond farewell to Lennart Engstrm who is retiring from ourEditorial eam. He instigated Copper Forum magazine 18 years ago and has played a keyrole in its development from the four-page first issue targeted at Scandinavian architectsto todays forty-page, pan-European 25,000 circulation magazine published in 13 langu-ages. All of us in the Editorial eam valued his wisdom, passion for copper in architecture
and gentle yet persuasive nature, whilst working with Lennart was a lways fun as well.Of course, there have been changes over the last 33 issues, with continuing impro-vements to both the design of the magazine and its content to reflect architects currentinterests. oday, however, Copper Architecture Forums initial core values remain: topresent inspirational contemporary architecture, alongside topical issues affecting design
with copper and its alloys.We take this opportunity to introduce the new Editor in Chief, Robert Pinter, and
new Editor, architect Chris Hodson. Tey have both been part of the Editorial eamfor some time and have a wealth of experience in copper for 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 for emerging trends and
common threads between projects. In this issue, a number of themes become apparent.Firstly, the numerous possibilities of using copper faade elements to combine solarshading and light transmission are exemplified in several buildings. Solutions range fromperforated copper screens and mesh, to grids of profiled brass and sculptural curved fins.Some schemes also highlight copper used as a thoroughly modern material, characterisingcontemporary interventions to regenerate older buildings often 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 of architectural design demonstratedin this issue.
Te Editorial eam
CHANGE AND CONTINUITY
Lennart Engstrm, Founder
and Editor Emeritus of Copper
Architecture Forum
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Inspiration and information combined in one app.
Reference projects
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Copper Architecture Forum
Articles
Copper Architecture Forum 2013
2 Change and Continuity editorial comment
49 Iconic Copper transforming Gothenburgs historic post office 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 of Portugalsmost important historical city centres
2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum
2425 Copper Context an interview with the architect of Warsaw Universitysnew Linguistics Department
2630 Seamless Articulation a new library for Worcester cloaked in skilfullydetailed copper alloy
3133 Solar Waves highly architectural brise soleil fins shield the glazed frontageof a new London school
3435 Coppers Contribution to Improving the EnvironmentalPerformance of Buildings life cycle assessments and building
rating systems
3638 Copper Takes Control rotating perforated copper shutters characterisea new civic building in Lyon
CONTENTS
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ICONICCOPPERAfter 20 years of redundancy, the central Drottning-
torget Post Office building in Gothenburg, Sweden, has
been transformed into the 500-bedroom Clarion HotelPost with modern additions that reflect the aspirations
of this vibrant city.
The original building was designed between 1918 and 1925by Gothenburg architect Ernst Torulf in a mannerist classi-cal style using brick with stone embellishments, and slateMansard roofs with copper detailing, now patinated greenwith time. The Post Office 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 Office loading yard. The existing building was restoredand adapted to suit its new use while respecting its originalcharacter, detailing and protected status. The remainder ofthe yard was also infilled with new accommodation at lowerlevels and a glazed roof floods public areas with light.
A New Landmark for the City
The intervention closing off the yard creates a new, open pub-lic front to the buildings east side facing onto kareplatsenand Odinsgatan. The infill proceeds from either side one
wing clad with copper, the other slate, the same materialsused on the old Post Office and aligns with the originaleaves level. Where the wings meet, they rise up together asa pair of monolithic forms separated by a vertical sliver ofglass. The resulting 13-storey tower creates a new land-mark for the city and also signals a subsidiary entrance tothe hotel: the main entrance, announced by its opulent goldmosaic, is on the west frontage of the existing building serv-ing Drottningtorget, a public square.
by Chris Hodson
The new additions respect and reflect the horizontal grid ofthe old fenestration but break up the simple vertical align-ment of openings. New facades are conceived as squarepanels each with horizontal bands of copper or slate andseamless flush glazing, apparently set at random. Accordingto the architects, this crisp, flat striated surface was partlyinspired by the Lajasalo church in Finland, with its horizontalstrips of pre-patinated copper.
But here, verticality is re-introduced by the panel junctions,highlighted by the changes in colour of meeting horizontalbands of copper. Corners are expressed with a modern takeon traditional ver tical quoins (seen on the original building)expressed as a thin strip the thickness of the panels sometimes incorporating flush glazing amongst the copper.The faade grid remains uninterrupted throughout despite arooftop 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 Surfaces
From the start, the architects anticipated the newfacades as thin construction, sheet cladding. Thesolution involved discrete panels, each prefabricain the factory then installed complete on site to foa curtain wall external skin, independent of thestructural floors. This enabled close control of thcomplexities of the design of individual panels witthe overall faade layout, with different sizes of flglazing and a varied, striated copper surface. Thiswas made up of copper in three strip heights 20250 and 300 mm and three dif ferent intensitiesof pre-patinated copper, by var ying the amount ofgreen over the dark brown background. The com-bination of these elements enabled the creation orich, living copper surfaces.
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 ofGothenburg, next to the central station and the major Nordstaden shoppingcentre. The new tower responds with a civ ic role as an iconic urban focalpoint, tying together axes across the city that have long been disjointed.Most obviously it aligns with Odinsgatan, closing off views down that straightavenue. It also rises above the old Post Office when viewed from 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 find a lo-
cation for a big hotel here in Gothenburg, near
the central station. I was already designing
another hotel and was preoccupied with the
anatomy of the building typology. Te Post
Office building was converted into an office
building in the late 80s but when I looked at
it, I thought: this is not an office, this is a hotel just by the window arrangement. Te devel-oper agreed with my proposal for 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: Of course there was a struggle first of
all with the different authorities. Te build-
ing is protected by the highest classification
of 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 of the
starting points.
CH: Although you have three other offices, you
are a locally based practice in Gothenburg.
Do you approach a project on your door-step
differently to working elsewhere?
MM: I hope not. But, of course, I pass this
building travelling from my home everyday so
it is particularly close to me.
CH: From an urban planning point of 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 Office it actually cov-ered two blocks although it was meant to have
a street through. Tis stopped natural expan-
sion of 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
from the old centre. But it will also act as a fo-
cal point closing the avenue to the east and a
new square in front, 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
differences 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 feel. Tere
are lots of small signs telling you to interpret
the differences.
CH: Were there other reasons for using cop-per and slate other than simply referencing
the original buildings roof?
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 for our design.
CH: And you have used the copper in diff
ent band widths and intensities of 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
faces. Actually, the cut slate sizes suggest
a similar approach to structuring the coppbands to give a similar texture and the ho
zontality mirrors that of traditional bric
work found throughout the city.
CH: As well as running a successful arch
tectural practice with four offices, 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 of the hotel with the tower acting as a focal point for the avenue beyon
Photo:Semrn&
Mnsson
The new copper and slate tower signals the newtown to the east, when viewed from the old centr
Photo: Chris Hodson
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Euromotors asked us to create a new image for the autoservice centre to reflect key company brand features:consistency, reliability and high quality service. The
building stands on a busy road and this inspired our architec-tural concept. The dynamics of passing cars their movement,lights, shiny metallic bodywork all these images are projectedon the buildings faade. Running tight to the public footpath,the facade had to evolve as a two-dimensional surface 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 of Eu-romotors and its ethos of service in looking af ter high qualitycars. Using copper perforated panels enriched the buildingdesign, giving an illusion of a changing surface as you movealong the outside. During daytime, the perforations give aspecial depth to the faade due to the play of light and shad-ow. At night the dynamic effect is enhanced by the reflectionof car lights on the surface 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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Photo:AndreyMarshal
Here, Andrey Kulagin of Technical Designers and
Installers PacificStroy discusses the realisation of
the design.
This was the first project in Russia using a suspendedfaade made of copper perforated panels with back-lighting. It presented us with a number of challengeswith the technical design, interpreting the architectsdrawings and 3-D visualisations par ticularly conceal-
ing lights, supports and other items within the faadevoid. Working with natural materials like copper alwaysmakes one feel 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.
Perforation of metal panels affects rigidity and we ca-tered for this by making holes in a checkerboard patternand adjusting the copper thickness. Panel edges wereleft un-perforated for fixing to the stainless steel sup-ports with copper rivets. The resulting faade representsEuromotors approach to business and creates asso-
ciations with automobiles and quality engineering. Theperforation pattern is like the radiator of some vintagecar and the riveted joints suggest the skin of an aircraft .
In Russia and other countries, automobile servicecentres are usually bland industrial buildings butEuromotors stands out with its unique architecture inter-preted in copper.
The lifeless white faade of the original buildinghas been replaced with a vibrant, living skin offperforated copper.
Photo: Andrey Marshal
Architect: IND ArchitectsCopper Cladding Designers and Installers: PacificStroy (KrovExpo)Copper Product: Nordic Brown
Photo: Evgeniy Golytki
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This new cultural and media centre in the rural Normandy
town of Gournay en Bray in northern France takes its cue
from the forms of local buildings transformed into modern
interventions, characterised by slate surfaces and glazing
veiled by expanded copper sheet.
The project comprises of two distinct wings, linked by a centralreception area. The 65 m long east wing contains multimedialibraries for 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 of the plot thatredefines the relationship with its natural surroundings (gardens,alleys, stone walls) and the built environment (traditional build-ings and shelters). They conceived the plan of the different culturalspaces as growing like a rhizome connected at the reception area.Here, full glazing plunges the visitor into the green setting high-lighted by the wild flower meadow between the two wings.
The steep pitched roof profile of the existing buildings is reflectedin the new but with a modern continuity of surfaces in purple slate,interrupted by transparent mesh areas of expanded, pre-oxidisedcopper sheets over large glazed areas. The entrance to the com-
plex from the street is announced by a dematerialised extrusionof vernacular buildings, also veiled in copper mesh.
Architect: AAVP ARCHITECTURE / Vincent Parreira ArchitectChef de projet (Project Manager) Marie Brodin Architect
Copper Product: TECU Oxid
Photos: Luc Boegly
by Chris Hodson
REINVENTINGTHE VERNACULAR
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A Platformfor Arts & Creativity
A thoroughly contemporary intervention is at the heart
of the regeneration of the ancient centre of Guimares,
one of Portugals most important historical cities and a
UNESCO World Heritage Site. Locally based architects
Pitgoras discuss their vision and the key role played
by brass profile facades in its realisation.
The buildings that make up the municipal market and thespace contained by them commonly referred to as thesquare together form the urban character of the city ofGuimares. Before being relocated, the old municipal marketenjoyed a privileged and very central location with excel-lent access, very close to the Toural Square and the historiccentre.
MULTIFUNCTIONAL SPACE
Now, the transformation of the marketplace into a multi-functional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital ofCulture 2012 status, has reintegrated the area into the urbanfabric, so recovering a key area of the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration of the interior space of the block previously acharacterless area used for marble processing.
The program provided a clear concept and defined theobjectives to be achieved, listing a series of activ ities andspaces which defined the functions of both new and existingbuildings, as well as the adjacent plots of land. Three majorprogram areas were identified:
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Jos Guimares, a temporary exhibition area, a multi-
purpose space for additional activities, performances
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15COPPER ARCHITECTURE FORUM 34/2013
Architects: Pitgoras
Copper Fabricator/Installer: Casais-Engenharia Construo, S.A. /
Combitur S.A. / C.C.Lobo e Filhos
Photos: Joo Morgado - Architecture Photography
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and installation of activities related to creative industries,
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The program also sought to recover the existing building onthe eastern side by trying to promote the installation of ad-ditional multidisciplinary commercial activities. The wholestructure, according to the program, would complementexisting facilities in the city, as well as those under develop-ment as part of the European Capital of Culture.
When interpreting the program, we aimed to allow for thepossibility of each one of its components functioning inde-pendently and simultaneously, by creating accesses to eachof the various services and support areas, as well as to theoutdoor square and garden.
We opted for a methodology of intervention that involvedthe rehabilitation of the existing building to the east keeping the materials and textures but redoing the entireinterior at level 0. With the north building, the faadetowards the Avenue which characterises the build-ing was renovated but its interior and faade facing thesquare were the subject of almost complete demolitionand redesign. Although it was intended to maintain thescale and the existing formal relations, we proposed a
new solution for the building that promotes a strong rela-tionship with the square and emphasises the relationshipof this structure with the outer space.
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The new building takes a radically different approach to itssurroundings, both from the standpoint of architecturallanguage and image: discrete, repetitive, as well as by thesuccession of volumes, with full and empty, marked by the
juxtaposition of contrasting sur faces. The external coverings
a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from denseand opaque on the majority of surfaces, to transparent whenpartially concealing the buildings few openings.
This series of dissonant elements resulted from the need tocreate a variety of different spaces in the exhibition area.It creates a tension manifested in the volumes of the buildingand the relationship with the space of the square, making itthe main feature of its design.
For the square, we formulated a design significantly moreclinical, using large concrete slabs which act as a counterpart
to the surrounding buildings. It is conceived as a large mul-tifunctional meeting area and obviously a public space byits very nature. It will remain intentionally sparsely equipped,with large trees to the east preserved and planting introducedalong the north building, but leaving most of the space freefor spontaneous or organised activities on the Plat form.
RADICALLY DIFFERENT APPROACH
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COPPER ARCHITECTURE FORUM 34/2013 17
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A TRANQUIL
BACKDROPIN BRASS
The architects choice of brass for the facadesof the new building was informed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-effective solution tothe complexities of the program. Brass profiles,in conjunction with exposed glazed areas, ef-fectively dematerialise the massive geometricforms of the new building which is 150 m longand stands 8 m high sof tening its relationshipto the public square.
The consistent grid, made up of 20 x 10 mmrectangular brass profiled sections, matchesthe scale and proportions of the surroundingbuildings without overwhelming them. Despitethe regularity of the brass grid, it provides atranquil backdrop to the square, constantlychanging with the light then transformingfrom opaque to transparent at night.
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P4
P2
P3
P1
Brass section detail
1. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED
2. IRON BAR 70 x 6 mm, TO BE METALLIZED AND PAINTED
3. BRASS BAR 25 x 4 mm
4. TOOTHED BRASS BAR 4 mm, FOR FITTING THE TUBULAR
BRASS, WELDED TO THE VERTICAL BARS
5. FACADE COVERING IN BRASS PANELS
6. BRASS BAR 20 x 2 mm
7. ROUNDED BRASS SHEET 2 mm
8. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED
9. NEOPRENE WEDGE
10. THRE ADED ROD OF IRON 8 mm IN DIAMETER, WELDED TO
THE IRON BAR, TO BE METALLIZED AND PAINTED
Assembley and fixation of the facade panels
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In the summer of 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transformits services and facilities for visitors. The East Wingproject forms the second phase of the Museums re-development programme, following the renovation of
the West Wing in 2003. The Museums core is a Tudormanor house dating from 1561. It was acquired byMaidstone Borough Council in 1855 and opened asa Museum in 1858. The Museum is a Grade II* listedbuilding protected by law.
More Public InvolvementThe collections of over 600,000 ar tefacts and speci-mens are outstanding in their diversity and quality,forming the largest mixed collections in Kent and oneof the largest in the South-East of England. Someelements such as the Japanese Art Collection are ofinternational significance. The East Wing projectskey aims were the long-term preservation of the col-lections, more public involvement and increased useof the Museum and its collections.
The new interventions allow greater public visibilityof the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian founders, and better views of theMuseum from the town centre. Public facilities, easeof visitor flow through the building and accessibilityfor all have also been substantially improved.
Hugh Broughton Architects explain the project for
the upgrade of Maidstone Museum, a protected
historic building in the South-East of England,
dating back as far as the time of King Henry VIII.Their thoroughly contemporary design involves
crisply detailed golden copper alloy and glass
rectilinear forms, interweaving amongst ancient
buildings to create new vistas from both inside
and out.
Architect: Hugh Broughton Architects
Copper Installer: NDM (Metal roofing & Cladding)
Copper Product: TECU Gold
Photos: Hufton+Crow
Drawings: Hugh Broughton Architects
OPENING UP HISTORY
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Over time the shingles may loose their shine but not their beauty
The Japanese Art Collection
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Winning DesignOur competition-winning design is a direct response tothese key objectives. At the lower levels of the revitalisedEast Wing, a new entrance and orientation area faceMaidstones High Street and welcome visitors. A gallerycreated between an improved shop and the refurbishedstores provides a home for a Solomon Islands War Canoe the only example of its kind outside the Islands. V iewsfrom this gallery reveal a public courtyard and Tudorfaades unseen by the public for over 40 years.
A young learners education room is complementedat first floor level by a glazed meeting room, creatingdramatic views of St. Faiths Church and visually re-con-necting the museum with Brenchley Gardens. A dynamicnew gallery space above the reception, lit by curvaceous,north facing rooflights, provides a permanent homefor the collection of Japanese Art. The extensions werecomplemented by refurbishment and reorganisation ofthe existing galleries at the east end of the Museum,
increasing display space by 30 %.
New elevations combine frameless glazing with a diagridof golden copper alloy shingles, creating a contemporarycounterpoise to the existing brick faades. Over time theshingles may loose their shine but not their beauty.
1
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Bearsted WingSt. Faith's StreetBrenchley Gardens
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Reception / Visitor Information CentreShop and OrientationJapanese GalleryUpper Bearsted GalleryEscape stairCorridorGlass roomPlant roomWCs9
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Refurbished Areas
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COPPER
CONTEXT
CH: How did you come to design the new
university building and what are the contex-tual impacts of its surroundings?
EK: Te Linguistic department buildingresulted from a competition in 2006, which
our office won. Te new building is locatedin Powisle Plnocne Warsaws Latin Quar-
ter and home to the University of Warsaw
and the Academy of Fine Arts. Te area sits
at a lower level than the main University and
Academy buildings and the Old own: this
picturesque topography played an important
part in our design strategy. Immediately
adjacent is the copper-clad University Library(opened in 1999) which also influenced the
new building particularly its materiality.
CH: What was the strategy behind your
design and the different faade treatments in
particular?
EK: Our project was considered as a sort of
a promenade, linking the higher University
campus to the Library. Along this promenadewe situated all reading rooms demanded by
the programme of different faculties belong-ing to the Linguistic Department. In order
to connect the two new buildings we used a
glass wall along Dobra Street which reflects
the rich copper facade of the Library with its
engravings and texts in different languages.Te 140 m long southern wall along Lipowa
Street aims to give readers the impression of
being in a garden space where light flickersthrough green leaves, creating a special, col-oured light inside a sunny environment,
despite gloomy weather outside.
Tis is achieved using yellow, green and lime
foils on the double- skin glazed southern
facade.
CH: What are the reasons for the variety of
treatments and materials on the facades?
EK: Te whole project is in two phases andthe now-completed first phase represents only
a third of the whole complex. So the impres-
sion given by some facades is temporary.
When complete, the whole building wil l read
as having two wall finishes essentially, glass
and copper.
CH: Why did you choose pre-patinated copper?
EK:. We selected copper for a number of
Chris Hodson discusses the University of Warsawsnew Linguistics Department building with its architect,Professor Ewa Kuryowicz of Kurylowicz & Associates. The new Linguistics building faces the Libraryacross Dobra Street, continuing its green theme.
reasons. Firstly, to accentuate the character of
the district which is full of parks and close to
the river. But, of course, the green mood of
new architecture was previously introducedby the Library building. Although continu-ing down this line of thought, we choose a
different finish for the copper pre-patinated
with a living surface colour to differentiate
our building from the Library. But we also
wanted to show the variety of copper finishes
which are possible.
Copper is a living material, like nature. Its
appearance changes over the years, with theweather, at different times of the day and in
different lighting conditions. Tis is demon-
strated on the Wislana Street faade which ismostly copper, including service door facings.
Also on this facade, the idea of introducing
yellow patches amongst the copper was to
enliven it with artificial sun-beams. Tere
is also a timber patch on this elevation,
signalling a wooden terrace on the roof whichslides down the elevation. Te full effect
will become clear when the whole complex is
finished.
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25COPPER ARCHITECTURE FORUM 34/2013
Lipowa Street Elevation
Dobra Street Elevation
Wislana Street Elevation
Architect: Kurylowicz & Associates
Copper Installer: ME Wielkopolska CoCopper Product: Nordic Green LivingPhotos: Artur Biakowski (Grande)
The Wislana Street frontage is generally copper.
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26 COPPER ARCHITECTURE FORUM 34/2013
SEAMLESS ARTICULATION
The Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-ing, it is a key part of Worcesters river frontage, highly visiblefrom the rising ground to the south and west. The articulationof its unique external form resonates with the scale and grainof the setting: the roofline echoes the profile of the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic funnels are as fundamental to the interior of thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart of the floor plates.
The Hive evolved from a groundbreaking partnership to create
a fully integrated public and university library, which is com-pletely new to the UK and highly innovative internationally.The building also includes the county archives and recordoffice, a local history centre, the countys archaeology serviceand a multi-agency customer service centre. The Hive is acultural, learning and information centre of excellence promoting lifelong learning, engendering social inclusionand raising aspirations in the broadest sense for the wholecommunity, regardless of age, background, or ability.
GZZXi^c\AdXVaBViZg^Vah
The cladding of golden copper alloy shingles reflects the richpalette of colours and materials which characterise the citycentre - the red and gold of brick, terracotta and stone embel-lished with gilded filigree and finely decorated encaustic tiles.The elevational language of solid walls and punched openingsalso draws on the local vernacular: solid and void are balancedto optimise light, air and view, with care to avoid overheatingand glare, and the need for excessive mechanical systems tomaintain a comfortable environment.
The articulation of the roof form as a ser ies of irregular conesis designed to reduce the scale of this significant new publicbuilding to better relate to the fine grain of the historic city.
The distinctive roof cones are formed in solid laminated timberpanels that span between the eaves beam and a timber ringbeam at the top of each cone. The plinth, which varies in heightaround the perimeter, is clad in Forest of Dean Pennant stoneto match the paving to the public realm: the ochre streaks echothe golden cladding.
by Nick Hodges, Envelope Package Architect for Feilden Clegg Bradley Studios
Golden CloakThe copper alloy cladding was chosen to allow the use ofa single material to roof and elevations a golden cloakdraped over the form. The scale of the 600 x 600 mm tilesand the slight offset with which they are laid gives the im-pression of carapace of scales. As an architectural language,the copper shingles are articulated as thin expressedat the window reveals and soffits as 25 mm deep, with theremaining depth to the glazing finished with dark anodisedaluminium to match the curtain walling.
The shingles are intentionally overlapped rather than tightly
coursed to provide a natural element of variation thatallowed openings in the copper alloy to be more freely po-sitioned. It was felt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the dif ference in additionalmaterial was around 1 % and this was considered acceptablein terms of ease of working on site. More critically it was feltthat the coursing of the copper should align from the walls tothe roof cones, so that there was a feeling of continuity.
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27COPPER ARCHITECTURE FORUM 34/2013
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28 COPPER ARCHITECTURE FORUM 34/2013
Articulation of the metal fabric was developed in the
detailing of the material at corners, eaves and windowcills. A critical part of the material expression was toensure that it appeared seamless and that cover piecesor horizontal elements of gold that might break up theshingle pattern were avoided. The design team wereaided by the excellent copper installers who mocked-up a number of the key detail junctions (some shownhere) for discussion and exploration ahead of the startof their site works.
As the installations progressed to site, the installersidentified potential difficulties with particular gutter
junctions early enough for the design team to discusspractical solutions on site. These conversations weresupported by sketches and formal drawings, and test-ing where necessary. The quality of the copper alloyskin, as part of the overall finished building, is evidenceof how well the design and installation team workedtogether.
At nearly 12,000 m2 it would be easy for the sheervolume of such a striking material to be the definingcharacteristic but, by developing the details togetherwith a dedicated and skilled installer, the claddingbecomes more than simply distinctive. Instead, the
prominence of the material is embellished and refined:the subtleties of the golden cloak demonstrated in itscareful stitching together.
Architect: Feilden Clegg Bradley Studios
Copper Installer: Norman and Underwood
Copper Product: TECU Gold
Photos: Hufton+Crow; Feilden Clegg Bradley Studios; Martin Quest
ArchitectonicDetailing
of Copper
Alloy Shingles
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29COPPER ARCHITECTURE FORUM 34/2013
I]ZXdeeZgVaadnXaVYY^c\lVh
to appear thin, as a drape or[VWg^X!l^i]VgZkZVai]^X`cZhh
Vii]Z\aVo^c\d[dcan'*bb#
All horizontal changes of direction for both elevations and
i]Zgdd[XdcZhl^i]dcZZmXZei^dclZgZZmegZhhZYl^i]V
gV^hZYXdgcZg#
KZgi^XVaVcY]dg^odciVaXdci^cj^inlVhVX]^ZkZYWnXVgZ-
fully setting out the shingle pattern to key points on the
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VgZcdiXdci^cjdjhVcY^ilVhXg^i^XVaidVkd^YVXde^c\i]Vi
XdjaYWgZV`i]ZkZgi^XVaXdci^cj^in#
Plan detail showingcopper alloy corner atoblique wall junction
Plan detail showing foldedcopper alloy corner tooblique wall junction
Section detail showing eaves gutter
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30 COPPER ARCHITECTURE FORUM 34/20130 COP ER ARCHITECTUR F RU 34/201
The roof hip is subtly dif ferent to the elevation hip to
egZkZcilViZg^c\gZhh^iZhhZci^Vaan[dgbhVeV^gd[hZ -
XgZi\jiiZghi]VigjcZ^i]Zgh^YZd[i]ZXZcigVaegdl#
From the outset, the roof intended to have a horizontal
break that gave a datum against the various pitches and
gdd[h#>iVahdYZbVg`hi]ZjeeZgVcYadlZgWV[Zh#>i^h
VcZmegZhhZY&%%bb\Ve!VXgdhhl]^X]i]Zh]^c\aZeVi -
iZgcVeeZVghidWZXdci^cjdjh#
30 COPPER ARCHITECTURE FORUM 34/2013
EaVcYZiV^ah]dl^c\XdeeZgVaadnXdgcZgVigdd[] e
HZXi^dcYZiV^ah]dl^c\gdd[WV[ZZY\Z
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31COPPER ARCHITECTURE FORUM 34/2013
SOLAR WAVESOne of Londons best-known public sector schools has been completely redeveloped with
a single, state of the art building replacing a sprawling campus. The competition-winning
design takes an innovative, highly architectural approach to controlling and optimising
sunlight with its brise soleil arrangement of copper, brass and bronze fins.
Opened in 1958, Holland Park School became the flagship forcomprehensive education in England, known as the social-ist Eton due to its impressive reputation. But by 2004, whenan architectural competition for redevelopment was insti-gated, the schools existing buildings were beyond economicrepair and failed to meet modern demands, with inflexibleaccommodation and tortuous circulation. The greatest chal-lenge for architects Aedas was to design a new building to bebuilt on the original site while the existing school remained inoperation and that allowed part of the site to be sold to fundthe construction but also left more usable external spacethan before.
Two Halves United
The result is a new block, approximately 100 m long and30 m wide. A large, 7 m deep basement extends across theentire building footprint to a depth of 7 m, accommodating thesports hall and swimming pool as well as kitchen and dining
areas. The above-ground, five storey parts are conceivedas two distinct halves united by a central atrium stretchingits full length and linked by a series of walkways. The easthalf contains the more conventional teaching spaces andis constructed using in-situ concrete columns and flat slabconstruction. The west half is a more dramatic, steel A-framestructure enabling the larger teaching and assembly rooms.This structure then straddles the larger spaces within thebasement to create clear-span spaces.
Maximising natural lighting deep into the building with exten-sive glazing, while controlling glare and solar gain, provedcentral to the architects strategy for design of the facades.But reducing visual impact of the long block on its sensitivesurroundings close to Holland Park and with mature treeson site was also impor tant. The east elevation is finishedwith a gently undulating stainless steel mesh, passing overa central copper canopy signalling the main entrance.
by Chris Hodson
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32 COPPER ARCHITECTURE FORUM 34/2013
Dynamic Three-dimensional Character
In contrast, the west facade is defined by a series of verticalfins in pre-oxidised copper, brass and bronze which take on astrong, dynamic three-dimensional character. The architectfor the project, Peter Runacres, explains the development oftheir design: Due to the buildings orientation, this eleva-tion receives more solar gain than the east side and vertical
fins are more effective in controlling glare while maximising
daylight. The initial design had an arrangement of broken up,
smaller fins but solar gain computer modelling revealed that
more were needed.
We then experimented using a physical model and found that
this arrangement created too much visual mass so, instead,
A copper canopy announces the main entrance on the east faade.
We selected the mix of copper and its alloys to give a natural richness, with timeless yetcontemporary qualities, as well as to deliver longevity and minimal maintenance.
P h
t
G
B
l l
Viewed obliquely, the curved copper and alloy fins generate sinuous wave forms.
settled on full-height fins set at three - apparently random
spacings, continuing over the roof. A soft, sine curve was
developed for the fin profiles, which gives an organic feel
reflecting the mature trees both on the site and facing this fa-ade from the adjacent Holland Park. We selected the mix of
copper and its alloys to give a natural richness, with timeless
yet contemporary qualities, as well as to deliver longevity and
minimal maintenance.
The copper and copper alloy clad fins are thin in section,minimising the impact on views from inside the building. Buttheir depth acts as an effective barrier to glare and unwantedsolar gain from afternoon sunshine. Viewed from an angle,the fins come together to generate a stunning effect of dy-namic sinuous forms across the faade.
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33COPPER ARCHITECTURE FORUM 34/2013
The brise soleil fins appear randomly spaced and continue over the roof.
Architect: Aedas
Copper Installer: English Architectural Glazing
Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze
Photos: Aedas/Daniel Hopkinson (except where stated otherwise)
The thin external fins have minimal impact on views towards Holland Park.
Section
Site Plan
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34 COPPER ARCHITECTURE FORUM 34/2013
Improving the environmentalperformance of products forconsumers and the buildingconstruction sector is importantto the copper industry. EU initi-atives, such as the SustainableConsumption and Productionaction plan, emphasise greaterresource efficiency and thecommercialisation of environ-
mentally friendly products. Thecopper industry is at the fore-front of industries committedto reducing the environmentalimpact of its operations. Today,one third of the energy consump-tion of modern European coppermanufacturing is used to operate envi-ronmental protection measures.
Recently, the copper industry has de-veloped an environmental profile whichcovers around 90% of the EUs produc-tion of both copper metal and copper
products. A critical review by externalexperts has confirmed the high qual-ity, consistency and correctness of theresults. Based on ISO 14040/44, all as-pects of ore extraction, the productionof other raw materials, energy supplyand the production of the metal itselfare detailed. As such, it captures the fullimpact of the so-called cradle-to-gateapproach and shows where the greatestenvironmental impacts occur and whereimprovement actions would deliver themost benefits.
Whilst this profile is based on a cra-dle to-gate assessment, many of thebenefits to society derived from copperwill be found during the downstreamuse phase. The copper industry pro-vides support to those wishing to usethe LCI data in their own Life Cycle As-sessments including the use phase andend-of-life phases.
Only about 20% of the total impact aris-es from EU copper production sites,influenced mainly by technology, lo-cal authority permit requirements, thesource of energy supplying the produc-tion site and a companys own standards.Geologically, copper is associated with
other valuable metals, such as molybde-num, silver and gold. Since their naturalconcentrations are much lower, the oreneeds careful treatment. Modern miningtechniques require less energy than inthe past, making the recovery of smallamounts of metal possible.
Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-tecture has evolved from an add-on to anexpectation and societys understand-
ing of what a sustainable building is hasbecome more complex. Sustainablebuilding rating systems have respondedto this shift by expanding their focusfrom operational impacts towards amore holistic life cycle approach.
To date, various green building ratingschemes exist. They differ in their ap-proach to considering building product
sustainability in the context ofthe whole building. LCAs areprovided by the copper industryto represent the ecological per-formance of copper products(e.g. sheets, tubes and wire ofcopper) in a transparent way.Moreover, the copper industryhas developed EnvironmentalProduct Declarations (EPD)
based on LCAs for commu-nicating reliable quantitativeenvironmental data for prod-ucts based upon independentlyverified calculations.
Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification isa useful starting point for assessing thesustainability of architectural materialsand provides independent endorsementof the low environmental impact of both
copper roofing and cladding. It rates awide range of complete building elementsfrom A+ to E, using LCA techniques.Ratings form an important part of theCode for Sustainable Homes and otherassessment tools such as BREEAM.
Various complete wall or roof build-upsare considered, each including materialsfor structure, insulation, moisture con-trol and finishes. All the copper-finishedroofs and most copper wall claddingspecifications included achieved A+ orA summary ratings. Even the few build-
ups with lower ratings could be improvedeasily with replacement components,without affecting the copper skin itself.Coppers longevity is a major strength,resulting from its complex patinationprocess that ensures extreme durabil-ity with no maintenance and resistanceto corrosion in virtually any atmosphericconditions.
by Nigel Cotton and Irina DumitrescuCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performance
of multiple applications in energy, transportation and buildings.
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35COPPER ARCHITECTURE FORUM 34/2013
But despite these high summary ratings,coppers life-span is one aspect that theGreen Guide simply underestimates. Itincludes unexpectedly low replacementintervals for copper cladding and roof-ing generally just 45 years that arenot justified either by experience or byscience. Many historic copper roofs have
survived for hundreds of years and some
are known to have performed well forover 700 years.
Below are some examples of gainingcredits in green building rating schemes,but there are many more opportunitiesto use copper to gain credits in buildingrating schemes not least in plumbing, re-
newables, heating and cooling.
The UKs Environmental AssessmentMethod for Buildings (BREEAM 2011)Credits are available for using specifi-cations for key building elements (e.g.external walls and roofs) with low embod-ied environmental impact as measuredby the Green Guide to Specification.Copper product manufacturers provingthat their product is better than the aver-age in terms of embodied impact of the60 year study period, because of reduced
impact in manufacture, reduced mate-rial or increased durability can obtainproduct specific Green Guide ratings byundertaking certification to BRE GlobalsEnvironmental Profiles Scheme.
For the responsible sourcing of ma-terials, credits can be achieved whenconstruction materials at least 80 % ofmaterials used - are responsibly sourced.Points are awarded depending on the type
of certification available for the materialsused in each building element.
The USs Leadership in Energy andEnvironmental Design (LEED)This system developed by the US GreenBuilding Council addresses: Sustain-able Sites; Water Efficiency; Energy &
Atmosphere; Material & Resources; In-door Environmental Quality andInnovation & Design. Life-cycleis not part of the current version(LEED 2009) but it will be incor-porated into the next one (LEEDV4) that will assess the buildingslife cycle impact reduction. LEEDcategories where copper cancontribute include:
MR Credit 1 Building reuse:credits can be achieved if build-
ing products can be reusedduring renovations, which is usu-ally possible due to the durabilityof copper.
MR Credit 2 Diversion fromlandfill: credits apply to end of
life of the building and its materials. Sinceit encourages the recycling of productsinstead of their disposal, credits can beachieved if materials such as copper areused in buildings which have a high valueas secondary materials and high recy-cling rates.
MR Credit 4 Recycling content: creditsare given if the recycled content of usedmaterials in the construction is high. Usu-ally, this is the case for copper products.
MR Credit 5 Regional materials: i.e.extracted, processed and manufacturedregionally. If copper products from re-gional processing or manufacturing sitesare used in buildings, additional creditscan be achieved.
SS Credit 7 Heat island effect: creditsare awarded depending on the Solar Re-
flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roofor cladding, manufacturers can providean initial SRI and one 3 years after instal-lation.
The German Sustainable BuildingCouncil (DGNB)This rating scheme addresses the threepillars of sustainability. It doesnt as-sess individual measures, but the overall
performance of buildings and an LCA caculation are mandatory.
ECO1.1 Life cycle costs (LCC): the manufacturing costs of faade and roof havto be considered. No maintenance costduring use phase. Please note, the end olife scenario is not part of the LCC calculation.
SOC1.6 Exterior quality: this criterioevaluates the design of outdoor areas.The goal of the criterion is to maximizthe roof area by integration of technicastructures in the building and reductioof fascia/parapets. Special outdoor area
(balcony, loggia, terraces, etc.) gain morpoints in this criterion.
TEC1.6 Ease of dismantling and recyclingcopper is a non-toxic, recyclable material, which is a requirement for a gooevaluation of this criterion. The effort odismantling and sorting is low and thvalue is high, which helps ensure the reuse of copper metal at the end of its life.
To learn more about the copper Life Cycle
visit our dedicated website www.copper
life-cycle.org. The site provides importan
information on aspects related to the usof life cycle data and the methodologie
used for copper, and also provides a lin
for practitioners to contact our experts.
IN THE NEXT ISSUE:
The Building Sector Leads the
Way in Copper Recycling.
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36 COPPER ARCHITECTURE FORUM 34/2013
COPPER TAKES CONTROL
The Prfecture du Rhne building designedby architects GARBIT & BLONDEAU is theadministrative centre for the Rhne depart-ment, demanding a strong public presence. Itreplaces a previous building on a corner plotin the central Third Arrondissement of Lyon,the departments capital city. Its plan-form isstraightforward with six storeys plus a set-back penthouse and external roof areas, anda 2-storey basement.
Copper Clad Volumes
The two main facades are articulated asdistinct, copper-clad volumes aligning withthe typical Mansard-roofed blocks eitherside. The volumes are separated on the westfront by an inset cloak of suspended stainlesssteel mesh reaching up to the penthouse andsignaling the buildings entrance. Copper wasthe architects first choice and its sustainable
credentials a consideration. Opaque claddingis generally pre-oxidised copper, selected forits more regular brown shade than mill finishmaterial.
The defining external features of the newbuilding are vertical shutters clad in perfo-rated, pre-oxidised copper. In conjunction
This new, civic building in the southern French city of Lyon is characterisedby rotating copper brise soleil shutters within its deep facades, controlling
solar gain and optimising natural lighting.
with the suspended stainless steel meshscreens at street level, the perforated cop-per gives transparency but the motorised,pivoting shutter arrangement also animatesthe facades. This brise soleil arrangementallows direct response to external condi-tions, controlling solar gain and glare, whilstmaximizing potential for daylighting deepinto the building. This strategy is thoroughlysustainable in terms of both environmentalperformance and choice of materials.
West Elevation
by Chris Hodson
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SectionthroughEntrance
South Elevation
Rue Moli
Architect: GARBIT & BLONDEAU
Copper Installer:SAS Alain LE NY
Copper Product: Nordic Brown
Photos: Studio Erick Saillet
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38 COPPER ARCHITECTURE FORUM 34/2013
Environmental Control with CopperThe external copper shutters each pivot centrally and areoperated in groups by electric motors, enabling local re-sponse to external conditions in combination with openingwindows for ventilation. Even when closed, the shutters allowfiltered natural light into the building and, at night, internal
lighting transforms the building when seen from outside.The purely architectural impact of the design can be judgedby comparison with the new facades before the brise soleilwere installed.
Vertical faade sectionshowing stainless steelmesh below perforatedcopper brise soleil.
Motorised pivoting coppershutter arrangement.
Vertical detail ofpivoting coppershutter.
Brise soleilbuild-up.
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ARCHITECTURALAWARDS LAUNCH
Entries are invited for the 2013 European Copper in Architecture Awards
a showcase for architects designing with copper and its alloys to promote
their work to an international audience.
All entrJes mVst Jncorporate facaEes roomnH or otIer arcIJtectVral
elements of copper or copper alloys. Any scale or type of projectcan Ce entereEo from major lanEmarLCVJlEJnHs to moEest scIemes.
ArcIJtects anE crJtJcsEraXn from a panel JnclVEJnH some of tIe
most JnnVentJal EesJHners Jn &VropeXJll jVEHe all tIe entrJes on
tIeJr arcIJtectVral RValJtJes from HrapIJc sVCmJssJons.
Final deadline for receipt of entries: 31st May 2013
'or more JnformatJon on enterJnH tIe AXarEs anE on preWJoVs
aXarEs entrJes anE resVltsWJsJtwww.copperconcept.org/awards
Awards Ceremony
and Exhibition of all projects
will take place in partnership
withBATIMAT
on 04 08 November 2013
in Paris Nord Villepinte
Visit us at:
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