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COMENTARIO EDITORIAL

Suscrbete a la revista Copper Architecture Forum copperconcept.org

Repasa los nmeros anteriores de la revista copperconcept.org

Contacta con el equipo editorial [email protected]

Sube tu proyecto a la web copperconcept.org

Participa en los Premios Europeos del Cobre en la Arquitectura copperconcept.org

Portada: Plataforma de las Artes yla Creatividad, Guimares, Portugal(pgina 14).Foto: Joo Morgado

Copper Architecture Forum 34, mayo 2013

Copper Architecture Forum forma parte de la Campaa Europea del Cobre

en la Arquitectura y se pub lica dos veces al ao con una tirada de 25.00 0ejemplares.

La revista se distribuye a arquitectos y profesionales de la industria de laconstruccin en toda Europa, y est disponible en espaol, ingls, alemn,

checo, dans, fins, francs, hngaro, italiano, noruego, polaco, ruso y sueco.

Editor jefe: Robert Pinter

Editor: Chris Hodson RIBA

Equipo editorial: Lennart Engstrm, Ari L ammikko, Chris Hodson, Graeme Bell,Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

Correo electrnico: [email protected]

Direccin: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Bruselas, Blgica

Director: Nigel Cotton, ECI

Maqueta y produccin tcnica: Jorma Naula Grafisk Design, Suecia

Impresin: Strlins Grafiska AB 2013, Suecia

Consejo editorial:

Birgit Schmitz, De [email protected] Zakrzewski, Pl kazimierz.zakrzewski@copper alliance.pl

Marco Crespi, It [email protected]

Nicholas Hay, UK [email protected]

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux paul.becquevort@copp eralliance.be

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

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

Vadim Ionov, Ru [email protected]

Copper Architecture Forum 2013

La primera edicin en 1995 de Kopp ar

Forum tan slo contaba con cuatropginas.

Comenzamos este nmero con una cariosa despedida a Lennart Engstrm que se retirade nuestro equipo editorial. l instig la publicacin de la revista Copper Forum hace18 aos y ha jugado un papel clave en su desarrollo desde la primera edicin de cuatropginas dirigida a arquitectos escandinavos hasta la actual revista de cuarenta pginas,con una tirada de 25.000 ejemplares a nivel europeo y publicada en 13 idiomas. odos en

el equipo editorial valoramos su sabidura, su pasin por el cobre en la arquitectura y sucarcter amable, pero persuasivo. Adems, trabajar con Lennart siempre era divertido.Por supuesto, ha habido cambios en los ltimos 33 nmeros, con mejoras continuas

tanto en el diseo de la revista como en sus contenidos para reflejar los intereses actualesde los arquitectos. Hoy, sin embargo, los valores bsicos de Copper Architecture Forumsiguen siendo los mismos: presentar una arquitectura contempornea inspiradora, juntocon temas de actualidad que afectan al diseo con cobre y sus aleaciones.

Aprovechamos esta oportunidad para presentar al nuevo editor jefe, Robert Pinter, yal nuevo editor, el arquitecto Chris Hodson. Ambos han formado parte del equipo edi-torial desde hace tiempo y tienen una gran experiencia en el uso del cobre para la arqui-tectura y la construccin. Con un arquitecto como editor, la revista se acercar ms a losintereses de nuestros lectores y se desarrollar una mayor implicacin con ellos - especial-mente a travs de nuestro sitio web copperconcept.org.

Al editar Copper Architecture Forum, buscamos nuevas tendencias y temticas comu-nes entre los proyectos. En este nmero, una serie de temas se hacen evidentes. En primerlugar, las numerosas posibilidades de uso de elementos de cobre en las fachadas paracombinar proteccin solar y transmisin de luz, se ejemplifican en varios edificios. Lassoluciones van desde mallas y pantallas perforadas de cobre hasta rejas de latn perfilado yesculturales aletas curvadas. Algunos proyectos tambin resaltan el cobre utilizado comoun material completamente moderno, caracterizando intervenciones contemporneas pararegenerar edificios antiguos con frecuencia histricos y de inters cultural. Por ltimo,el cobre adquiere un papel cvico en proyectos importantes que ayudan a dar forma a unentorno urbano ms amplio.

Esperamos que disfrutis de la diversidad y excelencia enel diseo arquitectnico que os presentamos en este nmero.

El equipo editorial

CAMBIO Y CONTINUIDAD

Lennart Engstrm, fundador

y editor emrito de CopperArchitecture Forum

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3COPPER ARCHITECTURE FORUM 34/2013

34

49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

Free & available for iPhone, iPad

and Android devices.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum

Articles

Copper Architecture Forum 2013

CONTENIDO

2 Cambio y Continuidad comentario editorial

49 Referencia de Cobre transformacin de una histrica oficina de correosde Gotemburgo en un hotel de referencia con una funcin cvica

1011 Arquitectura Automovilstica homenaje al automvil con larenovacin de un edificio en Mosc

1213 Reinvencin Local una nueva visin con cobre de la arquitectura ruralen la regin de Alta Normanda

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

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

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

2630 Seamless Articulation a new library for Worcester cloaked in skilfullydetailed copper alloy

3133 Solar Waves highly architectural brise soleil fins shield the glazed frontageof a new London school

3435 Coppers Contribution to Improving the EnvironmentalPerformance of Buildings life cycle assessments and buildingrating systems

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

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4 COPPER ARCHITECTURE FORUM 34/2013

REFERENCIA

DE COBREDespus de 20 aos de redundancia, el edificio de la

Oficina de Correos de Drottningtorget en Gotembur-

go (Suecia), se ha transformado en el Clarion Hotel

Post, un hotel de 500 habitaciones con una ampliacin

moderna que refleja las aspiraciones de esta vibrante

ciudad.

El edificio original fue diseado entre 1918 y 1925 por el

arquitecto sueco Ernst Torulf con un estilo manierista,utilizando ladrillo ornamentado con piedras y cubiertas depizarra en mansarda, con detalles de cobre que han idoadquiriendo una ptina verde con el paso del tiempo. Enla actualidad, la oficina de correos es un monumento deinters nacional. La estrategia aparentemente simple de losarquitectos Semrn y Mnsson fue cerrar con una nuevaampliacin el hueco del diseo original en forma de herradu-ra, volviendo hacia el interior para ocupar el antiguo patio decarga y descarga de la oficina de correos. El edificio exis-tente fue restaurado y adaptado a su nuevo uso respetandosus caractersticas originales y su estatus como edificio de

inters nacional. Al resto del patio tambin se le di un nuevouso con alojamientos en las plantas inferiores y una cubiertaacristalada que inunda de luz las zonas comunes.

Una Nueva Referencia para la Ciudad

La intervencin que cierra el patio, crea una nueva fachadaabierta al pblico en el lado este del edificio que da a kare-platsen y Odinsgatan. La ampliacin parte de ambos lados un ala revestida de cobre y la otra de pizarra, los mismosmateriales utilizados en la antigua oficina de correos y sealinea con el nivel del alero original. Las alas se juntan y seelevan como un par de formas monolticas separadas poruna franja vertical de vidrio. La torre de 13 pisos resultantecrea una nueva referencia para la ciudad y presenta unasegunda puerta de entrada al hotel: la entrada principal,anunciada por un opulento mosaico dorado, se conserva enla fachada oeste del edificio existente frente a la plaza pbli-ca de Drottningtorget.

La nueva ampliacin respeta y refleja la disposicin hori-zontal de las ventanas del diseo original, pero rompe con

por Chris Hodson

la sencilla alineacin vertical de las aberturas. Las nuevasfachadas se conciben como paneles cuadrados cada una conbandas horizontales de cobre o pizarra y ventanas distri-buidas aparentemente al azar. Segn los arquitectos, estasuperficie lisa, ntida y estriada est inspirada en parte en laiglesia de Laajasalo en Finlandia, con sus tiras horizontalesde cobre prepatinado.

Pero aqu, la verticalidad es reintroducida por las uniones delos paneles, destacando los cambios de color en la con-fluencia de las bandas horizontales de cobre. Las esquinasse expresan como una versin moderna de los tradicionalessillares de esquina verticales del edificio original, con unatira delgada el espesor de los paneles , incorporando algu-nas ventanas entre el cobre. El entramado de la fachada semantiene ininterrumpido a pesar del solrium de la azotea yde la piscina al aire libre con vistas a Gotemburgo.

Foto: Lennart Hys

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Fachada del edificio original y entrada del hotel frente a la plaza pblica de Drottningtorget.

Foto: Krister Engstrm

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Plano dela planta 13

Plano dela planta 9

Plano dela planta 3

Plano dela planta 2

Plano dela planta baja

Image:Semrn&

Mnsson

Fotos: Krister Engstrm

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Superficies de Cobre Vibrantes

Desde el principio, los arquitectos concibieron las

nuevas fachadas como una construccin revestidde chapas finas. La solucin consisti en diferentepaneles, cada uno prefabricado en el taller y despinstalados in situ para formar una piel externa demuro cortina, independiente de las plantas es-tructurales. Esto permiti un mayor control de lacomplejidades del diseo de los paneles individuadentro de la disposicin general de las fachadas,con diferentes tamaos de ventanas y una superfide cobre variada y estriada. Para las fachadas seutilizaron tiras de cobre de diferentes medidas 2250 y 300 mm con tres intensidades distintas de

cobre prepatinado, variando la intensidad del verdsobre el fondo de color marrn oscuro. La combincin de estos elementos permiti la creacin unassuperficies de cobre vibrantes.

Arquitecto: Semrn & Mnsson

Instalador del cobre: Skandinaviska Glassystem AB

Producto de cobre: Nordic Green Living

Foto: Chris

Foto: Lennart Hyse

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Seccin

Funcin Cvica

El Clarion Hotel Post goza de una ubicacin inmejorable en el centro deGotemburgo, al lado de la estacin central y del principal centro comercialde Nordstaden. Como importante referencia urbana, la nueva torre cumplecon una funcin cvica, uniendo ejes que atraviesan la ciudad y que durantemuchos aos estuvieron desconectados. Su alineacin ms evidente es conOdinsgatan, tapando las vistas ms abajo de la avenida. Adems, vista desdela plaza pblica y otras localizaciones impor tantes del centro, se eleva porencima de la antigua oficina de correos.

Foto: Chris Hodson

El cobre fue muy importantepara nuestro diseo

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La entrevista completa con el profesor

Mnsson puede leerse en copperconcept.org

ENTREVISTAChris Hodson habla sobre el Clarion

Hotel Post con el profesor Magnus

Mnsson, propietario del estudio de

arquitectura Semrn & Mnsson.

CH: Cmo lleg a involucrarse en el proyectodel Clarion Hotel Post?

MM: Me invitaron a encontrar una ubicacinpara un hotel de grandes dimensiones aqu enGotemburgo, cerca de la estacin central. Yo yaestaba diseando otro hotel y me preocupaba laanatoma de este tipo de edificios. El edificio deCorreos se convirti en un edificio de oficinas afinales de los aos 80, pero cuando lo mir, pen-s: esto no es una oficina, este es un hotel slopor la distribucin de las ventanas. El promotorestuvo de acuerdo con mi propuesta para llevara cabo un proyecto espectacular que combinase

nuevo y antiguo y eso fue hace 8 aos.

CH: Cules fueron los retos de trabajar en unedificio de inters nacional tan destacado?

MM: Por supuesto que hubo que luchar, enprimer lugar, con las distintas autoridades. Eledificio est considerado de inters nacional conel mximo rango de proteccin en Suecia y estu-vimos involucrados no slo con las autoridadeslocales, sino tambin con la agencia nacional enEstocolmo, as que fue un verdadero reto. Enrealidad, no podamos cambiar nada en el exte-rior, ese fue uno de los puntos de partida.

CH: Aunque tiene otras tres oficinas, su base deoperaciones est en Gotemburgo. Se aborda unproyecto local de manera dist inta a trabajar enotro lugar?

MM: Espero que no. Pero, por supuesto, pasotodos los das delante de este edificio en el tra-yecto desde mi casa a la oficina, por lo que letengo un especial aprecio.

CH: Desde el punto de vista urbanstico, con-sidera que el Clar ion Hotel Post tiene un papelcvico importante?

MM: S, lo tiene. Cuando el gobierno suecoconstruy la oficina de correos, el edificio abar-

caba dos manzanas, aunque se supona que ibaa haber una calle que lo cruzara. Esto detuvo laexpansin natural de la ciudad hacia el este, conslo una calle estrecha muy concurrida con lostranvas casi pegados al edificio. Por lo tanto,cuando se ve desde el casco antiguo, la nueva to-rre de cobre y pizarra seala la nueva ciudad enla zona este. Pero tambin actuar como puntofocal de la avenida hacia el este y de una nuevaplaza frente al hotel.

CH: Hay algn simbolismo relacionado conlas torres de cobre y pizarra?

MM: No como tal. El concepto de diseo ori-ginal contemplaba una torre ms alta, pero lasautoridades locales redujeron su altura. Fue en-tonces cuando se me ocurri la idea de hacerlacon dos materiales para darle mejores propor-ciones. Adems hay diferencias en nuestro en-foque de los dos materiales con menos ventanasde menor tamao en la torre de pizarra, lo quele otorga un aspecto monoltico. La torre decobre tiene un aspecto de material mucho msfino. Hay un montn de pequeas seales quete ayudan a interpretar las diferencias.

CH: Hubo otras razones para utilizar cobre ypizarra adems de la referencia a la cubiertadel edificio original?

MM: En la dcada de los aos 20 todo era muylocal y natural a la vez, y nos sentamos orgullo-sos de tener materiales como el cobre. Quera-mos desarrollar este patrimonio con un lengua-je material, diferenciando las partes nuevas peroaportando continuidad. Veo el nuevo edificiocomo un pariente joven con el mismo ADN. Elcobre fue muy importante para nuestro diseo.

CH: Han utilizado el cobre en diferentes achos de banda e intensidades de patinaciCual era su intencin con este enfoque?

MM: S, estoy muy contento con el resultadfue una manera maravil losa de hacer las supficies de cobre. En realidad, las medidas depizarra cortada sugirieron un enfoque similala hora de estructurar las bandas de cobre, cosiguindose una textura similar, y la horizotalidad refleja la de la mampostera tradicionque se puede encontrar por toda la ciudad.

CH: Adems de dirigir un exitoso estudio de aquitectura con cuatro oficinas, tambin enseCuando tiene la oportunidad, cmo se relaj

MM: Es un ejercicio de malabarismo y no tego mucho tiempo libre. Pero cuando pueddibujo.

La torre actuar como punto focal de la avenida hacia el este y de una nueva plaza frente al hotel

Foto:Semrn&

Mnsson

Cuando se observa desde el casco antiguo, la nueva tode cobre y pizarra seala la nueva ciudad en la zona es

Foto: Krister Engstrm

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Euromotors nos pidi que creramos una nueva imagenpara su centro de servicio para automviles que reflejaralas principales caractersticas de la empresa: consisten-

cia, fiabilidad y alta calidad de servicio. El edificio se encuentraen una calle muy transitada, lo cual nos sirvi de inspiracinpara nuestro concepto arquitectnico. La dinmica de los cochesque pasaban su movimiento, las luces, la carrocera metlicabrillante todas estas imgenes se proyectan en la fachada deledificio. Situada al lado de la zona de paso de los peatones, lafachada tuvo que evolucionar hacia una superficie de dos dimen-siones sugiriendo, al mismo tiempo, la tercera dimensin y elmovimiento horizontal.

ARQUITECTURAAUTOMOVILSTICA

Como material para la fachada se escogi el cobre preoxidado decolor marrn oscuro. Este metal noble y duradero enfatizaba elestatus de Euromotors y sus valores de servicio en el cuidado deautomviles de alta gama. El uso de paneles perforados de cobreenriqueci el diseo del edificio, dando la impresin de que setrata de una superficie que va cambiando a medida que te mue-ves a lo largo de la fachada. Durante el da, las per foracionesle dan una especial profundidad a la fachada debido al juego deluces y sombras. Por la noche, el efecto dinmico se ve reforza-do por el reflejo de las luces de los coches sobre la superficie ytambin por los focos especiales que brillan a travs de los pa-neles en patrones horizontales como si fueran faros de coches.

La transformacin de un antiesttico edificio soviticoconstruido a mediados del siglo XX, con una nueva fachadade cobre perforado, redescubre un tipo de arquitecturaque homenajea al automvil. Pavel Khegay y Amir Idiatulindel estudio IND Architects explican su concepto de diseo.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Foto:AndreyMarshal

A continuacin, Andrey Kulagin de la empresa de

diseo tcnico e instalaciones PacificStroy, habla

sobre la realizacin del diseo.

Este fue el pr imer proyecto en Rusia con una fachada suspen-dida hecha de paneles per forados de cobre con iluminacinde fondo. Se nos presentaron una serie de retos con el diseotcnico, al interpretar los dibujos y las visualizaciones en 3Dde los arquitectos particularmente a la hora de ocultar lasluces, los soportes y otros elementos dentro del hueco defachada. El trabajo con materiales naturales como el cobresiempre te hace sentir una responsabilidad y una inspiracinespeciales. Pero los problemas durante el proceso de ins-talacin se evitaron porque se tuvo en cuenta cada detalle,describindose en la documentacin tcnica.

Como la perforacin de los paneles de metal afecta a larigidez, hicimos agujeros en un patrn de tablero de ajedrezy ajustamos el espesor de cobre. Los bordes de los panelesse dejaron sin perforar para fijarlos a los soportes de aceroinoxidable con remaches de cobre. La fachada resultanterepresenta la filosofa empresarial de Euromotors y creaasociaciones con los automviles y la ingeniera de calidad. Elpatrn de perforacin es como el radiador de algunos cochesde poca y las uniones remachadas recuerdan la piel de unavin.

En Rusia y en otros pases, los centros de servicio para auto-mviles generalmente se encuentran en edificios industrialesbastante sosos, pero Euromotors destaca con su arquitecturanica interpretada en cobre.

La fachada blanca sin vida del edificio originalse ha sustituido por una piel vibrante de cobreperforado.

Arquitectos: IND ArchitectsDiseadores e instaladores del revestimiento de cobre: PacificStroy (KrovExpoProducto de cobre: Nordic Brown

Foto: Andrey Marshal Foto: Evgeniy Golytki

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Este nuevo centro cultural y de medios en la localidad rural

de Gournay-en-Bray en la regin de Alta Normanda, se ins-

pira en las formas de los edificios locales transformados en

una intervencin moderna caracterizada por superficies de

pizarra y cristales ocultos por chapas de cobre expandido.

El proyecto consta de dos alas diferentes, unidas por una zonacentral de recepcin. El ala este tiene una longitud de 65 metros ycontiene la biblioteca multimedia para nios y adultos; el ala oestees ms larga, con un total de 75 metros, y alberga una escuela

de msica y otra de danza. Los arquitectos buscaban un edificiocontemporneo que redefiniese la relacin con su entorno natural(jardines, callejones, muros de piedra), y edificado (edificiostradicionales y albergues). Los diferentes espacios culturales co-nectados a la zona de recepcin se extienden como un rizoma. Eledificio totalmente acristalado sumerge al visitante en el entornoverde resaltado por el prado de flores silvestres entre las dos alas.

El perfil inclinado de los tejados a dos aguas de los edificios exis-tentes se refleja en el nuevo, pero con una continuidad moderna desuperficies de pizarra prpura interrumpidas por una malla trans-parente de chapas de cobre preoxidado expandido sobre grandes

superficies acristaladas. La entrada al complejo desde la calle seanuncia por una extrusin desmaterializada de los edificios loca-les, tambin envuelta en malla de cobre.

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

Producto de cobre: TECU Oxid

Fotos: Luc Boegly

por Chris Hodson

REINVENCIN

LOCAL

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A Platformfor Arts & CreativityA thoroughly contemporary intervention is at the heart

of the regeneration of the ancient centre of Guimares,

one of Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profile facades in its realisation.

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

MULTIFUNCTIONAL SPACE

Now, the transformation of the marketplace into a multi-functional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital ofCulture 2012 status, has reintegrated the area into the urbanfabric, so recovering a key area of the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration of the interior space of the block previously acharacterless area used for marble processing.

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

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Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

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Architects: Pitgoras

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

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

Photos: Joo Morgado - Architecture Photography

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and installation of activities related to creative industries,

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Ldg`h]dehidHjeedgi:bZg\^c\8gZVi^k^inXdch^hi^c\d[

ldg`heVXZh[dgndjc\XgZVidgh ckVg^djhVgZVh!]de^c\id

YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

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

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

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

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

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The new building takes a radically different approach to itssurroundings, both from the standpoint of architecturallanguage and image: discrete, repetitive, as well as by thesuccession of volumes, with full and empty, marked by the

juxtaposition of contrasting sur faces. The external coverings

a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from denseand opaque on the majority of surfaces, to transparent whenpartially concealing the buildings few openings.

This series of dissonant elements resulted from the need tocreate a variety of different spaces in the exhibition area.It creates a tension manifested in the volumes of the buildingand the relationship with the space of the square, making itthe main feature of its design.

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

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

RADICALLY DIFFERENT APPROACH

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COPPER ARCHITECTURE FORUM 34/2013 17

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A TRANQUIL

BACKDROPIN BRASS

The architects choice of brass for the facadesof the new building was informed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-effective solution tothe complexities of the program. Brass profiles,in conjunction with exposed glazed areas, ef-fectively dematerialise the massive geometricforms of the new building which is 150 m longand stands 8 m high sof tening its relationshipto the public square.

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

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In the summer of 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transformits services and facilities for visitors. The East Wingproject forms the second phase of the Museums re-development programme, following the renovation of

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

More Public InvolvementThe collections of over 600,000 ar tefacts and speci-mens are outstanding in their diversity and quality,forming the largest mixed collections in Kent and oneof the largest in the South-East of England. Someelements such as the Japanese Art Collection are ofinternational significance. The East Wing projectskey aims were the long-term preservation of the col-lections, more public involvement and increased useof the Museum and its collections.

The new interventions allow greater public visibilityof the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian founders, and better views of theMuseum from the town centre. Public facilities, easeof visitor flow through the building and accessibilityfor all have also been substantially improved.

Hugh Broughton Architects explain the project for

the upgrade of Maidstone Museum, a protected

historic building in the South-East of England,

dating back as far as the time of King Henry VIII.Their thoroughly contemporary design involves

crisply detailed golden copper alloy and glass

rectilinear forms, interweaving amongst ancient

buildings to create new vistas from both inside

and out.

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal roofing & Cladding)

Copper Product: TECU Gold

Photos: Hufton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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

The Japanese Art Collection

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Winning DesignOur competition-winning design is a direct response tothese key objectives. At the lower levels of the revitalisedEast Wing, a new entrance and orientation area faceMaidstones High Street and welcome visitors. A gallerycreated between an improved shop and the refurbishedstores provides a home for a Solomon Islands War Canoe the only example of its kind outside the Islands. V iewsfrom this gallery reveal a public courtyard and Tudorfaades unseen by the public for over 40 years.

A young learners education room is complementedat first floor level by a glazed meeting room, creatingdramatic views of St. Faiths Church and visually re-con-necting the museum with Brenchley Gardens. A dynamicnew gallery space above the reception, lit by curvaceous,north facing rooflights, provides a permanent homefor the collection of Japanese Art. The extensions werecomplemented by refurbishment and reorganisation ofthe existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagridof golden copper alloy shingles, creating a contemporarycounterpoise to the existing brick faades. Over time theshingles may loose their shine but not their beauty.

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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COPPER

CONTEXT

CH: How did you come to design the newuniversity building and what are the contex-tual impacts of its surroundings?

EK: Te Linguistic department buildingresulted from a competition in 2006, whichour office won. Te new building is locatedin Powisle Plnocne Warsaws Latin Quar-ter and home to the University of Warsawand the Academy of Fine Arts. Te area sitsat a lower level than the main University and

Academy bui ldings and the Old own: thispicturesque topography played an importantpart in our design strategy. Immediatelyadjacent is the copper-clad University Library(opened in 1999) which also influenced thenew building par ticularly its materiality.

CH: What was the strategy behind yourdesign and the different faade treatments in

particular?

EK: Our project was considered as a sort ofa promenade, linking the higher Universitycampus to the Library. Along this promenadewe situated all reading rooms demanded bythe programme of different faculties belong-ing to the Linguistic Department. In order

to connect the two new buildings we used aglass wall along Dobra Street which reflectsthe rich copper facade of the Library with its

engravings and texts in different languages.Te 140 m long southern wall along LipowaStreet aims to give readers the impression ofbeing in a garden space where light flickersthrough green leaves, creating a special, col-oured light inside a sunny environment,despite gloomy weather outside.Tis is achieved using yellow, green and limefoils on the double- skin glazed southernfacade.

CH: What are the reasons for the variety oftreatments and materials on the facades?

EK: Te whole project is in two phases andthe now-completed first phase represents onlya third of the whole complex. So the impres-sion given by some facades is temporary.

When complete, the whole building will readas having two wall finishes essentially, glassand copper.

CH: Why did you choose pre-patinated copper?

EK:. We selected copper for a number of

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

reasons. Firstly, to accentuate the character ofthe district which is full of parks and close tothe river. But, of course, the green mood of

new architecture was previously introducedby the Library building. A lthough continu-ing down this line of thought, we choose adifferent finish for the copper pre-patinatedwith a living surface colour to differentiateour building from the Library. But we alsowanted to show the variety of copper finisheswhich are possible.

Copper is a living material, like nature. Itsappearance changes over the years, with theweather, at different times of the day and indifferent lighting conditions. Tis is demon-

strated on the Wislana Street faade which ismostly copper, including service door facings.

Also on this facade, the idea of introducingyellow patches amongst the copper was toenliven it with artificial sun-beams. Tereis also a timber patch on this elevation,signalling a wooden terrace on the roof whichslides down the elevation. Te full effectwill become clear when the whole complex isfinished.

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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

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

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATION

The Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-ing, it is a key part of Worcesters river frontage, highly visiblefrom the rising ground to the south and west. The articulationof its unique external form resonates with the scale and grainof the setting: the roofline echoes the profile of the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic funnels are as fundamental to the interior of thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart of the floor plates.

The Hive evolved from a groundbreaking partnership to create

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

Reflecting Local Materials

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

The articulation of the roof form as a ser ies of irregular conesis designed to reduce the scale of this significant new publicbuilding to better relate to the fine grain of the historic city.

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

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

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

The shingles are intentionally overlapped rather than tightly

coursed to provide a natural element of variation thatallowed openings in the copper alloy to be more freely po-sitioned. It was felt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the dif ference in additionalmaterial was around 1 % and this was considered acceptablein terms of ease of working on site. More critically it was feltthat the coursing of the copper should align from the walls tothe roof cones, so that there was a feeling of continuity.

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Articulation of the metal fabric was developed in the

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

As the installations progressed to site, the installersidentified potential difficulties with particular gutter

junctions early enough for the design team to discusspractical solutions on site. These conversations weresupported by sketches and formal drawings, and test-ing where necessary. The quality of the copper alloyskin, as part of the overall finished building, is evidenceof how well the design and installation team workedtogether.

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

prominence of the material is embellished and refined:the subtleties of the golden cloak demonstrated in itscareful stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

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

ArchitectonicDetailing

of Copper

Alloy Shingles

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Section detail showing eaves gutter

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

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

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

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

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

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

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

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

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

by Chris Hodson

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Dynamic Three-dimensional Character

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

fins are more effective in controlling glare while maximising

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

smaller fins but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and found that

this arrangement created too much visual mass so, instead,

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

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

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Viewed obliquely, the curved copper and alloy fins generate sinuous wave forms.

settled on full-height fins set at three - apparently random

spacings, continuing over the roof. A soft, sine curve was

developed for the fin profiles, which gives an organic feel

reflecting the mature trees both on the site and facing this fa-ade from the adjacent Holland Park. We selected the mix of

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

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad fins are thin in section,minimising the impact on views from inside the building. Buttheir depth acts as an effective barrier to glare and unwantedsolar gain from afternoon sunshine. Viewed from an angle,the fins come together to generate a stunning effect of dy-namic sinuous forms across the faade.

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

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

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

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

Section

Site Plan

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Improving the environmentalperformance of products forconsumers and the buildingconstruction sector is importantto the copper industry. EU initi-atives, such as the SustainableConsumption and Productionaction plan, emphasise greaterresource efficiency and thecommercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-front of industries committedto reducing the environmentalimpact of its operations. Today,one third of the energy consump-tion of modern European coppermanufacturing is used to operate envi-ronmental protection measures.

Recently, the copper industry has de-veloped an environmental profile whichcovers around 90% of the EUs produc-tion of both copper metal and copper

products. A critical review by externalexperts has confirmed the high qual-ity, consistency and correctness of theresults. Based on ISO 14040/44, all as-pects of ore extraction, the productionof other raw materials, energy supplyand the production of the metal itselfare detailed. As such, it captures the fullimpact of the so-called cradle-to-gateapproach and shows where the greatestenvironmental impacts occur and whereimprovement actions would deliver themost benefits.

Whilst this profile is based on a cra-dle to-gate assessment, many of thebenefits to society derived from copperwill be found during the downstreamuse phase. The copper industry pro-vides support to those wishing to usethe LCI data in their own Life Cycle As-sessments including the use phase andend-of-life phases.

Only about 20% of the total impact aris-es from EU copper production sites,influenced mainly by technology, lo-cal authority permit requirements, thesource of energy supplying the produc-tion site and a companys own standards.Geologically, copper is associated with

other valuable metals, such as molybde-num, silver and gold. Since their naturalconcentrations are much lower, the oreneeds careful treatment. Modern miningtechniques require less energy than inthe past, making the recovery of smallamounts of metal possible.

Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-tecture has evolved from an add-on to anexpectation and societys understand-

ing of what a sustainable building is hasbecome more complex. Sustainablebuilding rating systems have respondedto this shift by expanding their focusfrom operational impacts towards amore holistic life cycle approach.

To date, various green building ratingschemes exist. They differ in their ap-proach to considering building product

sustainability in the context ofthe whole building. LCAs areprovided by the copper industryto represent the ecological per-formance of copper products(e.g. sheets, tubes and wire ofcopper) in a transparent way.Moreover, the copper industryhas developed EnvironmentalProduct Declarations (EPD)

based on LCAs for commu-nicating reliable quantitativeenvironmental data for prod-ucts based upon independentlyverified calculations.

Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification isa useful starting point for assessing thesustainability of architectural materialsand provides independent endorsementof the low environmental impact of both

copper roofing and cladding. It rates awide range of complete building elementsfrom A+ to E, using LCA techniques.Ratings form an important part of theCode for Sustainable Homes and otherassessment tools such as BREEAM.

Various complete wall or roof build-upsare considered, each including materialsfor structure, insulation, moisture con-trol and finishes. All the copper-finishedroofs and most copper wall claddingspecifications included achieved A+ orA summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,without affecting the copper skin itself.Coppers longevity is a major strength,resulting from its complex patinationprocess that ensures extreme durabil-ity with no maintenance and resistanceto corrosion in virtually any atmosphericconditions.

by Nigel Cotton and Irina DumitrescuCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performance

of multiple applications in energy, transportation and buildings.

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

survived for hundreds of years and some

are known to have performed well forover 700 years.

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

newables, heating and cooling.

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

impact in manufacture, reduced mate-rial or increased durability can obtainproduct specific Green Guide ratings byundertaking certification to BRE GlobalsEnvironmental Profiles Scheme.

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

of certification available for the materialsused in each building element.

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

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

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

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

MR Credit 2 Diversion fromlandfill: credits apply to end of

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

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

MR Credit 5 Regional materials: i.e.extracted, processed and manufacturedregionally. If copper products from re-gional processing or manufacturing sitesare used in buildings, additional creditscan be achieved.

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

flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roofor cladding, manufacturers can providean initial SRI and one 3 years after instal-lation.

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

performance of buildings and an LCA caculation are mandatory.

ECO1.1 Life cycle costs (LCC): the manufacturing costs of faade and roof havto be considered. No maintenance costduring use phase. Please note, the end olife scenario is not part of the LCC calculation.

SOC1.6 Exterior quality: this criterioevaluates the design of outdoor areas.The goal of the criterion is to maximizthe roof area by integration of technicastructures in the building and reductioof fascia/parapets. Special outdoor area

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

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

To learn more about the copper Life Cycle

visit our dedicated website www.copper

life-cycle.org. The site provides importan

information on aspects related to the usof life cycle data and the methodologie

used for copper, and also provides a lin

for practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads the

Way in Copper Recycling.

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COPPER TAKES CONTROL

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

Copper Clad Volumes

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

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

The defining external features of the newbuilding are vertical shutters clad in perfo-rated, pre-oxidised copper. In conjunction

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

solar gain and optimising natural lighting.

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

West Elevation

by Chris Hodson

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SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

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

lighting transforms the building when seen from outside.The purely architectural impact of the design can be judgedby comparison with the new facades before the brise soleilwere installed.

Vertical faade sectionshowing stainless steelmesh below perforatedcopper brise soleil.

Motorised pivoting coppershutter arrangement.

Vertical detail ofpivoting coppershutter.

Brise soleilbuild-up.

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ARCHITECTURALAWARDS LAUNCH

Entries are invited for the 2013 European Copper in Architecture Awards

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

their work to an international audience.

All entrJes mVst Jncorporate facaEes roomnH or otIer arcIJtectVral

elements of copper or copper alloys. Any scale or type of projectcan Ce entereEo from major lanEmarLCVJlEJnHs to moEest scIemes.

ArcIJtects anE crJtJcsEraXn from a panel JnclVEJnH some of tIe

most JnnVentJal EesJHners Jn &VropeXJll jVEHe all tIe entrJes on

tIeJr arcIJtectVral RValJtJes from HrapIJc sVCmJssJons.

Final deadline for receipt of entries: 31st May 2013

'or more JnformatJon on enterJnH tIe AXarEs anE on preWJoVs

aXarEs entrJes anE resVltsWJsJtwww.copperconcept.org/awards

Awards Ceremony

and Exhibition of all projects

will take place in partnership

withBATIMAT

on 04 08 November 2013

in Paris Nord Villepinte

Visit us at:

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