Copper Architecture Forum 2012 33 ITALIAN

COPPER Architecture FORUM

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

All entries must incorporate facades, roofing or other architectural elements of copper or copper alloys. Any scale or type of project can be entered – 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

EDITORIALE

Diversificare con il rame Questo numero vi illustra un eclettico mix di edifici moderni in cui il rame e le sue leghe giocano un ruolo chiave nell’espressione architettonica. Può essere visto come una rassegna tipologica, che rivela una crescente diversificazione nell’uso di questo materiale da parte dei progettisti, in tutta la gamma degli edifici, secondo nuove strade.

La percezione del rame è cambiata, parallelamente al suo ruolo nella moderna architettura e continua così anche ai giorni nostri. Naturalmente, il rame è ancora usato su edifici ai quali è storicamente associato; ma spesso, viene affrontato con un nuovo approccio, come nel caso della cappella che chiude questo numero (pagg. 36-38): un tamburo conico al centro dell’edificio scolastico che lo contiene, che richiama insieme sia le cupole sia le guglie delle chiese. I tetti in rame sono al cuore del nostro primo progetto, un grande atrio di un centro congressi (pagg. 4-7), ma nella forma di una stella smontata in lega dorata di rame, a dimostrazione delle possibilità di questo materiale nelle innovative forme contemporanee, all’interno e all’esterno.

Le possibilità di modellarlo sono riprese - ancora di più - con le spettacolari curvature della sede di un club in riva al mare (pagg. 8-9) diventato realtà grazie ai modelli computerizzati che offrono allettanti opportunità di libertà nel design. All’opposto, le forme seguono la funzione propria di una postazione di salvataggio (pagg. 12-15), concepita intorno alla nave che la ospita e protetta dal rame contro il più severo tra gli ambienti – ora un design collaudato, pronto ad essere replicato ovunque. Ancora, la protezione dagli elementi definisce l’involucro di vetro e di bronzo per due antiche pietre runiche (pagg. 28-29) con una semplice qualità scultorea.

• Per ricevere in futuro la tua copia di Copper Architecture

Forum, registrati su www.copperconcept.org/it, dove puoi scaricare anche i numeri precedenti.

Copper Architecture Forum n.33, novembre 2012 Copper Architecture Forum è parte della ”Campagna Europea sul Rame in Architettura”. È pubblicato due volte all’anno e ha una tiratura di 25.000 copie.

La rivista è distribuita agli architetti e professionisti del settore edilizio in Europa - e non solo - in lingua italiana, ceca, danese, finlandese, francese, inglese, norvegese, polacca, russa, spagnola, svedese, tedesca e ungherese.

Copper Architecture on-line

Forme chiaramente definite caratterizzano anche il teatro Marlowe (pagg. 16-19), una tipologia tradizionalmente associata al rame. Lo stesso può esser detto delle biblioteche pubbliche, ma a Seinäjoki (pagg.

32-35) l’estensione del centro Alvar Aaalto rispetta il suo contesto iconico, pur distanziandosene con una pelle in rame. Un’altra biblioteca - la Deptford Lounge (pagg. 24-27) si sviluppa in un nuovo, aperto edificio comunitario, espresso attraverso la trasparenza delle sue facciate in lega dorata.

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

La varietà tipologica del rame si amplia ulteriormente in un trattamento astratto che impiega molte forme del materiale per animare la facciata di un altrimenti comune parcheggio multipiano (pagg. 20-23).

E un edificio temporaneo (pagg.10-11) - altro caso spesso non associato al rame – assume una speciale importanza grazie alla suo rivestimento in lega di rame. Infine, l’estensione di una casa di modeste dimensioni (pagg. 30-31) diventa un promemoria che il rame può anche aggiungere particolari qualità a fianco di altri materiali.

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, 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 cop-

L’architettura in rame continua a svilupparsi, guidata dagli architetti e dal loro entusiasmo per il materiale e le sue possibilità. E noi continueremo a mostrare i migliori esempi qui e su www.copperconcept.org, col vostro aiuto.

per 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 download the latest, and previous, issues of the magazine.

La Redazione

Explore the world of copper architecture now at – http://www.copperconcept.org

• Per sottoporre un progetto, suggerire un argomento per un

articolo o farci avere il tuo commento su Copper Architecture Forum manda un e-mail a editorialteam@copperconcept.org

The Copperconcept App Free & available for iPhone and iPad. Inspiration and information combined in one app.

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

• • • • •

Editore: Nigel Cotton, ECI Layout e produzione tecnica: Naula Grafisk Design, Svezia Stampa: Strålins Grafiska AB 2012, Svezia

Copertina: Il Centro visitatori della cattedrale di Lund (p. 4-7).

Foto: Åke E:son Lindman

Collaboratori: 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 www.copperconcept.org

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

© Copper Architecture Forum 2012 Copperconcept_App_hirdetes_01.indd 1

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

Indice

33

2 Diversificare con il rame

– editoriale

4-7 Ridefinire l’atrio – un nuovo spettacolare concetto di atrio moderno,

per un centro congressi in Norvegia

8-9 Rame: libertà di forma, in digitale

– libertà di design per una scultorea sede di yacht club in Australia

10-11 Stella temporanea – un padiglione temporaneo a Münster, in Germania, rivestito in lega dorata di rame

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

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Ridefinire l’atrio Un complesso alberghiero in Norvegia mira a trasformare l’esperienza dei congressi attraverso un nuovo spettacolare concetto di atrio moderno, come spiega Chris Hodson.

Il Clarion Hotel a Trondheim è il più grande centro congressi della Norvegia, nonché uno dei maggiori di tutta la Scandinavia. Il suo architetto - Space Group- ha adottato la strategia di orientare le ali che ospitano le camere – distinte e simili a lastre - in maniera da offrire ai visitatori una perfetta visione su mare, paesaggio e città. Questo atto torsionale si avvita intorno all’atrio centrale, per generare uno spazio decisamente tridimensionale grazie ad un complesso tetto sfaccettato - una stella dorata smontata - che arriva fino a terra.

La visione dell’edificio è spettacolare da ogni angolazione, ma soprattutto dall’alto, cioè da dove molti ospiti lo vedono per la prima volta, sorvolandolo.

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“Irrompendo nel mezzo dei blocchi e collegandoli insieme, ecco la dirompente stella d’oro”

Materialità rigorosa Il progetto esibisce una rigorosa applicazione della materialità tra differenti elementi. Il massivo, ruvido box scuro della sala conferenze principale contrasta nettamente con i blocchi totalmente vetrati delle camere da letto, serigrafati in bianco ma che si dematerializzano in prossimità delle finestre per sviluppare un delicato effetto-nuvola. Irrompendo nel mezzo dei blocchi e collegandoli insieme, ecco la dirompente stella d’oro, costituita da una lega di rame con alluminio e zinco.

“Nella lega di rame - ha commentato l’architetto progettista Jens Niehues noi abbiamo trovato un materiale che ci ha permesso di progettare usando una superficie vivace, che riflette la funzio-

ne stessa di “stella” e le conferisce una colorazione dorata. Oltre a realizzare le nostre intenzioni concettuali, ovviamente il materiale doveva anche rispondere alle sfide tecniche che poneva il clima severo della costa occidentale norvegese.

Questa lega di rame non sviluppa col tempo una patina verde o blu, perfino in un clima difficile, ma mantiene il suo colore dorato. Le caratteristiche del materiale permettono giunti verticali, orizzontali o inclinati, che sottolineano la forma triangolare della “stella”. Inoltre il materiale può essere lavorato per dare rientranze con spigoli netti e dettagli di gronda precisi. La scelta di una lega di rame dorata ripaga veramente nell’edificio finale.”

Architetti: Space Group – www.spacegroup.no (Credits completi di tutto il team di progettazione e altri consulenti sono disponibili su www.copperconcept.org) Installatore del rame: Mäster Blikk Trondheim Prodotto di rame: Nordic Royal™ Foto: Joern Adde, Peter Hebeisen

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L‘orientazione per catturare le migliori visuali ha generato la stella centrale dorata

Smontare il convenzionale atrio di hotel K1 K3.03

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COPPER ARCHITECTURE FORUM 33/2012

B5

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Un impatto spettacolare All’interno l’impatto spettacolare aumenta, dal momento che le forme esteriori dell’hotel si convertono negli spazi aperti al pubblico. Al cuore di questo c’è lo spazio centrale verticale, concepito come una trasformazione dinamica - da monodimensionale a tre dimensioni - della tipologia dell’atrio di hotel. Qui l’atmosfera e i volumi spaziano tra l’intimo e lo spettacolare, cosi come avviene per le visioni dei panorami esterni e delle composizioni cristalline interne, che alludono alle maestose forme di ghiaccio, scogliere e banchi di ghiaccio. E sopra tutto questo, ci sono le lunghe punte della stella di rame dorato.

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Rame: libertà di forma, in digitale Le spettacolari forme del tetto di questo club affacciato sul mare dimostrano la libertà di progettazione che può essere realizzata con il rame, in particolare quando vengono applicate le tecniche del Building Information Modelling (BIM)

Architetto: Walter Barda Design • Prodotto di rame: TECU® Classic • Installatore del rame: Copper & Zinc Link • Foto: per gentile concessione di Trend Magazine Testo: basato su un articolo di Trend Magazine www.trendsideas.com e con il contributo di Morten Pedersen di Copper & Zinc Link.

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I

l complesso dell’Hamilton Island Yacht Club e delle sue villette nelle Whitsunday Islands - che formano parte della Barriera Corallina australiana - è stato progettato per creare un impatto visivo non solo dal mare e dalla terraferma, ma persino dal cielo, cioè da dove arrivano molti ospiti.

Gli architetti hanno immaginato un edificio che solcasse il frangiflutti e alludesse agli elementi marini e alla cultura della navigazione. Il processo di progettazione ha portato ad uno scultoreo assemblaggio di forme rivestite di rame, che suggeriscono vele nel vento, spinnaker, chiglie e il turbinio di venti, maree e correnti.

Il centro del yacht club è un portico coperto, o piazza, che conduce alle varie stanze private e pubbliche.

Con un graduale cambio di altezza dei soffitti e rampe pedonali, l’edificio porta ad una spettacolare piattaforma sollevata, sospesa sull’acqua. Il club contiene strutture tra cui bar, ristoranti, auditorium, sale per conferenze, palestra, piscinetta, sale di lettura e spazio espositivo. Lo sviluppo integrato fornisce inoltre 35 villette indipendenti.

Il rame ricopre forme complesse I complicati tetti a forma di petalo del club sono sostenuti da un “albero” di colonne di acciaio, i cui rami incontrano il tetto incurvato secondo una varietà di angoli.

Una griglia di acciaio strutturale è stata sviluppata per estendersi fino a 16 metri e sospesa fino a 11 metri, trasferendo i carichi laterali ai muri centrali. Questo minimizza lo spessore strutturale tra il rivestimento del tetto e i soffitti, come richiesto dall’architettura. Inoltre semplifica anche la fabbricazione e la costruzione del tetto. Il rame è stato scelto per la sua durabilità, per le sue caratteristiche visive e naturalmente, per la sua capacità unica di rivestire complesse forme in tre dimensioni.

Building information modelling (BIM) Il BIM è stato indispensabile per il processo progettuale e costruttivo dell’Hamilton Club, in particolare per il tetto di rame.

A causa della complessità delle sue forme, erano necessari numerosi disegni di dettagli e sezioni, per mostrare come i componenti si adattassero l’uno all’altro. I dati sono stati condivisi con altri soggetti coinvolti: per esempio, con il produttore dell’acciaio strutturale, che lavorava direttamente con il modello digitale.

La disponibilità sul posto di un modello completamente digitale ha significato che il team poteva vedere i disegni in 3D dell’edificio mentre prendeva forma. Erano anche disponibili degli spaccati dei differenti componenti, che aiutavano ciascuno a capire precisamente come l’edificio veniva costruito.

Ma il BIM funziona anche al di fuori del CAD e la simulazione tridimensionale, con componenti e materiali aventi “attributi” come costi, credenziali ambientali e periodi di manutenzione.

Il BIM cerca di fornire un modello digitale completo per design, produzione, costruzione e uso dell’edificio, coinvolgendo pienamente tutti gli stakeholder. Ciò aiuta gli architetti a creare progetti più sostenibili ed accurati, con meno errori e meno sprechi. Essendo in grado di simulare le performance del mondo reale, fornisce anche una migliore comprensione dei costi, della tempistica e dell’impatto ambientale.

Il BIM è pensato per crescere rapidamente nella progettazione di edifici di ogni tipo. Apre le porte agli architetti per esplorare nuove forme espressive e il rame è perfettamente appropriato per aiutarli a realizzare design innovativi.

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STELLA TEMPORANEA Soluzione dorata

Un intervento veramente contemporaneo, rivestito con una lega dorata di rame, ha evidenziato in modo appropriato la mostra “Splendore dorato: tesoro di arte medioevale in Vestfalia” tenutasi quest’estate a Münster, in Germania.

S

ituato nella centrale Domplatz (piazza del Duomo), il padiglione temporaneo ha creato un contrasto di modernità verso il centro storico della città, collegando le sedi espositive del museo e della Camera d’arte della cattedrale. Il progetto del padiglione è stato il risultato della collaborazione tra la Scuola di Architettura di Münster e lo studio di architettura ‘modulorbeat’. Guidata dagli architetti Marc Günnewig e Jan Kampshoff, una squadra - in origine di 33 studenti – ha sviluppato vari bozzetti di struttura.

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Alla fine, la giuria ha deciso a favore della “soluzione dorata”, un edificio a forma di stella con pianta a croce stilizzata, caratterizzata da facciate in lega di rame color oro. Un padiglione temporaneo per comunicare un evento d’arte non è esattamente nuovo a Münster. Cinque anni fa, modulorbeat ha creato un simile tipo di costruzione, usando sempre la lega di rame.

Funzionando come un ‘laboratorio vivente’, il padiglione ha ospitato sessioni formative di arte organizzate in concomitanza con la mostra. Visibile attraverso le pareti di fondo in vetro, la continuazione del design semplice e senza fronzoli prosegue all’interno. La struttura portante, in legno massello o in legno lamellare, è completamente spoglia, dando alle superfici dei pavimenti, soffitti e pareti un chiarore ligneo uniforme – così come gli otto tavoli di lavoro assemblati dagli stessi partecipanti al progetto.

Facciate modulate Le facciate in lega di rame sono state modulate in verticale con profili unici, irregolari ed ondulati, che ricordano un soffietto, indicati dagli architetti. Questi sono stati prodotti in modo rapido, a basso costo e senza problemi da una ditta specializzata, dotata della tecnologia necessaria per le profilature. Il padiglione Splendore Dorato ha presentato un’ assoluta omogenea entità dorata, interrotta solo in corrispondenza delle pareti terminali della croce dove sono ubicati gli ingressi -rientranti e riparati- e le finestre, completamente vetrate.

Nel momento in cui leggerete questo articolo, il padiglione sarà già stato smantellato. Ma verrà ancora ricostruito, utilizzando tutti i materiali originali, in una scuola locale, dove verrà utilizzato per l’insegnamento dell’arte e di altre materie: un risultato appropriato e sostenibile.

S/W

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workshop 83,5 m2

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information 12,9 m2

entrance 4,0 m2

ramp

Prospetto nord-est, con ingresso riparato N/E

Pianta

N/E

Architetto: Modulorbeat e Scuola di architettura di Münster Installatore del rame: Schabos GmbH Profilatore del rame: MN Metallverarbeitung Neustadt Prodotto in rame: TECU® Gold Foto: Christian Richters

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elevations 1:100

11

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

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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: “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.�

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.

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- 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

F2

F3

B-B B-B

E-E

F4

F5

F6

FA

A-A A-A

FB

FC

FD

COPPER ARCHITECTURE FORUM 33/2012

FE

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FF

“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

17

Level 1

8

7

8

5 6 11

3

4

2 2

1

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 2

Level 3

0

1

2

Level 3 10m

3

4

5

N

11

12

10

8

Counter Weight Area

8

9

9

4

4

2 11

2

18 COPPER ARCHITECTURE FORUM 33/2012

KEY:

KEY:

1.

2.

3.

4.

5.

6.

7.

8.

1.

2.

3.

4.

5.

6.

7.

8.

Paved Forecourt Foyer Box Office Bar Cafe Auditorium Stage Dressing Rooms

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

6

80

125

2

2

11 77

n

18mm plywood

10

2 1

between er

Section AA Section AA

corner aluminium flashing cover piece

110

80

92

15

15

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

80

EPDM sealed to blockwork.

Sealant type to be confirmed by glazing sub-contractor

50

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

1

2

3

4

5

COPPER ARCHITECTURE FORUM 33/2012

10

19

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

21

“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: “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.�

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

23

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

25

Photo: © ArcEye Images Ltd / Robert Greshoff 2012

Photo: Chris Hodson

Photo: © ArcEye Images Ltd / Robert Greshoff 2012

Photo: © ArcEye Images Ltd / Robert Greshoff 2012

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

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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

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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

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“ 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.

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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.

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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

A

GAMES YOUTH, MUSIC, MOVIES

GAMES MUSIC LISTENING

MUSIC LISTENING YOUTH, MUSIC, MOVIES

A

A

CAFE

CAFE

CAFE

MUSIC LISTENING

YOUTH, MUSIC, MOVIES

NEWS AREA READING STEPS

Photos: Tuomas Uusheimo, Martti Kapanen

B

SECTION A 1:1000

B

B

READING STEPS

NEWS AREA

NEWS AREA

READING STEPS

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

ENTRANCE HALL

EXHIBITION

EXHIBITION

JAAKSI HALL

JKMM ARCHITECTS

ENTRANCE HALL

CUSTOMER EXHIBITIONCUSTOMER SERVICE SERVICE

DISTRIBUTION JAAKSI HALL

DISTRIBUTION

PLAY

SOCIAL SPACES

OFFICES

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

A

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

CHILDREN

OFFICES

OFFICES

OFFICES

1ST FLOOR 1:5001ST FLOOR 1:500

B

Cellar Ground level 1st Floor B

CELLAR 1:500

MEETING STAFF ROOM CAFE

2.10.2012 WWW.JKMM.FI

A OFFICES

PLAY

OFFICES OFFICES

B

0

Facade northwest

SECTION A 1:500

O'S LIBRARY

ES

NORTHWEST

1ST FLOOR 1:500

COPPER ARCHITECTURE FORUM 33/2012

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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.

A

ll Saints’ Academy is a church school for the community in Cheltenham, UK. It provides secondary education for 900 pupils and 250 sixth-form students.

The building’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

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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

www.copperconcept.org

• • • • •

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

Titelseite: Pavillon zur Ausstellung ‚Goldene Pracht‘, Münster, Deutschland (S. 10-11) Foto: © KME/Christian Richters

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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

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

COPPER Architecture FORUM

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

All entries must incorporate facades, roofing or other architectural elements of copper or copper alloys. Any scale or type of project can be entered – 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