Copper Architecture Forum 2012 33 FRENCH by Copper in Built Environment

COPPER Architecture FORUM

ARCHITECTURAL AWARDS LAUNCH Entries are invited for the 2013 European Copper in Architecture Awards â&#x20AC;&#x201C; a showcase for architects designing with copper and its alloys to promote their work to an international audience.

All entries must incorporate facades, roofing or other architectural elements of copper or copper alloys. Any scale or type of project can be entered â&#x20AC;&#x201C; from major landmark buildings to modest schemes. Architects and critics, drawn from a panel including some of the most influential designers in Europe, will judge all the entries on their architectural qualities from graphic submissions. Final deadline for receipt of entries: 31st May 2013 For more information on entering the 2013 Awards-16 and on previous 33

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

COPPER ARCHITECTURE NEWS

éditorial

La diversification des applications du cuivre Le présent numéro présente une palette éclectique de bâtiments récents où le cuivre et ses alliages constituent un élément central de l’expression architecturale. Il peut être envisagé comme un tour d’horizon typologique illustrant la diversification croissante de l’application de ce matériau par les concepteurs à tous types de bâtiments et selon de nouvelles méthodes. Le cuivre fait l’objet d’une approche dont l’évolution correspond à la place qu’il occupe dans l’architecture moderne, y compris de nos jours. Bien entendu, le cuivre est toujours utilisé pour les types de bâtiments auxquels il est historiquement associé. Mais souvent, une démarche novatrice est adoptée, comme pour la chapelle qui clôt ce numéro (p. 36-38), un cylindre conique qui fait irruption au centre de l’enceinte de l’école dont il fait partie, évoquant à la fois les dômes et les flèches des édifices religieux. Les toits de cuivre sont également au cœur de notre premier projet, l’atrium d’un important hôtel de conférence (p. 4-7), sous la forme d’une étoile déconstruite en alliage doré démontrant l’applicabilité de ce matériau aux formes contemporaines en intérieur comme en extérieur. Sa malléabilité est encore davantage exploitée par les courbes spectaculaires d’un club de bord de mer (p. 8-9), dont la construction a été rendue possible par des techniques de modélisation informatique offrant une liberté de conception particulièrement attrayante. Au contraire, la forme épouse la fonction pour ce canot de sauvetage (p. 12-15) dont le cuivre enveloppe la coque, la protégeant des conditions les plus difficiles. Cette conception probante peut désormais être reproduite partout ailleurs. Une fois de plus, la protection contre

Copper Architecture on-line

les conditions extérieures fait appel au bronze et au verre pour isoler deux pierres runiques (p. 28-29), mais de manière simple et sculpturale.

This magazine is published by the European Copper in Architecture Campaign, which also organises a major architectural awards programme. But the third pillar

Des formes clairement définies caractérisent également le Théâtre Marlowe (p. 16-19), une typologie à laquelle le cuivre est traditionnellement associé. C’est également le cas pour les bibliothèques publiques , mais à Seinäjoki (p. 32-35) où une extension du centre Alvar Aalto respecte son environnement visuel tout en s’en démarquant avec son habillage de cuivre. Une autre bibliothèque, le Deptford Lounge (p. 24–27), devient un bâtiment public nouveau, accueillant, mis en valeur par la transparence de ses façades en alliage doré.

of the Campaign is the Copperconcept.org website, providing the definitive resource for architectural inspiration with copper. Copperconcept.org is organised into 17 separate language sections, each edited locally. The website features an extensive selection of regularly updated project references, demonstrating different uses of copper and highlighting some of the best examples of copper architecture from around Europe and beyond. Of course,

La diversité typologique du cuivre s’élargit encore avec un traitement abstrait de ce matériau sous différentes formes pour égayer les façades d’un parking à plusieurs étages (p. 20-23), par ailleurs tout ce qu’il y a de plus commun. Une construction provisoire (p. 10-11), d’un type auquel le cuivre n’est pas souvent associé acquiert une importance particulière grâce à son revêtement d’alliage doré. Enfin, l’extension d’une maison de taille modeste (p. 30-31) vient nous rappeler que le cuivre peut également apporter ses qualités particulières lorsqu’il est combiné à d’autres matériaux.

information on the European Copper in Architecture Awards can be found there, alongside articles on topical issues, such as the antimicrobial capabilities of copper. As well as design inspiration, Copperconcept.org gives access to a range of architectural and technical publications, and links to other organisations including copper fabricators. Journalists and editors can also access press releases, articles and images for publication. Finally – and most importantly – the website hosts Copper Architecture Forum and you can register for your free subscription there, as well as

Les applications du cuivre en architecture continuent à se développer, grâce aux architectes et à l’enthousiasme que ce matériau et ses possibilités leur inspirent. Nous continuerons à vous en présenter les meilleurs exemples, dans cette revue et sur www.copperconcept.org, avec votre contribution.

download the latest, and previous, issues of the magazine. Explore the world of copper architecture now at – http://www.copperconcept.org

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• Pour recevoir dorénavant vos propres copies de

Copper Architecture Forum, inscrivez-vous sur la page www.copperconcept.org, depuis laquelle vous pourrez également télécharger les anciens numéros.

Copper Architecture Forum 33, novembre 2012 Copper Architecture Forum fait partie de la « Campagne européenne sur l’utilisation du cuivre en architecture ». Ce magazine est publié deux fois par an à raison de 25 000 exemplaires. Il est distribué aux architectes et aux professionnels du bâtiment dans toute l’Europe et hors de ses frontières, en allemand, anglais, danois, espagnol, finnois, français, hongrois, italien, norvégien, polonais, russe, suédois et tchèque.

Couverture : Pavillon temporaire, Münster, Allemagne (pages 10-11) Photo : Christian Richters

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Équipe éditoriale : Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock Courriel : editorialteam@copperconcept.org Adresse : CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

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Éditeur : Nigel Cotton, ECI Maquette et fabrication : Naula Grafisk Design, Sweden Impression : Strålins Grafiska AB 2012, Sweden Panel éditorial : Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Paul Becquevort, Benelux Pia Voutilainen, Se, No, Fi, Dk Robert Pintér, Hu, Cz, SVK Vadim Ionov, Ru

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birgit.schmitz@copperalliance.de kazimierz.zakrzewski@copperalliance.pl marco.crespi@copperalliance.it nick.hay@copperalliance.org.uk nick.vergopoulos@copperalliance.gr nuno.diaz@copperalliance.es olivier.tissot@copperalliance.fr paul.becquevort@copperalliance.be pia.voutilainen@copperalliance.se robert.pinter@copperalliance.hu vadim.ionov@copperalliance.ru

Reference projects Architectural city maps Design Awards Copper Architecture Forum Articles

10/18/12 11:33 AM 39 COPPER ARCHITECTURE FORUM 33/2012

Sommaire

2 La diversification des applications du cuivre

Éditorial

4-7 Un atrium repensé – L’atrium d’un hôtel en Norvège fait peau neuve grâce

à son nouveau centre de conférences

8-9 Modelage du cuivre : le numérique au service de la liberté La liberté de conception pour un club de bord de mer australien aux formes sculpturales

10-11 Une étoile provisoire

Un pavillon temporaire à Münster, Allemagne, habillé d’un alliage de cuivre doré

12–15 Copper Wave

– copper protects this new lifeboat station on England’s most southerly point

16–19 Canterbury Tales

– the new Marlowe Theatre makes a bold statement on Canterbury’s skyline

20–23 Animating the Utilitarian

– copper brings to life the facades of a multi-storey car park in Nottingham, UK

24–27 Copper at the Heart of the Community

– a new typology of school and community building for Deptford, London

28–29 Sheltering Bronze Hands

– ancient runic stones in Denmark are protected by bronze and glass

30–31 Copper over Time

– a contemporary copper and oak house extension anticipates change

32–35 Famous Neighbours

– the challenge of designing a new library close to five Alvar Aalto buildings

36–38 Conical Copper

– a copper clad chapel at the heart of this new school in Cheltenham, UK

39 Copper Architecture News

– updates, including our architectural awards launch and a new App for architects

COPPER ARCHITECTURE FORUM 33/2012

Un atrium repensé Comme l’explique Chris Hodson, un complexe hôtelier norvégien vise à transformer le concept des centres de congrès grâce au remaniement spectaculaire de son atrium moderne. L’hôtel Clarion de Trondheim est l’un des plus grand complexe hôtelier organisateur de Congrès de Scandinavie ainsi que le plus grand de Norvège. Les architectes, du cabinet Space Group, ont pris le parti d’orienter les ailes de différentes salles en forme de pavé afin de capturer les vues imprenables sur la mer, le rivage et la ville dont les clients pourront profiter. La disposition torsadée s’ouvre sur l’atrium central pour créer un espace tridimensionnel profond avec un toit complexe à facettes : une étoile dorée déconstruite, à l’apparence plongeante. Le bâtiment est spectaculaire depuis tous les angles de vue et, en particulier, depuis le haut, d’où la plupart des visiteurs l’aperçoivent pour la première fois en arrivant par un moyen de transport aérien.

COPPER ARCHITECTURE FORUM 33/2012

« Ressortant entre les blocs et les reliant entre eux, l’ étoile dorée »

Une matérialité rigoureuse Sa conception illustre une application rigoureuse de la matérialité entre les différents éléments. Le volume massif, noir et texturé du hall de conférence principal contraste singulièrement avec les bâtiments des chambres, totalement vitrés et sérigraphiés en blanc et procure aux fenêtres un effet dématérialisant leur conférant un aspect léger comme des nuages. Ressortant entre les blocs et les reliant entre eux, l’étoile dorée déconstruite est conçue en alliages de cuivre, zinc et aluminium. L’architecte du projet, Jens Niehues, affirme : « L’alliage de cuivre a constitué pour nous un matériau permettant de travailler à partir d’une surface éclatante qui illustre les caractéristiques propres de l’Étoile et lui offre une riche

couleur dorée. En plus de donner forme à notre conception initiale, ce matériau a également dû répondre aux problèmes techniques posés par le climat rigoureux de la côte ouest de la Norvège. « L’alliage de cuivre, même par un climat rude, ne forme pas de patine bleue ou verte dans la durée mais conserve sa couleur au cours du temps. Les caractéristiques de ce matériau permettent de réaliser des joints verticaux, horizontaux ou inclinés soulignant la forme triangulaire de l’Étoile. De plus, ce matériau peut être travaillé pour obtenir des bords nets et les détails des gouttières sont impeccables. Le choix d’un alliage de cuivre doré pour ce bâtiment est assurément un choix payant au vu du résultat final. »

Architectes : Space Group – www.spacegroup.no (Liste complète de l’équipe de conception et des consultants disponible sur www.copperconcept.org) Pose des éléments en cuivre : Mäster Blikk Trondheim Matériaux de cuivre : Nordic Royal™ Photos : Joern Adde, Peter Hebeisen

COPPER ARCHITECTURE FORUM 33/2012

Orientation de manière à capturer les vues parfaites depuis l‘étoile dorée

Déconstruction de l’atrium traditionnel de l’hôtel K1 K3.03

K3.09

K3.05

A1 A3.01

A3.02 D3.72

A2 A3.03

A3.19 A3.05

A4 A3.07

A3.08

D3.61

D3.60

D3.06

D3.63

D3.64

D3.65

D3.66

A3.10

A3.09

D3.62

D3.67

D3.01

A3.11

A3.12

D10

D3.68

D3.70

D3.69

D14

D13

D12

D11

D3.73

D3.71

D15

D16

D18

D17

K3 S8 K1.17

X3.03

A3.13

C2 C3

A3.14 A3.15

Bw A9

X3.01

A3.17

Bx A10

K4 C5

C3.05

X3.02

B3.01

C3.01

C3.50

B3.21

B1 B3.20

B3.23

C7 C8

C3.51 C3.52

C9 C3.53

B3.22

B3.25 B3.24

B3.27

C10 C3.08

C3.54

C11

C3.56 B3.29

B3.28

B3.31

B3.30

B3.33

B3.32

C14 C3.58

B3.37

B3.36

B3.39

B10 B3.38 B3.40

B12 B13

B11

B3.34

B3.41

COPPER ARCHITECTURE FORUM 33/2012

C13 C3.57

C3.59

B3.35

B3.26

C12

C3.55

B9 Kw

La scène se construit À l’intérieur, la scène se construit à mesure que le plan extérieur de l’hôtel se fond pour former un espace public ouvert. En son cœur, l’espace central vertical est conçu comme une transformation de la typologie unidimensionnelle de l’atrium de l’hôtel en un espace dynamique en trois dimensions. Là, l’ambiance et l’espace oscillent entre l’intime et le grandiose, tout comme la vue entre les panoramas extérieurs et les formes intérieures cristallines évoquant de spectaculaires concrétions de glace, de falaises et de banquises. Et, au-dessus de tout cela, les longues bandes de l’étoile dorée en alliages de cuivre.

COPPER ARCHITECTURE FORUM 33/2012

MODELAGE DU CUIVRE :

LE NUMÉRIQUE AU SERVICE DE LA LIBERTÉ Les formes spectaculaires de ce club de bord de mer traduisent la liberté de conception dont peut jouir le travail du cuivre, en particulier s’il est fait appel à des techniques de modélisation des données du bâtiment (BIM, Building Information Modelling).

Architectes : Walter Barda Design • Matériau de cuivre : TECU® Classic • Pose des éléments en cuivre : Copper & Zinc Link • Photos : avec l’aimable autorisation de Trend Magazine Texte : d’après un article publié dans Trend Magazine, www.trendsideas.com, avec la collaboration de Morten Pedersen de Copper & Zinc Link.

COPPER ARCHITECTURE FORUM 33/2012

e complexe Hamilton Island Yacht Club and Villas, situé dans les îles Whitsunday, dans la Grande Barrière de corail australienne, a été conçu dans l’objectif de créer un certain effet visuel, non seulement perceptible depuis l’île et la mer mais également depuis le ciel, afin d’étonner les nombreux visiteurs qui arrivent par les airs. Les architectes ont imaginé un bâtiment perché sur le brise-lames évoquant l’élément marin et la plaisance. Le processus de conception a mené à un assemblage sculptural de formes habillées de cuivre suggérant des voiles gonflées par le vent, des spinnakers, des quilles et des forces tourbillonnantes des vents, des marées et des courants. La partie centrale du yacht club est un porche couvert, ou piazza, qui donne sur les différentes salles communes et privatives. Avec un changement progressif de la hauteur des plafonds et une rampe processionnelle, le bâtiment donne sur une spectaculaire plate-forme surélevée surplombant la mer. Le club dispose d’installations telles que des restaurants, des bars, un auditorium, des salles de conférence, une salle de sport, un couloir de nage, un salon de lecture et une salle d’exposition. Ce complexe intégré propose également 35 villas individuelles.

Des formes sophistiquées habillées de cuivre Les toits sophistiqués du yacht club en forme de pétales sont soutenus par une ramification de colonnes en acier, dont les branches rejoignent le toit incurvé en différents angles. Une structure d’acier en grillage a été développée, capable de se déployer jusqu’à 16 m et d’atteindre 11 m en porte-à-faux, transférant les charges latérales sur les murs centraux. Cela a permis de réduire au maximum la profondeur de la structure entre la couverture du toit et le plafond, comme cette architecture l’exige. Cela a également simplifié la fabrication et la construction du toit. Le cuivre a été choisi pour sa durabilité ainsi que pour ses caractéristiques visuelles et, bien sûr, sa capacité unique à revêtir des formes tridimensionnelles complexes.

Modélisation des données du bâtiment Le recours à la BIM (Building Information Modelling) s’est avéré essentiel pour la conception détaillée et le processus de construction du Hamilton Club, en particulier pour ses toits en cuivre. Compte tenu de la complexité des formes, de nombreux schémas en coupe et dessins de détail ont été nécessaires pour illustrer l’assemblage des composants. Des données ont été communiquées à d’autres parties prenantes, par exemple au constructeur de la structure en acier, qui a travaillé directement à partir du modèle numérique. La disponibilité sur site d’un modèle du bâtiment entièrement numérisé a également permis à l’équipe de construction d’observer des dessins tridimensionnels à mesure que le bâtiment prenait forme. Des vues en coupe des différents éléments étaient également disponibles, qui ont aidé tous les acteurs à comprendre précisément comment le bâtiment était construit. Mais la BIM va bien au-delà de la CAO et de la modélisation en trois dimensions, en permettant d’affecter aux éléments et aux matériaux des « attributs » tels que le coût, des caractéristiques environnementales et des fréquences d’entretien. La BIM vise à fournir un modèle numérique complet de conception, de fabrication, de construction et d’utilisation des bâtiments impliquant pleinement l’ensemble des acteurs prenant part au projet. Elle aide les architectes à réaliser des conceptions plus durables et précises en réduisant les risques d’erreurs et les pertes. La possibilité d’effectuer une simulation des performances en situation réelle permet également d’optimiser les coûts, la planification et l’impact environnemental. Le rôle de la BIM dans la conception de bâtiments de tout type promet de s’étendre rapidement. Elle constitue, pour les architectes, un moyen d’exploration de nouvelles formes d’expression et le cuivre est le matériau idéal pour leur permettre de réaliser des conceptions innovantes.

COPPER ARCHITECTURE FORUM 33/2012

UNE ÉTOILE PROVISOIRE Une manifestation résolument moderne, habillée d’un alliage de cuivre, représentait avec justesse l’exposition « Splendeur dorée : trésors artistiques de la Westphalie médiévale » qui s’est tenue cet été à Münster en Allemagne.

itué sur la Domplatz centrale, le pavillon temporaire apportait une touche de modernité à ce entre-ville historique, en faisant la jonction entre les espaces d’exposition du musée et la Salle des Arts de la cathédrale. Le projet de ce pavillon était le fruit de la collaboration entre l’École d’architecture de Münster et le cabinet d’architectes Modulorbeat. Dirigée par les architectes Marc Günnewig et Jan Kampshoff, une équipe initialement composée de 33 étudiants a développé différentes ébauches de projet.

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La solution en or Un jury a finalement opté pour la « solution en or », un bâtiment en étoile conçu dans une forme stylisée en plans croisés, caractérisé par la couleur dorée de ses façades en alliages de cuivre. L’existence d’un pavillon temporaire servant à communiquer autour d’un événement artistique à Münster n’est pas chose nouvelle. Il y a cinq ans, Modulorbeat avait déjà créé un type de bâtiment similaire utilisant également de l’alliage de cuivre. Fonctionnant comme un « atelier vivant », le pavillon a accueilli des sessions éducatives sur l’art organisées en marge de l’exposition. On retrouve la simplicité et la sobriété de cette conception à l’intérieur si on l’observe au travers des baies vitrées. La structure de soutien, constituée de poutres en bois massif ou stratifié-croisé, est complètement nue, conférant à la surface des sols, des plafonds et des murs une teinte boisée légère et uniforme, tout comme les huit tables de travail assemblées par les participants au projet eux-mêmes.

Des façades modulées Les façades en alliage de cuivre ont été modulées verticalement selon des profils ondulés irréguliers suggérant un soufflet, comme spécifié par les architectes. Elles ont été fabriquées rapidement, à bas coût et sans aucun problème par une société spécialisée, au moyen d’une technologie de profilage dédiée. Le pavillon Splendeur dorée constituait un ensemble homogène sans compromis dont seules les parois situées aux extrémités étaient percées de halls en retrait ou d’un vitrage intégral d’une seule pièce.

Au moment où vous lirez cet article, le pavillon aura déjà été désassemblé mais il sera reconstruit, à partir de ses matériaux d’origine, dans une école locale où il servira pour l’enseignement de l’art et d’autres disciplines : une issue adéquate et durable.

S/W

Côté sud-ouest avec baie vitrée à l’extrémité

workshop 83,5 m2

sliding door

S/W

information 12,9 m2

entrance 4,0 m2

ramp

Côté nord-est avec hall d’entrée N/E

Plan d’implantation

N/E

Architectes : Modulorbeat et École d’architecture de Münster Pose des éléments en cuivre : Schabos GmbH Préfabrication des éléments en cuivre : MN Metallverarbeitung Neustadt Matériaux de cuivre : TECU® Gold Photos : Christian Richters

COPPER ARCHITECTURE FORUM 33/2012

elevations 1:100

Photo: PBWC Architects

by Chris Hodson

The new RNLI lifeboat station at The Lizard is protected by a curved copper skin to withstand the extremely aggressive coastal environment of its unique location on England’s most southerly point. The RNLI charity saves lives at sea. Its volunteers provide a 24-hour search and rescue service around the United Kingdom and Republic of Ireland coasts. The building’s design was developed from a previous project, also by PBWC Architects, in Padstow, Cornwall. It is a direct response to the specific technical demands of the new RNLI ‘fast slipway’ type lifeboat housed there and is an exemplar for future buildings of the type in other locations. The new structure sits on the footprint of the original building: well-positioned for lifeboat launching in bad weather but also reducing the environmental impact of the scheme. At first sight, the wave profile of The Lizard lifeboat station appears symbolic of its coastal position - but form really does follow function and reflects the arrangement of internal accommodation, focused on

12 COPPER ARCHITECTURE FORUM 33/2012

the lifeboat itself. Essentially, the vessel is mounted on a tipping cradle, which tilts to align with the slipway, enabling it to be launched and recovered – allowing volunteer crews to reach those in trouble as quickly as possible. The outward raking wall to the side of the building reflects the demand for accommodation at the main floor level with fast access straight onto the lifeboat.

Weather-tight Design All accommodation is located on one side of the building, which allows the heated and serviced zones to be efficiently grouped together and all ventilation and lighting needs to be met with a strip of ribbon glazing or punched windows within the raked wall. The curve of the roof then encloses the minimum volume required for the lifeboat and creates a simple form that lends itself to a single flexible roof finish. The design aims to maximise roof area while minimising penetrations to ensure a robust, weather-tight finish.

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Copper Choice The selection of metal roofing was a logical progression from the development of the distinctive, wave-like, curved form. PBWC project architect Cian Spowart commented: â&#x20AC;&#x153;After the Padstow project, we reviewed the roofing material and system for The Lizard lifeboat station. Here, copper was selected for its durability and capability of withstanding the aggressive coastal environment, including the possibility of debris being thrown up from the sea. In addition, the aesthetic choice of copper over other metal roofing was driven by its characteristic weathering over time to give a rich green patina complementing the aqua blue hues of the local coastline.â&#x20AC;?

Architects: PBWC Architects Copper Installer: Full Metal Jacket Copper product: Nordic Standard Photos (where indicated) and drawings: PBWC Architects All other photos: Geoff Squibb (Cornish Pixels Photography)

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COPPER CONSTRUCTION

Challenging Construction Unsurprisingly, the building’s site at the bottom of a tight, steep slope presented special challenges with construction. The building is predominately timber frame with glulam-curved members providing the iconic shape. Dry construction and prefabrication techniques are maximised for fast, safe assembly and efficient deliveries to site.

The double skin roof is finished in copper trays with standing seam joints and was installed by copper specialists Full Metal Jacket, who recently won an Award for their work on the project from the National Federation of Roofing Contractors. The longZ A R D L I F E B O A T S T A T I O N! strip, copper trays were craned down onto the building and installed by hand, displayS ing a particularly high standard of craftsmanship under challenging conditions. C-C

D-D

A-A

B-B

Public Viewing

Main Floor

Photo: PBWC Architects

F.F.L - 13.35 Boathouse

fuel cabinet

fuel tank

! Lower Floor F.F.L - 10.25 (MAX)

Public Viewing

Dis ! WCs

Winch Motor Room

Boathouse

I Z A R D L I F E B O A T S T A T I O N! NS

WCs and Showers

! Boatwell Floor F.F.L - 7.55

Boat Well

Section C-C

Boat Well

Section A-A C-C

D-D

C-C

B-B

D-D

F1 F1

F2 F2

Dis. W.C.

E-E

F3 F3

Changing Room

Workshop

F4 F4

Public Viewing

F5 F5

! Galley Area

F6 F6

Boathouse Slipway ! Crew

Section B-B

fuel tank

! ! Lower Floor Lower Floor - 10.25 (MAX) F.F.LF.F.L - 10.25 (MAX)

Training Room

LOM Ofﬁce

C-C

FD FD

FE FE FF FF

Public Viewing

! ! Boatwell Floor Boatwell Floor - 7.55 F.F.LF.F.L - 7.55

Boat Well

Section A-A

Stairwell WCs and Showers

Public Viewing

Dis ! WCs

Boathouse Boathouse

Winch Motor Room

Section C-C Section D-D

fuel cabinet

Boat Well

D-D

C-C

fuel cabinet

Store

FB FB FC FC

1.5 Training room

- 13.35 F.F.LF.F.L - 13.35

w.c.

A-A

B-B

FA FA

Floor MainMain Floor

Winch! Motor Room

A-A

D-D

B-B B-B

E-E

A-A A-A

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“Copper plays a distinct role in the composition of the theatre overall”

Canterbury Tales Standing on the banks of the River Stour and close to Canterbury Cathedral’s UNESCO World Heritage Site, the new Marlowe Theatre makes a bold statement on the Canterbury skyline. Architect Keith Williams discusses his practice’s competition-winning design and its use of materials.

The Marlowe is, in formal terms, a complex pavilion. It sets up a dynamic relationship with its viewers, giving different architectural and urban emphasis depending from where in the city it is viewed. At street level, its architecture is ordered by an 8m high colonnaded loggia in white cast Dolomite stone, which forms a portal to the multi-level glazed foyer and sets up a civic elevation to the Friars, an important historic street within the city. The foyer connects all the major internal spaces to the riverside terraces and pathways and is seen as a crystal ribbon by day transforming into a blade of light by night. New views of the rooftops of the historic city and its cathedral open up from the main stairs and upper levels. The colonnaded loggia mediates between the street scale of the Friars (the street which the Marlowe faces) and the necessarily larger forms of the two theatres and the fly tower. The colonnaded

16 COPPER ARCHITECTURE FORUM 33/2012

overhang also provides shelter to the

Materiality and Contextuality

Copper plays a distinct role in the compo-

south-facing foyer from high angle solar

The composition and massing of the new

sition of the theatre overall, surrounding

gain and provides an architectural unity to

Marlowe is rooted in its context. The build-

the volume of the studio space, which me-

the composition. A new public square has

ing is seen to step up in scale gradually

diates between the entrance scale and the

been created by setting the Marlowe back

from a lower-rise street scale along the

larger volumes beyond. The studio theatre

from the existing street edge.

Friars, up to the larger volumes of the

is raised 4 metres above the ground; a vol-

The fly tower of the old theatre, widely

main auditorium and fly tower beyond.

ume wrapped entirely in copper. As such it

regarded as an eyesore, was the second

Materiality is also determined to a large

is almost at roof level of the surrounding

tallest structure in the city after Bell

degree contextually, in that it borrows

buildings hence the relationship between

Harry, the medieval Cathedral‘s principal

the hues and tones of the Canterbury

the reddish brown copper cladding with

tower. The new Marlowe’s fly tower is 9m

townscape. The reconstituted stone col-

the colouration of Canterbury’s roofscape.

taller than its predecessor, allowing it to

onnade takes it’s cue from the whites and

The underside of this volume forms the

be sculpted to create a pinnacle form fac-

creams of buildings in the city, whilst the

internal soffit to the restaurant space cre-

ing toward the Cathedral, adding accent

pre-oxidised brown copper cladding ech-

ated beneath. The raising of the volume

and silhouette to the city’s skyline. Its

oes the colour and hues of the nearby tiled

allows the restaurant to be slid beneath

form can be seen as a prominent symbol

rooftops. Materials are used to create

at foyer level, giving views to an adjacent

of secular architecture within the historic

something highly contemporary, whilst at

external terrace and the banks of the River

city whilst ensuring that Bell Harry re-

the same time complimentary to the con-

Stour.

tains its predominance. From the east, the

text in terms of texture and colour.

fly tower dominates the street scene announcing this major new cultural project within the city.

Architects: Keith Williams Architects Copper Installer: TR Freeman Copper product: TECU® Oxid Photos: Hélène Binet (unless indicated otherwise)

COPPER ARCHITECTURE FORUM 33/2012

Level 1

5 6 11

2 2

Level 1 1. Paved Forecourt 2. Foyer 3. Box Office 4. Bar 5. Cafe 6. Auditorium 7. Stage 8. Dressing Rooms 9. Second Space 10. Creative Space 11. Administration Offices 12. Meeting Room

Photo: Keith Williams Architects

Level 2

Level 3

Level 3 10m

Counter Weight Area

2 11

18 COPPER ARCHITECTURE FORUM 33/2012

KEY:

1. 2. 3. 4. 5. 6. 7. 8.

Paved Forecourt Foyer Box Office Bar Cafe Auditorium Stage Dressing Rooms

COPPER in detail

copper rainscreen panels on underlay

110

160

18mm plywood

Copper Studio

back to back cladding angles - details and layout to be conﬁrmed by copper sub-contractor

Horizontal standing seam bands of varying widths (using trays of 230 mm, 430 mm

80mm insulation on vapour barrier

and 600 mm) wrap continuously around the studio volume, with folded ‘birds mouth’

Metal angle by glazing subcontractors to support EPDM and provide backing for copper to seal against at a later stage

corner details enabling the horizontality to flow continuously around all sides. At

Sealant type to be conﬁrmed by copper sub-contractor sealant to be compatible with both copper and aluminium

the junction with the main glazed curtain walling, the copper runs cleanly through from outside to inside, with internal 50

openings formed to create a connection between the studio theatre bar areas and the main entrance foyer.

FW60+SG Level 3 curtain wall Opaque glazing to high panels to conceal structure

Though the rationale in each case is

130

210

different, the use of copper at the Marlowe

TOS +22.935

echoes our previous work at the Unicorn Theatre in London, completed in 2005 (UK Award Winner of the Copper in Architecture Awards 13 in 2007). Mullion tied back to structural steel to glazing subcontractors details

Metal channels to support glazing at corner junction and provide a backing to support the EPDM

140

vapour barrier 80mm insulation

125

11 77

18mm plywood

2 1

between er

Section AA Section AA

corner aluminium ﬂashing cover piece

110

EPDM sealed to blockwork Spec and ﬁxing to be conﬁrmed by glazing subcontractor

EPDM sealed to blockwork. Sealant type to be conﬁrmed by glazing sub-contractor

2 no. layers of plasterboard sheets ﬁxed staggered with joints taped and ﬁlled

porting d details y copper

ut: ck line of e5

140

copper setting out 110mm off Gridline E

7 Sealant type to be conﬁrmed by copper sub-contractor

copper rainscreen panels on underlay

FW60+SG 0

COPPER ARCHITECTURE FORUM 33/2012

Rev

Date

ANIMATING THE UTILITARIAN by Chris Hodson

An abstract design using vertical panels of copper with different surfaces animates long, straight facades of an otherwise typical multi-storey car park, adding a sense of movement which reflects its transport interchange setting. Forming part of the ‘Hub’ development at Nottingham Railway Station, this 6-storey structure accommodates 950 car spaces. The 112 m long building is sandwiched between the railway to the north and the busy Queens Road to the south with older buildings beyond. Architects Leeds Studio developed an original design by another practice, BDP, (following a successful bid by VINCI Construction UK) adding an array of horizontally banded vertical copper panels to transform this typical parking building. The panels create an architectural language and are continuous over curtain walling as well as conventional open car parking decks, only being broken by the concrete lift core on the West Elevation. The palette of copper surfaces at Nottingham includes solid green pre-patinated copper and a variant with less intense patination, revealing some background material. Standard ‘mill finish’ and light brown pre-oxidised copper were also used, together with an alloy of copper and aluminium with a long-lasting golden colour which provides distinctive highlights around the building. Although creating a random, abstract feel, arrangement of the panels is based on a limited modular language with three panel widths: 210 mm, 420 mm and 840 mm, and spacing between of: 105 mm, 210 mm and 420 mm. Panels are generally 2870 mm high with some reduced to 1470 mm crowning the top of the building and where the base of the cladding is raised up.

Architects: Leeds Studio Copper Installer: CA Group Main Contractor: VINCI Construction UK Copper products: Nordic GreenTM Traditional, Nordic GreenTM Living 1 Nordic Standard, Nordic BrownTM Light, Nordic RoyalTM Photos: Chris Hodson Drawings: Leeds Studio

20 COPPER ARCHITECTURE FORUM 33/2012

COPPER ARCHITECTURE FORUM 33/2012

“There is a designed progression of copper colours running around the whole building”

22 COPPER ARCHITECTURE FORUM 33/2012

A Mosaic of Colour The composition gives a mosaic of colour that sits in clearly defined horizontal bands along the length of the building, breaking up the subservient concrete frame - typical of multi-storey car park buildings - and curtain walling. The effect is particularly animated on the two long elevations, especially when viewed from moving trains or cars. In addition to the layering of materials, the colour choices are carried through in the design to represent differing aspects of the location.

Project architect Antony Hall explained: â&#x20AC;&#x153;The copper panels

to the North are predominantly in green shades and refer to the modern aspect of the adjacent railway. The panels on the South are predominantly in traditional brown copper shades to reference the brick heritage warehouses and other structures lining the conservation area opposite across the busy road. Key viewpoints formed in locations around the building are highlighted with the golden coloured copper alloy. Vertical circulation elements are also highlighted in the same manner. There is a designed progression of copper colours running around the whole building, beginning and ending at the West Elevation lift shaft. We have also anticipated the natural changes to copper in the environment.â&#x20AC;? Multi-storey car park architecture is generally constrained by vehicle circulation and other technical demands, reducing it to a utilitarian level. But the numerous permutations of surfaces and forms available with architectural copper today offer designers exciting possibilities to treat bare facades as a blank canvas. The Nottingham project is an inspiring example of this approach.

The previous station car park typifies the conventional open concrete deck design approach, contrasting with that of the new building. South Elevation. North Elevation showing the disposition of green, gold and brown copper shades.

COPPER ARCHITECTURE FORUM 33/2012

COPPER AT THE HEART OF THE COMMUNITY

24 COPPER ARCHITECTURE FORUM 33/2012

“Deptford Lounge is the jewel in

the crown of the regeneration of Deptford. This is a fantastic public space with first-class facilities, which is already proving popular with the community.” - Sir Steve Bullock, Mayor of Lewisham

This landmark building makes symbolic as well as functional use of its perforated golden copper alloy facades to generate a new civic focus. Pollard Thomas Edwards architects describe how the programme and design developed a new typology of school and community building. The brief from the London Borough of Lewisham was to create the centrepiece of their regeneration of Deptford Town Centre – a new civic focus for Deptford. This was to include a state-of-the-art public library, including a resource centre and council services centre – called the Deptford Lounge – with a new building for Tidemill Primary School, relocated from its existing site. Our scheme, completed in December 2011, created from the bare bones of this brief, a highly innovative mix of co-located uses on a single site: the completed complex houses facilities shared between the new primary school and the whole community via the Deptford Lounge. To this mix we also added apartments over artists’ studios and exhibition space – Resolution Studios. The design was also driven by the aspiration to restore to Deptford something of the grandeur of its past, first as a hub of shipbuilding and later as the location of the first railway station south of the River Thames. Now the golden Lounge building sails galleon-like above Giffin Square, a new public space for Deptford. Tidemill Academy lies within an urban oasis, sheltered on one side by the Deptford Lounge and on the other by Resolution studios, with classrooms grouped around a green and leafy central play space. And new homes look out over the historic St Paul’s Church and the railway line leading over the river.

Photo: Chris Hodson

Overall complex with Deptford Lounge on the right.

Resolution Way Resolution Way Resolution Studios

School

School Play

School Deptford Lounge

Griffin Street

Deptford Lounge

School

School Play

School Resolution

COPPER ARCHITECTURE FORUM 33/2012

Photo: Chris Hodson

The rooftop sports pitch enclosed by pierced copper alloy panels.

School and Community Use

Photo: Chris Hodson

Shared facilities of Deptford Lounge include a rooftop sports pitch, a flexible suite of assembly spaces and a dining hall and kitchen, which are available for hire. All these facilities are located on the upper floors of the Lounge building and all elements have separate access points both from within the school and from the public realm. This enables the school to have sole use of the shared facilities during the school day. Then, out of school hours, the shared facilities form an integral part of the Deptford Lounge and are open to the whole community.

Architects: Pollard Thomas Edwards architects – www.ptea.co.uk Copper installer: English Architectural Glass (EAG) Copper Products: Nordic Royal™ Photos: Chris Hodson, Robert Greshoff (ArcEye Images Ltd)

School playground with steps to the Deptford Lounge beyond. 26 COPPER ARCHITECTURE FORUM 33/2012

Photos: Chris Hodson

INTERVIEW Chris Hodson discusses the transparency and materiality of the Deptford Lounge facades with Hamish Kilford-Brown, Project Architect at Pollard Thomas Edwards architects.

CH: How did your selection of the golden copper alloy come about and did you look at other materials? HK-B: We wanted a material that related strongly to the conceptual meaning of the Deptford Lounge on a series of levels. It was to be seen as a landmark – a civic focus for all ages and cultures. Initially timber cladding was considered, relating to Deptford’s nautical past – but timber requires maintenance. We also sought an inspiring material, with reflective properties that would give the building a jewel-like quality set against its main street context. This meant considering various metals including copper. It also led to the idea of expanded metal meshes or perforated sheets. We felt that the perforated golden copper alloy cladding offered multiple meanings on a conceptual level. The gold surface symbolises ‘wealth’ across all cultures, welcoming and bringing together a diverse community into a building that offers a wealth of knowledge and services. CH: What about sustainability and environmental considerations when choosing the façade material? HK-B: Copper and its alloys have sound sustainable credentials with exceptional durability and lifespan. The weathering characteristics of this copper alloy are important: the material is virtually maintenance free and provides a surface that will change very little over time, which means it will retain its crisp jewel like quality.

CH: What were the design intentions behind this dramatic statement of a transparent golden skin? HK-B: The wrapping of the gold cladding aims to unify the building’s complex range of functions, binding them together. Contextually, it relates to various points of Deptford’s rich history, including its growth from a small fishing village into the Royal Naval Dockyard with links to HMS Discovery, Sir Francis Drake and Captain James Cook. So, the wrapping has multiple functions and references. From a distance the golden form appears solid but close-up reveals itself as transparent and light-weight, floating above its glazed base. On a functional level, the wrapping provides solar shading to the large areas of glazing, while also allowing suitable levels of light in. CH: How were these intentions realised on the building with the pierced copper alloy panels and how did the detailed design develop? HK-B: The panels are rigid folded cassettes that provide sharp and clean joints between panels, rather than something that would buckle and distort. The nautical references continue with the setting-out of the panels in a stretcher bond pattern like historic timber hull construction in ship-building. The perforations are kept back from the edges to help express each panel individually while retaining rigidity. We explored various perforation shapes, from square to raised diamond patterned with a cheese grater appearance,

and settled on simple circular holes, again arranged in a stretcher bond pattern. Different levels of perforation were also considered, as the transparency of the wrapping adds another dimension with the play of light. The building responds to its uses and environment, continually changing with light conditions throughout the day and into the evening, becoming more or less revealing – suggesting discovery. The level of transparency increases with distance away from the solid ‘ship’s bow’ corner, with its large symbolic window, gradually blurring solid and void. CH: How was the light, floating feel of the pierced copper alloy skin achieved in structural terms? HK-B: Initially, the cladding was to be suspended on rods from a ring beam. But due to the building’s subtle shifts of form – both in the vertical and horizontal planes – additional support was required, depending on location around the building. The solution was to fix steel brackets back to the main building structure at the top and bottom of the wall. These then support a frame and suspension rods, to which the copper alloy panels were fixed. Additional structure and stays were incorporated where the golden wrapping pulled further away from the building, reducing movement from wind loading. The transparency of the panels also offered further opportunities to express the structure behind with honesty.

COPPER ARCHITECTURE FORUM 33/2012

by Chris Hodson

Sheltering Bronze Hands Deceptively simple bronze and glass structures provide a safe environment for preserving two unique 10th century runic stones – designated a UNESCO World Heritage site - at Jelling Church, Denmark. But these interventions go well beyond conservation, seeking to transform the visitor experience, as architect Erik Nobel explains. The Jelling runic stones mark Denmark’s transition to Christianity in the year 965 and the monument is also known as Denmark’s ‘birth certificate’. Inaugurated in December 2011, the project is based on the winning competition design by NOBEL arkitekter. Our principal aims were to protect the runic stones for the future and, at the same time, provide an architectural composition allowing spectators to get very close to them. 28 COPPER ARCHITECTURE FORUM 33/2012

Photo: NOBEL

Plan arrangement

Elevation

The design forms a stylised dialogue between the two stones, which represent the first two kings of Denmark – Gorm and Harald Bluetooth. The bronze angles form one gable and the roof for each structure, while the other faces are fully glazed. Our objective was to accentuate the runic stones’ curved forms by contrasting them with the straight lines of the coverings which, in a metaphorical sense, ‘hold protective hands’ over them. The cast bronze contrasts with the texture of the ancient stones and highlights their grey and reddish granite surfaces. The requirement for creating a controlled climate around the stones was a central consideration in the development of the project. Our consulting engineers from Rambøll designed a special heating and ventilation system which ensures a frost-free climate around the runic stones. Artificial lighting has been discreetly added using specially designed fibre-optic light sources, which are integrated in the roof structure. The lighting emphasises the stones’ runic scriptures and visual motifs, and accentuates their shapes. Juxtaposed with the angular bronze forms, the artificial lighting creates a completely new way of viewing the rune stones, enhancing the experience of one of Denmark’s most valuable monuments. Architect: NOBEL arkitekter a/s Photos: Jens Lindhe (unless indicated otherwise)

COPPER ARCHITECTURE FORUM 33/2012

Copper over time This thoroughly modern addition to an existing home in Cardiff, South Wales – discussed by Kristian Hyde of Hyde + Hyde Architects – combines copper with oak and glass in its carefully conceived design to anticipate change. We were appointed to carefully restore elements of the existing architecture creating a contemporary yet sensitive addition to the rear. To the front of the property the new addition appears as a simple copper box ‘peeping’ above the layers of existing green glazed tiles of the existing home. In the refurbishment, living and entertaining space is provided at ground floor through the introduction of a predominantly single storey glazed element. At first floor, a layered copper and oak form appears to delicately hover. Set on a shifted geometry to acknowledge the existing building form, this creates a series of overhangs, cantilevers and canopies to shelter its occupants from the persistent Welsh rain.

30 COPPER ARCHITECTURE FORUM 33/2012

The original house is quirky but beautiful. The unknown architect has put a great deal of effort into the detailing, some of which is very playful. There is a certain humour about some of the spaces that continue to make our clients smile. The new addition responds with a singular oak clad curve at first floor which ‘mimics’ the geometry of the existing curved glazing of the main house. This is introduced to ‘turn’ the new addition into the main private garden at the rear. Copper was chosen as a suitable material for facades and other details to converse with the existing ‘green glazed’ roof tiles of the existing dwelling. After a decade it will begin to relate in colour and tone to the existing tiles nearby, its salmon pink and russet brown tones will be gone forever. That’s the beauty of copper, it’s timeless and forces us to think about buildings in time. Copper’s material character helps buildings feel as if they have always been there.

“That’s the beauty of copper, it’s timeless and forces us to think about buildings in time” UPPER LEVEL PLAN Hardwood concealed glazing Timber cladding referencing materiality of tree canopies

New Addition

Bedroom

Copper standing seam to match existing vocabulary of green roof

Internal openable window for natural ventilation

Terrace

Original House

Architects: Hyde + Hyde Architects Photos: Kristian Alexander Hyde, Warren Orchard.

COPPER ARCHITECTURE FORUM 33/2012

“ copper has been used comprehensively across facades,

Photo: Martti Kapanen

plinth and roofs – creating a single-material skin”

32 COPPER ARCHITECTURE FORUM 33/2012

Famous Neighbours The Finnish town of Seinäjoki hosts the most extensive cluster of buildings designed by Alvar Aalto in the world. Asmo Jaaksi of architects JKMM explains his practice’s approach to designing a new addition to this hallowed Aalto Centre.

DIALOGUE BETWEEN OLD AND NEW Built in 1965, the Library needed a modern extension to meet today’s demands and JKMM’s design, called ‘Clover’, won the competition for the project. The aim was to create dialogue between old and new. The new library respects the protected cultural environment but, at the same time, takes pride in contemporary architecture. One of the objectives of the design was to find an interface with the typical characteristics of Alvar Aalto’s architecture without imitating it.

Photo: Martti Kapanen

Photo: Tuomas Uusheimo

The Centre displays Aalto’s masterful touch, ranging from the area’s town planning to the smallest door detail and is an invaluable cultural asset which gives the whole town its identity. Five Aalto buildings make up the Centre: the City Hall, State Office Building, Theatre, the Cross of the Plains Church and the Old Library.

COPPER ARCHITECTURE FORUM 33/2012

Photo: Tuomas Uusheimo Photo: Tuomas Uusheimo

VARIED INTERESTING SHAPES The new library stands separate from Alto’s original, although connected by an underground link. Division of the building into three sculptural units was an important decision to be able to blend the large building volume with the surrounding townscape. This generates varied, interesting shapes when viewed from different directions. The exposed boarded-formwork concrete interiors are punctuated by carefully placed windows and larger glazing offering controlled views of the Centre. The view from the glazed wall in the main library hall is dominated by the highlights of the area: the bell tower or the Cross of the Plains Church and the fan-shaped facade of the original Aalto Library. The heart of the building is the wide staircase, intended for different events and as an informal meeting place, which leads to the collection departments on the ground floor and through the connecting underground corridor to the Aalto Library.

Photo: Martti Kapanen

LIVELY AND VIVID SURFACE The external skin of the new library is dominated by copper. The darkening preoxidised copper sets the new library apart from the whiteness of the surrounding buildings. Copper is not a new material to the area but in the Aalto Centre it is mainly the roofs that feature the material’s beautifully patinated green surfaces. In the new library, copper has been used comprehensively across facades, plinth and roofs – creating a single-material skin.

34 COPPER ARCHITECTURE FORUM 33/2012

A special shape of copper shingle was specifically designed for the facades to give the building a highly individual, lively and vivid surface. In some situations, the shingle surface is formed into ventilation slots to accommodate air handling. Copper is also used to form vertical grilles and as a door facing to maintain the material continuity.

Facade northeast

SOUTHWEST

Facade southwest

SOUTHEAST

Facade southeast

Photo: Martti Kapanen

NORTHEAST

NORTHWEST

NORTHEAST

SOUTHWEST

Section A

SECTION A 1:500

SECTION B 1:500

Section B

SECTION B 1:500

TO AALTO'S LIBRARY

Architects: JKMM

SECTION A 1:1000

SECTION B 1:1000

Copper Installer: Pohjanmaan Pelti Copper Product: Nordic Brown® Light

SECTION B 1:1000

GAMES YOUTH, MUSIC, MOVIES

GAMES MUSIC LISTENING

MUSIC LISTENING YOUTH, MUSIC, MOVIES

CAFE

MUSIC LISTENING

YOUTH, MUSIC, MOVIES

NEWS AREA READING STEPS

Photos: Tuomas Uusheimo, Martti Kapanen

SECTION A 1:1000

READING STEPS

NEWS AREA

READING STEPS

READING STEPS BOOK HALL

READING BOOK STEPSHALL

BOOK HALL

SEINÄJOKI CITY LIBRARY SECTIONS EXHIBITION

OPEN STACK

YOUTH INFO EXHIBITION

OPEN STACK

YOUTH INFO

EXHIBITION

OPEN STACK

YOUTH INFO

JAAKSI HALL

ENTRANCE HALL

EXHIBITION

JAAKSI HALL

JKMM ARCHITECTS

ENTRANCE HALL

CUSTOMER EXHIBITIONCUSTOMER SERVICE SERVICE

DISTRIBUTION JAAKSI HALL

DISTRIBUTION

PLAY

SOCIAL SPACES

OFFICES

BOOKMOBILE STACK

0 0 1 0 0 H E L S I N K I F I N L A N D TEL. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 0 0 F. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 1 0

MEETING ROOM

DISTRIBUTION SILENT READING ROOM

SILENT READING ROOM A

PLAY CHILDREN

SOCIAL SPACES

1:500, 1:1000 LAP I N R I N N E 3

CUSTOMER SERVICE

BOOKMOBILE STACK OFFICES

SILENT READING ROOM

OFFICES

CELLAR 1:500

MEETING ROOM

STAFF CAFE

OFFICES OFFICES

OFFICES

BOOKMOBILE STACK

OFFICES

GROUND LEVEL 1:500 GROUND LEVEL 1:500 GROUND LEVEL 1:500

STAFF CAFE

OFFICES

CHILDREN

OFFICES

1ST FLOOR 1:5001ST FLOOR 1:500

Cellar Ground level 1st Floor B

CELLAR 1:500

MEETING STAFF ROOM CAFE

2.10.2012 WWW.JKMM.FI

A OFFICES

PLAY

OFFICES OFFICES

Facade northwest

SECTION A 1:500

O'S LIBRARY

NORTHWEST

1ST FLOOR 1:500

COPPER ARCHITECTURE FORUM 33/2012

36 COPPER ARCHITECTURE FORUM 33/2012

CONICAL COPPER A chapel in the distinctive form of a copper-clad cone is at the heart of the glazed atrium welcoming visitors to this new school. Russel Hayden of Nicholas Hare Architects discusses the design concept and how it was realised.

ll Saintsâ&#x20AC;&#x2122; Academy is a church school for the community in Cheltenham, UK. It provides secondary education for 900 pupils and 250 sixth-form students. The buildingâ&#x20AC;&#x2122;s striking form curves around an impressive external plaza with an elegant canopy and three-storey high glazed atrium at its centre. The design developed around the concept of a hand, the atrium acting as a unifying device from which key internal and external areas are accessed. Curved open galleries within lead to three radiating learning wings providing most of the classroom accommodation.

A Visible Beacon

Learning wings Dining and kitchen Main hall and drama Chapel above reception Library Primary circulation WCs and changing areas

The entrance atrium forms the heart of the building and the public face of the Academy. Above the reception area rises the distinctive conical form of the copper-clad chapel. It acts as a visible beacon reflecting the Christian ethos of the Academy. The building is clad with a limited palette of materials. The ground floor is brickwork to provide a human scale to the Academy as well as being durable. Upper levels are clad with an insulated render system. The copper shingles to the chapel and the confident use of colour offer a lively counterpoint to the refined facades. Sculpting of the chapel brings light pouring into the space from above. A single slot window with a coloured glass design provides a focus within the contemplative space. At roof level, the cone is truncated and a large opening formed in the vertical face, infilled with glazing. A separate, lower copper clad form completes the composition and encloses mechanical plant servicing the chapel.

COPPER ARCHITECTURE FORUM 33/2012

COPPER CLOSE-UP

Covering the Cone with Copper A key element of the concept was for the chapel to appear monolithic – both within the space and externally as it reached through the atrium roof. The original proposal was for timber cladding, but the design team recognised the difficulty of ensuring the internal and external elements would weather consistently. Bright copper was selected with a special, anti-weathering coating to minimise any change as the surface aged. Shingles were chosen to deal with the complex form that curves in both plan and section. The cladding of the chapel was undertaken – with real craftsmanship – by NDM, the copper shingles gradually reducing in size to accommodate the conical shape. The form was computer modelled, as the size of each row of shingles had to be calculated to suit the diminishing diameter.

Architects: Nicholas Hare Architects www.nicholashare.co.uk Copper Installer: NDM Metal Roofing & Cladding Copper Product: TECU® Classic (coated) Photos: © Hufton+Crow

38 COPPER ARCHITECTURE FORUM 33/2012

Leitartikel

COPPER ARCHITECTURE NEWS

Gebäudeerweiterungen mit Kupfer Das Thema dieser Ausgabe von Copper Forum zeigt beispielhafte Umsetzungen von Gebäudeerweiterungen wo Kupfer und Kupferlegierungen eine wesentliche Rolle in der Architektur spielen. Es kann als eine typologische Tour de Horizon angesehen werden, die die zunehmenden Ansprüche im Materialgebrauch und neue Wege in der Realisierung umreißt. Die Ansprüche an Kupfer in der modernen Architektur haben sich deutlich verändert – ein Trend, der sich neben der Verwendung von Kupfer an Bauten, bei denen Kupfer eine historische Bedeutung hat, auch in Zukunft weiter fortsetzen wird. Aber häufig bringt ein neuer Ansatz in der Anwendung frischen Wind, wie beispielhaft in der Innenanwendung in der zweiten Hälfte dieser Ausgabe gezeigt wird. Der verbindende Stern eines Atriums verdeutlicht die Möglichkeiten des Materials für innovative und neue zeitgenössische Formen. Die architektonischen Möglichkeiten mit Kupfer werden noch deutlicher durch ein weiteres Projekt: die Gestaltung eines Clubhauses für einen Yachtclub auf dem Gerat Barrier Reef. Moderne Computer Techniken ermöglichten ein wegweisendes Design an exponiertem Ort. Im Kontrast hierzu die schnörkellose Umsetzung einer RettungsbootStation an der stürmischen englischen Küste: form follows function!. Außergewöhnliche Wetterbedingungen und hohe Ansprüche an die Nachhaltigkeit sind für Kupfer kein Problem. In skulpturhafter Qualität werden mit Bronze und Glas für lange, lange Zeit zwei historische Runensteine geschützt (Seite 28-29).

Klar definierte Ansprüche und Formen charakterisieren auch das Marlowe Theater (Seite 16-19), was man auch von der öffentlichen Bibliothek in Seinäjoki sagen kann (Seite 32-35). Inhaltlich eine schöne Ergänzung zu dem Zentrum Alvar Aalto, wo mit Respekt zum architektonischen Zusammenhang eine Abgrenzung auch über den Werkstoff Kupfer vorgenommen wird. Eine weitere Bibliothek – die „Deptford Lounge“ (Seite 24-27) wurde in ein neues, offenes Gemeinschaftsgebäude umgebaut, das sich durch seine semitransparente, goldene Fassade aus einer Kupferlegierung hervorhebt.

Copper Architecture on-line Experience copper architecture online- a definitive resource for architectural inspiration, including electronic versions of Copper Architecture Forum, the European Copper in Architecture Awards and many other helpful publications available at www.copperconcept.org Copperconcept.org is organised into 17 separate language sections, each edited locally. The website features an extensive selection of regularly updated project

Die Vielfalt in der Anwendung entspricht den verschiedenen Oberflächen die heute in Kupfer verfügbar sind wie sie zum Beispiel bei dem mehrgeschossigen Parkhaus auf Seite 20-23 eingesetzt worden sind. Genauso wie das kleine aber feine temporäre Gebäude (Seite 10-11) – einer Bauart, die normalerweise nicht oft mit Kupfer assoziiert wird. Dem Einsatz von Kupfer wurde auch hier sehr viel Aufmerksamkeit gewidmet, die der außerordentlichen Qualität des Projektes zugutekommt. Eine kommunale Gebäudeerweiterung die mehr ist als ein Gebäude (Seite 30-31) zeigt beispielhaft, dass Kupfer eine besondere Qualität von Gebäuden und zu anderen Materialien herstellen kann.

references, demonstrating different uses of copper and highlighting some of the best examples of copper architecture from around Europe and beyond. Of course, information on the European Copper in Architecture Awards can be found there, alongside articles on topical issues, such as the antimicrobial capabilities of copper. As well as design inspiration, Copperconcept.org gives access to a range of architectural and technical publications, and links to other organisations including copper fabricators. Journalists and editors can also access press releases, articles and images for publication. Finally – and most importantly – the website hosts Copper Architecture Forum and you can register for your free subscription there, as well as

Kupfer in der Architektur ist stetig in der Entwicklung, die durch Architekten und Architekturinteressierte vorangetrieben wird. Auf der Internetseite www.copperconcept.org können Sie sich die besten Beispiele ansehen.

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Copper Forum 33, November 2012 Copper Forum ist ein Teil der „European Copper in Architecture Campaign“. Es erscheint zweimal jährlich mit einer Druckauflage von 25.000 Exemplaren. Die Zeitschrift wendet sich an Architekten und Fachleuten in ganz Europa und der Welt und ist in verschiedenen Sprachausgaben verfügbar, wie zum Beispiel auf Englisch, Tschechisch, Dänisch, Finnisch, Französisch, Deutsch, Ungarisch, Italienisch, Norwegisch, Polnisch, Russisch und Schwedisch.

The Copperconcept App Redaktionsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock Anschrift: : CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

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Hrsg.: Nigel Cotton, ECI Layout und Realisierung: Naula Grafisk Design, Schweden Druck: Strålins Grafiska AB 2012, Schweden Redaktion: Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Paul Becquevort, Benelux Pia Voutilainen, Se, No, Fi, Dk Robert Pintér, Hu, Cz, SVK Vadim Ionov, Ru

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Reference projects Architectural city maps Design Awards Copper Architecture Forum Articles

10/18/12 11:33 AM 39 COPPER ARCHITECTURE FORUM 33/2012

COPPER Architecture FORUM

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