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OD WYDAWCY

Zarejestruj si na stronie Copper Architecture Forum copperconcept.org

Zobacz poprzednie numery magazynu copperconcept.org

Skontaktuj si z Zespoem Redakcyjnym [email protected]

Przelij swj projekt na stron: copperconcept.org

Wejd na stron europejskiego konkursu europejskiego konkursu Mied w Archi-tekturze European Copper in Architecture Awards copperconcept.org

Okadka: Platorma Sztuk i Kreatywnoci,Guimares, Portugalia (str. 14).Fotografa: Joo Morgado

Copper Architecture Forum 34, Maj 2013

Magazyn Copper Architecture Forum jest elementem europejskiej kampanii Mied

w Architekturze. Jest wydawany dwa razy do roku w nakadzie 25000 egzemplarzy.

Magazyn jest przeznaczony dla architektw i osb zawodowo zwizanych z bran

budowlan i wydawany jest w Europie w jzykach: angielskim, czeskim, duskim,fskim, rancuskim, hiszpaskim, niemieckim, norweskim, polskim, rosyjskim,

szwedzkim, wgierskim i woskim.

Redaktor Naczelny: Robert Pinter

Redaktor: Chris Hodson RIBA

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

E-mail: [email protected]

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

Wydawca: Nigel Cotton, ECI

Skad i produkcja: Jorma Naula Grafsk Design, Sweden

Druk: Strlins Grafska AB 2013, Sweden

Panel redakcyjny:

Birgit Schmitz, Niemcy [email protected] Zakrzewski, Polska [email protected]

Marco Crespi, Wochy marco.crespi@ copperalli ance.it

Nicholas Hay, Wielka Brytania [email protected]

Nikolaos Vergopoulos, Grecja [email protected]

Nuno Diaz, Hiszpania [email protected]

Olivier Tissot, Francja olivier.tissot @copperal liance.r

Paul Becquevort, Benelux [email protected]

Pia Voutilainen, SE, NO, FL, DK pia.voutilainen @copperal liance.se

Robert Pintr, HU, CZ, SVK robert. pinter@coppe ralliance.h u

Vadim Ionov, Rosja vadim.io nov@copper alliance.ru

Copper Architecture Forum 2013

Pierwszy numer Koppar Forum w 1995 r.

mia zaledwie cz tery strony.

Rozpoczynamy to wydanie serdecznym poegnaniem Lennarta Engstrma, ktry odchodzi znaszego Zespou Redakcyjnego na emerytur. Lennart 18 lat temu zainicjowa magazyn Cop-per Forum i przez cay ten czas odgrywa kluczow rol w jego rozwoju od czterostronicowegonumeru, kierowanego do skandynawskich architektw, do obecnego czterdziestostronicowegomagazynu wydawanego w 13 jzykach z nakadem 25 tysicy egzemplarzy. Wszyscy w ZespoleRedakcyjnym cenilimy jego wiedz, pasj i zaangaowanie w sprawy miedzi w architekturze

oraz jego agodno poczon ze zdolnoci przekonywania. Praca z Lennartem zawsze byadu przyjemnoci.

Oczywicie, w cigu ostatnich 33 wyda zawsze zachodziy zmiany cigle ulepszanozarwno formy magazynu jak i jego treci tak, aby odzwierciedla biece zainteresowania ar-chitektw. Jednake i dzisiaj pocztkowe fundamentalne wartoci Copper Architecture Forumpozostaj aktualne: prezentacja wspczesnej architektury, zagadnienia dotyczce aktualnychproblemw projektowania z wykorzystaniem miedzi i jej stopw.

Korzystamy tutaj z okazji, aby przedstawi nowego redaktora naczelnego Roberta Pinterai nowego redaktora Chrisa Hodsona. Obydwaj s ju od pewnego czasu czonkami ZespouRedakcyjnego i posiadaj bogate dowiadczenie w zastosowaniach miedzi w architekturze ibudownictwie. Majc architekta w zespole redakcyjnym, magazyn bdzie mg lepiej odzwier-ciedla zainteresowania naszych czytelnikw architektw i rozwija ich wiksze zaangaowanie za porednictwem naszej partnerskiej strony internetowej copperconcept.org.

Wydajc Copper Architecture Forum poszukujemy nowopowstajcych trendw, wtkwczcych projekty. W tym wydaniu pojawia si szereg tematw. Po pierwsze, zi lustrowanoliczne moliwoci zastosowania miedzianych elementw elewacyjnych pozwalajcych czyocienianie od soca i przepuszczanie wiata. Wachlarz rozwiza siga od perforowanychmiedzianych ekranw i siatek po kraty z profilowanego mosidzu i ebra o rzebiarskiejkrzywinie. Niektre projekty akcentuj uycie miedzi jako w peni nowoczesnego materiau,idealnego dla wspczesnych interwencji architektonicznych majcych na celu rewitalizacjstarszych budynkw, czsto zabytkowych i podlegajcych ochronie. Na koniec, mied odgry watake rol publiczn tam gdzie wiksze projekty inwestycyjne pomagaj w kszta towaniu rodo-

wiska miejskiego.

Mamy nadziej, e zainteresuje was rnorodno i niezwyky charakter projektwarchitektonicznych przedstawionych w tym numerze.

Zesp Redakcyjny

ZMIANA I CIGO

Lennart Engstrm, zaoyciel i

emerytowany redaktor Copper

Architecture Forum

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3COPPER ARCHITECTURE FORUM 34/2013

34

49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

Free & available for iPhone, iPad

and Android devices.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum

Articles

Copper Architecture Forum 2013

63,675(&

2 Zmiana i cigo komentarz redakcyjny

49 Ikoniczna mied przeksztacenie zabytkowego urzdu pocztowego wGteborgu w charakterystyczny hotel z unkcj publiczn

1011 Miedziane Centrum Obsugi Samochodw rewitalizacja budynkuCentrum Obsugi Samochodw w Moskwie

1213 Nowe oblicze stylu romaskiego nowe spojrzenie na wiejskarchitektur Normandii okryt woalem z miedzi

1419 A Platorm or 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 fns shield the glazed rontageo a new London school

3435 Coppers Contribution to Improving the EnvironmentalPerormance o Buildings lie cycle assessments and buildingrating systems

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

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4 COPPER ARCHITECTURE FORUM 34/2013

IKONICZNAMIEDNieuywany od 20 lat , budynek centralnego Urzdu

Pocztowego Drottningtorget w Gteborgu, Szwecja,

zaadaptowano na 500-kowy Hotel Clarion Post przez

uzupenienie nowoczesn dobudow, ktra odzwiercie-

dla aspiracje tego ttnicego yciem miasta.

Oryginalny budynek zaprojektowany zosta w latach 19181925 przez

lokalnego architekta Ernsta Torula w klasycznym stylu manierystycz-

nym, ze zdobieniami z cegy i kamienia, z mansardowym dachem

krytym dachwk upkow z obrbkami z blachy miedzianej, ktra

z upywem czasu pokrya si zielon patyn. Budynek Urzdu

Pocztowego jest obecnie zabytkiem pomnikiem dziedzictwa na-

rodowego. Pozornie prosta strategia architektw Semrn & Mnsson

polegaa na domkniciu przerwy w oryginalnym planie, o ksztacie

podkowy, now dobudwk i zwrceniu si do wewntrz, aby w

ten sposb wykorzysta dawny dziedziniec zaadunkowy Urzdu

Pocztowego. Przestrze dziedzica zostaa wypeniona nowymi

pomieszczeniami na niszych kondygnacjach i nakryta szklanym

dachem, ktry nasyca wiatem przestrze publiczn. Zaadaptowany

do nowej unkcji budynek poczty zachowa swj oryginalny charak-

ter, detal architektoniczny i status zabytku.

Nowy symbol miasta

Interwencja architektoniczna polegajca na zamkniciu dziedzi-

ca stworzya po wschodniej stronie budynku nowy, publicznie

otwarty ronton zwrcony w stron kareplatsen i Odinsgatan.

Plomba, ktrej jedno skrzydo jest pokryte miedzi a drugie upkiem,wypenia przestrze z obu stron i licuje z oryginalnym poziomem

okapu. W miejscu spotkania si skrzyda wznosz si razem jako para

monolitycznych orm rozdzielonych wsk, pionow, przeszklon

szczelin. Powstaa w ten sposb 13-pitrowa wiea stanowi punkt

orientacyjny dla miasta oraz boczne wejcie do hotelu. Gwne

wejcie, wyrniajce si bogat zot mozaik, zostao zachowane

w zachodnim rontonie dotychczasowego budynku od strony placu

Drottningtorget.

by Chris Hodson

Dobudowa odzwierciedla poziom sie starego ukadu okien, ale

przeamuje prost, pionow lini otworw. Koncepcja nowej asady

wykorzystuje kwadratowe pyty, kada z poziomymi pasami miedzi

lub upku i bez spoinowe, zlicowane przeszklenia, pozornie przypad-

kowo zaaranowane. Wedug architektw, czciow inspiracj dla tej

czystej, paskiej, pokrytej obieniami powierzchni by koci Lajasalo

w Finlandii z poziomymi pasami wstpnie patynowanej miedzi.

Tutaj natomiast, pionowe akcenty zostay wprowadzone przezpoczenia pyt elewacyjnych oraz podkrelone przez zmian koloru

w miejscach, gdzie spotykaj si poziome pasy miedzi. Naroniki

budynku s zaakcentowane przez nowoczesne wykorzystanie tra-

dycyjnych naroy (widocznych na oryginalnym budynku) w postaci

wskiego pasa gruboci paneli elewacyjnych, czasem wprowa-

dzajcych przeszklenie pomidzy mied. Podzia elewacji nie zosta

przerwany przez taras dachowy i otwarty basen, z ktrych rozpocie-

ra si widok na Gteborg.

Fotograia: Lennart Hys

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Fronton oryginalnego budynku i wejcie do hotelu zwrcone w stron placu Drottningtorget.

Fotograia: Krister Engstrm

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Rzut poziomu 13

Rzut poziomu 9

Rzut poziomu 3

Rzut poziomu 2

Rzut poziomu 1

Poziom ulicyFotograie: Krister Engstrm

Image:Semrn&Mnsson

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Bogate, ywe powierzchnie miedzi

Od samego pocztku nowe elewacje miay by cienki-

mi konstrukcjami z okadzin z blach. Takie rozwizanie

wymagao uycia oddzielnych paneli i instalowania ich

budowie w celu utworzenia ciany kurtynowej, niezale

od stropw konstrukcyjnych. Umoliwio to cis kontro

wszystkich komplikacji projektu elewacji zoonej z indy

widualnych paneli i przeszkle o rnych wymiarach ora

zmiennej, obionej powierzchni miedzianej. Wykorzyst

tam miedzian w trzech szerokociach: 200, 250 i 300

mm i o trzech rnych stopniach intensywnoci wstp-

nego patynowania uzyskanych przez zmian nasycenia

zieleni na ciemnobrzowym tle. Poczenie tych eleme

tw umoliwio stworzenie bogatych, ywych powierzc

miedzianych.

Architekt: Semrn & Mnsson

Wykonawca asady z miedzi: Skandinaviska Glassystem AB

Rodzaj miedzi: Nordic Green Living

Fotograia: Lennart Hyse

Fotograia: Chr

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Funkcja publiczna

Clarion Hotel Post znajduje si w samym centrum Gteborga obok centralnego

dworca kolejowego i w pobliu gwnego centrum handlowego Nordstaden.

Nowa wiea to centralny punkt wicy ze sob osie miasta, ktre przez dugi

czas byy rozdzielone. W najbardziej oczywisty sposb pokrywa si ona z osi

alei Odinsgatan zamykajc widok wzdu tej ulicy.

Przekrj

Fotograia: Chris Hodso

Mied miaa ogromneznaczenie dla naszego projektu

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Peny wywiad z profesorem Mnssonem monprzeczyta na stronie copperconcept.org

WYWIADChris Hodson rozmawia z profesorem

Magnusem Mnssonem, wacicielem

pracowni architektonicznej Semrn &

Mnsson na temat realizacji Hotelu Cla-

rion Post.

CH: W jaki sposb zaangaowa si pan w projekt

Hotelu Post?

MM: Zostaem zaproszony przez inwestora, aby

znale odpowiedni lokalizacj dla duego ho-

telu, tutaj w Gteborgu, w pobliu centralnego

dworca kolejowego. Byem wanie w trakcie pro-

jektowania innego hotelu i byem zaabsorbowany

typologi tego rodzaju obiektu. Budynek dawne-

go urzdu pocztowego w latach osiemdziesitych

ub. wieku peni funkcj biurow, ale kiedy spoj-

rzaem na niego to pomylaem, e to nie jest biu-

rowiec, lecz doskonay obiekt na hotel ze wzgl-du na rozmieszczenie okien. Inwestor zgodzi si

z moj propozycj projektu czcego stare z no-

wym. Byo to osiem lat temu.

CH: Jakie wyzwania stawiaa praca z zabytko-

wym budynkiem?

MM: Oczywicie to byo przede wszystkim zma-

ganie si z rnymi instytucjami. en zabytkowy

budynek podlega w Szwecji najwyszej kategorii

ochrony. Wsppracowalimy nie tylko z lokal-

nymi wadzami, ale take urzdami centralnymi

w Sztokholmie, co nie byo atwe. Zapewnienie

oryginalnego wygldu zewntrznego budynku to

gwny warunek, jaki nasz projekt musia speni.

CH: Mimo e ma pan trzy inne biura, pana pra-

ca jest gwnie umiejscowiona w Gteborgu. Czy

podejcie do projektu, zlokalizowanego tu za ro-

giem pana pracowni , rni o si w zwizku z tym

od innych pana projektw?

MM: Mam nadziej, e nie. Ale, oczywicie mija-

em ten budynek codziennie w drodze do pracy i z

powrotem, wic by mi szczeglnie bliski.

CH: Czy z punktu widzenia urbanistyki uwaa

pan, e Post Hotel spenia wan funkcj publicz-

n?

MM: O tak, kiedy budowano Urzd Pocztowy

zajmowa on dwa kwartay chocia planowano, ebdzie go przecinaa ulica. o powstrzymao na-

turaln ekspansj miasta w kierunku wschodnim.

eraz nowa wiea, pokryta miedzi i upkiem,

widziana od strony starego centrum, sygna lizuje

nowe miasto po wschodniej stronie. Bdzie take

suya jako centralny punkt zamykajcy alej na

wschodzie oraz nowy, planowany plac od frontu.

CH: Czy jest jaka symbolika w parze wie pokry-

tych miedzi i upkiem?

MM: W wieach jako takich, nie. Pierwotny pro-

jekt przewidywa wysz wie, ktra na da-nie lokalnych wadz zostaa obniona. o wtedy

wanie wpadem na pomys wykonania ich w

dwch materiaach, aby uzyska lepsze propor-

cje. S take rnice w naszym podejciu do tych

materiaw mniejsze okna i mniejsza ich liczba

w wiey pokrytej upkiem stwarzaj wraenie

monolitu, za wiea pokryta miedzi daje wra-

enie znacznie cieszego materiau. Jest jeszcze

mnstwo drobnych oznak mwicych jak mona

interpretowa te rnice.

CH: Czy byy jeszcze inne powody uycia miedzi

i upku ni tylko nawizanie do dachu oryginal-

nego budynku?MM: W latach dwudziestych XX wieku wszyst-

ko byo budowane z naturalnych, lokalnie do-

stpnych materiaw. Dlatego bylimy dumni,

e mamy taki materia jak mied. Chcielimy

rozwija to dziedzictwo uywajc jzyka mate-

riaw, ktry sprawi, e nowe czci bd si wy-

rniay, a przy tym pozwol zachowa cigo.

Ja postr zegam ten budynek jako modego krew-

nego z tym samym DNA. Mied miaa ogromne

znaczenie dla naszego projektu.

CH: Uy pan tam miedzianych o rnej sz

rokoci i o rnej intensywnoci patynowanJakie intencje kryy si za takim podejciem?

MM: ak, jestem bardzo zadowolony z rezulta

to by wspaniay sposb wykonania powierzch

z miedzi. Wymiary pytek citych z upku zas

geroway podobne podejcie do zaaranowan

konfiguracji miedzianych tam w taki spos

aby uzyska podobn faktur i poziom stru

tur odzwierciedlajc tradycyjne, ceglane mu

wystpujce w caym miecie.

CH: Oprcz prowadzenia praktyki archite

tonicznej w czterech biurach, rwnie pan n

ucza. Czy ma pan czas na odpoczynek, a jeli t

to w jakiej formie?MM: Nie zostaje mi wiele wolnego czasu, ale k

dy mog, to rysuj.

Po wschodniej stronie hotelu planowany jest nowy plac, a wiea bdzie suya jako centralny punkt dla pooonej za nim a

Nowa wiea, pokryta miedzi i upkiem, widziana od strony srego centrum, sygnalizuje nowe miasto po wschodniej stron

Fotograia: Krister Engstrm

Fotografia:Semrn&Mnsson

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MIEDZIANE CENTRUMOBSUGI SAMOCHODWTransformacja szpetnego, sowieckiego budynku z poowy 20.

wieku przez zmian frontonu z uyciem perforowanych blach

miedzianych, podkrela znaczenie samochodu. Pavel Khegay i

Amir Idiatulin z pracowni IND Architects objaniaj koncepcj

projektu.

Firma Euromotors zwrcia si do nas z propozycj stworzenia

nowego wizerunku centrum obsugi samochodw, ktry

odzwierciedlaby kluczowe cechy przedsibiorstwa: konse-

kwencj, niezawodno i wysok jako usug. Budynek stoi przy

ruchliwej drodze i to wanie stanowio inspiracj dla naszej koncepcji

architektonicznej. Dynamika przejedajcych samochodw ich

ruch i wiata, lnice metalowe karoserie uwidoczniaj si w ormie

projekcji na elewacji budynku.

Architekci wybrali ciemnobrzow oksydowan mied jako materia

na elewacje. Ten szlachetny i trway metal podkrela presti frmy

Euromotors i jej dbao o wysokiej jakoci samochody. Uycie

paneli z perorowanej miedzi wzbogacio projekt budynku stwarza-

jc zudzenie zmieniajcej si powierzchni w miar poruszania si

wzdu elewacji. Za dnia peroracje nadaj elewacji szczegln gbi

spowodowan gr wiate i cieni. W nocy ten dynamiczny eekt jest

spotgowany przez odbicia wiate samochodw na powierzchni

elewacji i dodatkowo za pomoc specjalnych lamp wieccych

poprzez panele, rozmieszczonych poziomo jak wiata drogowe

samochodw.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Andrey Kulagin z zespou projektantw PacifcStroyomawia realizacj projektu.

Jest to pierwsza realizacja w Rosji, w ktrej zastosowano elewacj

podwieszan, wykonan z perorowanych paneli miedzianych z

podwietleniem od wewntrz. Postawia ona przed nami szereg

wyzwa zwizanych z projektem technicznym, interpretacj

rysunkw architektw i trjwymiarowych wizualizacji szczegl-

nie dotyczcych ukrycia lamp, wspornikw i innych elementw

w przestrzeni za elewacj. Praca z naturalnymi materiaami, jak

mied, jest zawsze inspirujca i wzbudza poczucie szczeglnej

odpowiedzialnoci. Zdoalimy jednak unikn problemw w

procesie instalacji, poniewa kady szczeg zosta uwzgldniony

i opisany w dokumentacji technicznej.

Peroracja metalowych paneli wpywa na ich sztywno, ktra zo-

staa zachowana przez rozmieszczenie otworw w szachownic i

dobr gruboci blachy miedzianej. Krawdzie pyt pozostawiono

nie perorowane w celu umoliwienia mocowania do wsporni-

kw ze stali nierdzewnej za pomoc miedzianych nitw. Powstaa

w ten sposb elewacja reprezentuje podejcie frmy Euromotors

do dziaalnoci i tworzy skojarzenia z samochodami i z zaawanso-

wan technik. Rozmieszczenie peroracji przypomina chodniczabytkowego samochodu a nitowane poczenia przywodz na

myl poszycie samolotu.

Nie tylko w Rosji centra obsugi samochodw s bezbarwnymi

budynkami przemysowymi. Kompleks Euromotors wyrnia

si wrd nich swoj urod, ktr uzyskano dziki zastosowaniu

miedzi.

Architekt: IND Architects

Projekt i monta okadzin elewacyjnych z miedzi: PaciicStroy (KrovExpo)

Rodzaj miedzi: Nordic BrownFotografia:AndreyMarshal

Martwa, biaa elewacja oryginalnego budynku zostaazastpiona przez yw i pen energii powok zperorowanej miedzi.

Fotografia: Andrey Marshal Fotografia: Evgeniy Golytki

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Nowe centrum kultury i mediw w miasteczku Gournay en

Bray w Normandii czy w sobie typowe elementy architek-

tury romaskiej unowoczenione powierzchniami krytymi

upkiem oraz przeszkleniami przysonitymi siatk miedzian.

Projekt obejmuje dwa odrbne skrzyda poczone z centralnym

pomieszczeniem recepcji. Wschodnie skrzydo o dugoci 65 m mieci

bibliotek multimedialn dla dorosych i dzieci, za skrzydo zachodnie,

o dugoci 75 m, zajmuj Szkoa Muzyczna i Szkoa Taca. Architekci

zaprojektowali nowoczesny budynek w samym sercu dziaki, ktry na-

wizuje do naturalnego rodowiska (ogrody, przejcia, kamienne mury)i tradycyjnej wiejskiej zabudowy (tradycyjne budynki i wiaty). Stworzyli

plan rnych pomieszcze kulturalnych czcych si z pomieszczeniem

recepcji, jak rozrastajce si z niego kcze roliny. Pene przeszklenie

recepcji ma sprawia zudzenie, e odwiedzajcy znajduj si na zielonej,

ukwieconej ce rosncej pomidzy dwoma skrzydami centrum.

W projekcie zachowano tradycyjne strome dachy poaciowe, ktre

zostay pokryte nowym sino-brzowym upkiem. ciany budynkw s

poprzerywane powierzchniami przejrzystej siatki z oksydowanej miedzi

uoonej na duych, oszklonych powierzchniach.

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

Rodzaj miedzi:TECU Oxid

Fotograie: Luc Boegly

Chris Hodson

NOWE OBLICZESTYLU ROMASKIEGO

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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 the

space contained by them commonly referred to as the

square together form the urban character of the city of

Guimares. Before being relocated, the old municipal market

enjoyed a privileged and very central location with excel-

lent access, very close to the Toural Square and the historic

centre.

MULTIFUNCTIONAL SPACE

Now, the transformation of the marketplace into a multi-

functional space dedicated to artistic, economic, cultural and

social activities appropriate to the citys European Capital of

Culture 2012 status, has reintegrated the area into the urban

fabric, so recovering a key area of the city. In addition, the

project extended out to adjacent building plots, enabling the

regeneration of the interior space of the block previously a

characterless area used for marble processing.

The program provided a clear concept and defined theobjectives to be achieved, listing a series of activ ities and

spaces which defined the functions of both new and existing

buildings, as well as the adjacent plots of land. Three major

program areas were identified:

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Architects: Pitgoras

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

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

Photos: Joo Morgado - Architecture Photography

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The program also sought to recover the existing building on

the eastern side by trying to promote the installation of ad-

ditional multidisciplinary commercial activities. The whole

structure, according to the program, would complement

existing 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 the

possibility of each one of its components functioning inde-

pendently and simultaneously, by creating accesses to each

of the various services and support areas, as well as to the

outdoor square and garden.

We opted for a methodology of intervention that involved

the rehabilitation of the existing building to the east

keeping the materials and textures but redoing the entire

interior at level 0. With the north building, the faade

towards the Avenue which characterises the build-

ing was renovated but its interior and faade facing the

square were the subject of almost complete demolition

and redesign. Although it was intended to maintain the

scale 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 relationship

of this structure with the outer space.

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The new building takes a radically different approach to its

surroundings, both from the standpoint of architectural

language and image: discrete, repetitive, as well as by the

succession 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 dense

and opaque on the majority of surfaces, to transparent when

partially concealing the buildings few openings.

This series of dissonant elements resulted from the need to

create a variety of different spaces in the exhibition area.

It creates a tension manifested in the volumes of the building

and the relationship with the space of the square, making it

the main feature of its design.

For the square, we formulated a design significantly more

clinical, 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 by

its very nature. It will remain intentionally sparsely equipped,

with large trees to the east preserved and planting introduced

along the north building, but leaving most of the space free

for 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 facades

of the new building was informed by the mate-

rials ancient heritage, sustainability credentials

and ability to deliver a cost-effective solution to

the complexities of the program. Brass profiles,

in conjunction with exposed glazed areas, ef-

fectively dematerialise the massive geometric

forms of the new building which is 150 m long

and stands 8 m high softening its relationship

to the public square.

The consistent grid, made up of 20 x 10 mmrectangular brass profiled sections, matches

the scale and proportions of the surrounding

buildings without overwhelming them. Despite

the regularity of the brass grid, it provides a

tranquil backdrop to the square, constantly

changing with the light then transforming

from 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 fixation of the facade panels

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In the summer of 2006 Maidstone Borough Council

launched an exciting and ambitious scheme to open

up Maidstone Museums collections and transform

its services and facilities for visitors. The East Wing

project forms the second phase of the Museums re-

development programme, following the renovation of

the West Wing in 2003. The Museums core is a Tudor

manor house dating from 1561. It was acquired by

Maidstone Borough Council in 1855 and opened as

a Museum in 1858. The Museum is a Grade II* listed

building protected by law.

BdgZEjWa^X>ckdakZbZciThe collections of over 600,000 artefacts and speci-

mens are outstanding in their diversity and quality,

forming the largest mixed collections in Kent and one

of the largest in the South-East of England. Some

elements such as the Japanese Art Collection are of

international significance. The East Wing projects

key aims were the long-term preservation of the col-

lections, more public involvement and increased use

of the Museum and its collections.

The new interventions allow greater public visibility

of the collections and also the Museums historic

buildings. There is now a visual reconnection to

Brenchley Gardens, as originally intended by the

Museums Victorian founders, and better views of the

Museum from the town centre. Public facilities, ease

of visitor flow through the building and accessibility

for 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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L^cc^c\9Zh^\cOur competition-winning design is a direct response to

these key objectives. At the lower levels of the revitalised

East Wing, a new entrance and orientation area face

Maidstones High Street and welcome visitors. A gallery

created between an improved shop and the refurbished

stores provides a home for a Solomon Islands War Canoe

the only example of its kind outside the Islands. Views

from this gallery reveal a public courtyard and Tudor

faades unseen by the public for over 40 years.

A young learners education room is complemented

at first floor level by a glazed meeting room, creating

dramatic views of St. Faiths Church and visually re-con-

necting the museum with Brenchley Gardens. A dynamic

new gallery space above the reception, lit by curvaceous,

north facing rooflights, provides a permanent home

for the collection of Japanese Art. The extensions were

complemented by refurbishment and reorganisation of

the existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagrid

of golden copper alloy shingles, creating a contemporary

counterpoise to the existing brick faades. Over time the

shingles may loose their shine but not their beauty.

1

1

2

3

4

5

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2

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Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

4

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Bearsted WingSt. Faith's StreetBrenchley Gardens

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Reception / Visitor Information CentreShop and OrientationJapanese GalleryUpper Bearsted GalleryEscape stairCorridorGlass roomPlant roomWCs9

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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Refurbished Areas

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6

7

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Extension

Refurbished Areas

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COPPER

CONTEXT

CH: How did you come to design the new

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

EK: Te Linguistic department buildingresulted from a competition in 2006, 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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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

Copper Installer: ME Wielkopolska CoCopper Product: Nordic Green Living

Photos: Artur Biakowski (Grande)

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATION

The Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-

ing, it is a key part of Worcesters river frontage, highly visible

from the rising ground to the south and west. The articulation

of its unique external form resonates with the scale and grain

of the setting: the roofline echoes the profile of the Malvern

Hills visible to the west, and recalls the Royal Worcester kilns

which, with the Cathedral, once dominated the citys skyline.

The iconic funnels are as fundamental to the interior of the

building as they are to its external appearance, providing

natural 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 record

office, a local history centre, the countys archaeology service

and a multi-agency customer service centre. The Hive is a

cultural, learning and information centre of excellence

promoting lifelong learning, engendering social inclusion

and raising aspirations in the broadest sense for the whole

community, regardless of age, background, or ability.

GZZXi^c\AdXVaBViZg^Vah

The cladding of golden copper alloy shingles reflects the rich

palette of colours and materials which characterise the city

centre - 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 openings

also draws on the local vernacular: solid and void are balanced

to optimise light, air and view, with care to avoid overheating

and glare, and the need for excessive mechanical systems to

maintain a comfortable environment.

The articulation of the roof form as a ser ies of irregular cones

is designed to reduce the scale of this significant new public

building to better relate to the fine grain of the historic city.

The distinctive roof cones are formed in solid laminated timber

panels that span between the eaves beam and a timber ring

beam at the top of each cone. The plinth, which varies in height

around the perimeter, is clad in Forest of Dean Pennant stone

to match the paving to the public realm: the ochre streaks echo

the golden cladding.

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Articulation of the metal fabric was developed in the

detailing of the material at corners, eaves and windowcills. A critical part of the material expression was to

ensure that it appeared seamless and that cover pieces

or horizontal elements of gold that might break up the

shingle pattern were avoided. The design team were

aided by the excellent copper installers who mocked-

up a number of the key detail junctions (some shown

here) for discussion and exploration ahead of the start

of their site works.

As the installations progressed to site, the installers

identified potential difficulties with particular gutter

junctions early enough for the design team to discuss

practical solutions on site. These conversations were

supported by sketches and formal drawings, and test-

ing where necessary. The quality of the copper alloy

skin, as part of the overall finished building, is evidence

of how well the design and installation team worked

together.

At nearly 12,000 m2 it would be easy for the sheer

volume of such a striking material to be the defining

characteristic but, by developing the details together

with a dedicated and skilled installer, the cladding

becomes more than simply distinctive. Instead, the

prominence of the material is embellished and refined:

the subtleties of the golden cloak demonstrated in its

careful 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

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Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing foldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

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30 COPPER ARCHITECTURE FORUM 34/20130 COP ER ARCHITECTUR F RU 34/201

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

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

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

sunlight with its brise soleil arrangement of copper, brass and bronze fins.

Opened in 1958, Holland Park School became the flagship for

comprehensive education in England, known as the social-

ist Eton due to its impressive reputation. But by 2004, when

an architectural competition for redevelopment was insti-

gated, the schools existing buildings were beyond economic

repair and failed to meet modern demands, with inflexible

accommodation and tortuous circulation. The greatest chal-

lenge for architects Aedas was to design a new building to be

built on the original site while the existing school remained in

operation and that allowed part of the site to be sold to fund

the construction but also left more usable external space

than before.

Two Halves United

The result is a new block, approximately 100 m long and

30 m wide. A large, 7 m deep basement extends across the

entire building footprint to a depth of 7 m, accommodating the

sports hall and swimming pool as well as kitchen and dining

areas. The above-ground, five storey parts are conceived

as two distinct halves united by a central atrium stretching

its full length and linked by a series of walkways. The east

half contains the more conventional teaching spaces and

is constructed using in-situ concrete columns and flat slab

construction. The west half is a more dramatic, steel A-frame

structure enabling the larger teaching and assembly rooms.

This structure then straddles the larger spaces within the

basement to create clear-span spaces.

Maximising natural lighting deep into the building with exten-

sive glazing, while controlling glare and solar gain, proved

central to the architects strategy for design of the facades.

But reducing visual impact of the long block on its sensitive

surroundings close to Holland Park and with mature trees

on site was also important. The east elevation is finished

with a gently undulating stainless steel mesh, passing over

a central copper canopy signalling the main entrance.

by Chris Hodson

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In contrast, the west facade is defined by a series of vertical

fins in pre-oxidised copper, brass and bronze which take on a

strong, dynamic three-dimensional character. The architect

for the project, Peter Runacres, explains the development of

their 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. But

their depth acts as an effective barrier to glare and unwanted

solar gain from afternoon sunshine. Viewed from an angle,

the fins come together to generate a stunning effect of dy-

namic sinuous forms across the faade.

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The brise soleil fins appear randomly spaced and continue over the r oof.

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

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

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

Section

Site Plan

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Improving the environmental

performance of products for

consumers and the building

construction sector is important

to the copper industry. EU initi-

atives, such as the Sustainable

Consumption and Production

action plan, emphasise greater

resource efficiency and the

commercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-

front of industries committed

to reducing the environmental

impact of its operations. Today,

one third of the energy consump-

tion of modern European copper

manufacturing is used to operate envi-

ronmental protection measures.

Recently, the copper industry has de-

veloped an environmental profile which

covers 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 the

results. Based on ISO 14040/44, all as-

pects of ore extraction, the production

of other raw materials, energy supply

and the production of the metal itself

are detailed. As such, it captures the full

impact of the so-called cradle-to-gate

approach and shows where the greatest

environmental impacts occur and where

improvement actions would deliver the

most benefits.

Whilst this profile is based on a cra-

dle to-gate assessment, many of the

benefits to society derived from copper

will be found during the downstream

use phase. The copper industry pro-

vides support to those wishing to use

the LCI data in their own Life Cycle As-

sessments including the use phase and

end-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, the

source 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 natural

concentrations are much lower, the ore

needs careful treatment. Modern mining

techniques require less energy than in

the past, making the recovery of small

amounts of metal possible.

Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-

tecture has evolved from an add-on to an

expectation and societys understand-

ing of what a sustainable building is hasbecome more complex. Sustainable

building rating systems have responded

to this shift by expanding their focus

from operational impacts towards a

more holistic life cycle approach.

To date, various green building rating

schemes exist. They differ in their ap-

proach to considering building product

sustainability in the context of

the whole building. LCAs are

provided by the copper industry

to represent the ecological per-

formance of copper products

(e.g. sheets, tubes and wire of

copper) in a transparent way.

Moreover, the copper industry

has developed Environmental

Product Declarations (EPD)

based on LCAs for commu-nicating reliable quantitative

environmental data for prod-

ucts based upon independently

verified calculations.

Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification is

a useful starting point for assessing the

sustainability of architectural materials

and provides independent endorsement

of the low environmental impact of both

copper roofing and cladding. It rates awide range of complete building elements

from A+ to E, using LCA techniques.

Ratings form an important part of the

Code for Sustainable Homes and other

assessment tools such as BREEAM.

Various complete wall or roof build-ups

are considered, each including materials

for structure, insulation, moisture con-

trol and finishes. All the copper-finished

roofs and most copper wall cladding

specifications included achieved A+ or

A summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,

without affecting the copper skin itself.

Coppers longevity is a major strength,

resulting from its complex patination

process that ensures extreme durabil-

ity with no maintenance and resistance

to corrosion in virtually any atmospheric

conditions.

WnC^\Za8diidcVcY>g^cV9jb^igZhXjCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performance

of multiple applications in energy, transportation and buildings.

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But despite these high summary ratings,

coppers life-span is one aspect that the

Green Guide simply underestimates. It

includes unexpectedly low replacement

intervals for copper cladding and roof-

ing generally just 45 years that are

not justified either by experience or by

science. Many historic copper roofs have

survived for hundreds of years and some

are known to have performed well for

over 700 years.

Below are some examples of gaining

credits in green building rating schemes,

but there are many more opportunities

to use copper to gain credits in building

rating 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 measured

by the Green Guide to Specification.

Copper product manufacturers proving

that their product is better than the aver-

age in terms of embodied impact of the

60 year study period, because of reduced

impact in manufacture, reduced mate-rial or increased durability can obtain

product specific Green Guide ratings by

undertaking certification to BRE Globals

Environmental Profiles Scheme.

For the responsible sourcing of ma-

terials, credits can be achieved when

construction materials at least 80 % of

materials used - are responsibly sourced.

Points are awarded depending on the type

of certification available for the materials

used in each building element.

The USs Leadership in Energy andEnvironmental Design (LEED)This system developed by the US Green

Building Council addresses: Sustain-

able Sites; Water Efficiency; Energy &

Atmosphere; Material & Resources; In-door Environmental Quality and

Innovation & Design. Life-cycle

is not part of the current version

(LEED 2009) but it will be incor-

porated into the next one (LEED

V4) that will assess the buildings

life cycle impact reduction. LEED

categories where copper can

contribute 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 durability

of copper.

MR Credit 2 Diversion from

landfill: credits apply to end of

life of the building and its materials. Since

it encourages the recycling of products

instead of their disposal, credits can be

achieved if materials such as copper are

used in buildings which have a high value

as secondary materials and high recy-

cling rates.

MR Credit 4 Recycling content: creditsare given if the recycled content of used

materials in the construction is high. Usu-

ally, this is the case for copper products.

MR Credit 5 Regional materials: i.e.

extracted, processed and manufactured

regionally. If copper products from re-

gional processing or manufacturing sites

are used in buildings, additional credits

can be achieved.

SS Credit 7 Heat island effect: credits

are awarded depending on the Solar Re-

flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roof

or cladding, manufacturers can provide

an initial SRI and one 3 years after instal-

lation.

The German Sustainable BuildingCouncil (DGNB)This rating scheme addresses the three

pillars of sustainability. It doesnt as-

sess individual measures, but the overall

performance of buildings and an LCA ca

culation are mandatory.

ECO1.1 Life cycle costs (LCC): the manu

facturing costs of faade and roof hav

to be considered. No maintenance cost

during use phase. Please note, the end o

life scenario is not part of the LCC calcu

lation.

SOC1.6 Exterior quality: this criterio

evaluates the design of outdoor areas.

The goal of the criterion is to maximiz

the roof area by integration of technica

structures in the building and reductio

of fascia/parapets. Special outdoor area

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

TEC1.6 Ease of dismantling and recycling

copper is a non-toxic, recyclable mate

rial, which is a requirement for a goo

evaluation of this criterion. The effort o

dismantling and sorting is low and th

value is high, which helps ensure the re

use 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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COPPER TAKES CONTROL

The Prfecture du Rhne building designed

by architects GARBIT & BLONDEAU is the

administrative centre for the Rhne depart-

ment, demanding a strong public presence. It

replaces a previous building on a corner plot

in the central Third Arrondissement of Lyon,

the departments capital city. Its plan-form is

straightforward with six storeys plus a set-

back penthouse and external roof areas, and

a 2-storey basement.

Copper Clad Volumes

The two main facades are articulated as

distinct, copper-clad volumes aligning with

the typical Mansard-roofed blocks either

side. The volumes are separated on the west

front by an inset cloak of suspended stainless

steel mesh reaching up to the penthouse and

signaling the buildings entrance. Copper was

the architects first choice and its sustainable

credentials a consideration. Opaque cladding

is generally pre-oxidised copper, selected for

its more regular brown shade than mill finish

material.

The defining external features of the new

building 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 mesh

screens at street level, the perforated cop-

per gives transparency but the motorised,

pivoting shutter arrangement also animates

the facades. This brise soleil arrangement

allows direct response to external condi-

tions, controlling solar gain and glare, whilst

maximizing potential for daylighting deep

into the building. This strategy is thoroughly

sustainable in terms of both environmental

performance and choice of materials.

West Elevation

by Chris Hodson

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SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

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Environmental Control with CopperThe external copper shutters each pivot centrally and are

operated in groups by electric motors, enabling local re-

sponse to external conditions in combination with opening

windows for ventilation. Even when closed, the shutters allow

filtered 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 judged

by comparison with the new facades before the brise soleil

were 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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