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oto slo zan rozlouenm s Lennartem Engstrmem, kter odchz z naeho re-daknho tmu do dchodu. o on podntil ped 18 lety vznik asopisu Copper Forum(Frum o mdi) a hrl klovou roli v jeho vvoji od tystrnkovho prvnho vydn proskandinvsk architekty a po dnen tyicetistrnkov panevropsk asopis, vydvannkladem 25 000 vtisk ve 13 jazycch, vetn etiny. Vichni v redakci si Lennartav pro jeho moudrost, ve pro m v architektue a jemnou, avak pesvdivou pova-hu; pitom s nm byla vdy tak legrace.

V prbhu poslednch 33 sel samozejm dolo ke zmnm a pokraujcm zlepe-nm jak designu asopisu, tak jeho obsahu, aby vdy odrel aktuln zjmy architekt. Idnes vak zstaly zachovny zkladn hodnoty Copper Architecture Forum (Fra o mdiv architektue): prezentovat inspirativn modern architekturu a aktuln tmata, kterovlivuj design s vyuitm mdi a jejch slitin.

Vyuvme tto pleitosti k pedstaven novho fredaktora, Rberta Pintra, anovho redaktora, architekta Chrise Hodsona. Oba byli ji njakou dobu soust redak-nho tmu a s md v architektue a stavebnictv maj bohat zkuenosti. S architektemve funkci redaktora bude asopis zce odret zjmy naich ten architekt a vce se snimi propoj - zejmna prostednictvm naich partnerskch strnek copperconcept.org.

Pi pprav asopisu Copper Architecture Forum (Frum o mdi v architektue)bedliv sledujeme nov vznikajc trendy a spolen mylenky projekt. V tomto vydnzdrazujeme nkolik tmat. Za prv jde o etn monosti vyuit mdnch fasdnchprvk pi kombinaci stnn ped sluncem a propustnosti svtla, demonstrovan nankolika budovch. een sahaj od perforovanch mdnch zstn a st, pes roty zprofilovan mosazi, a po sochasky zakiven kdla. Nkter schmata tak zdrazujpouit mdi jako veskrze modernho materilu, charakterizujcho modern zsahy piregeneraci starch budov - asto historickch a chrnnch. A m m nakonec i veejnouroli, pi n velk projekty pomhaj formovat ir mstsk prosted.

Doufme, e se si vychutnte rozmanitost a vjimenostarchitektonickch nvrh, pedstavench v tomto sle.

Redakce

ZMNA A KONTINUITA

Oblka: Platorma umn a tvoivosti,Guimares, Portugalsko (str. 14).Foto: Joo Morgado

Prvn vydn Koppar Forum v roce1995 mlo pouze tyi strnky.

Lennart Engstrm, zakladatel aemeritn redaktor Fra o mdi varchitektue

Zaregistrujte se k odbru Copper Architecture Forum (Frum o mdi v architektu-e) na copperconcept.org

Podvejte se na star sla asopisu copperconcept.org

Kontaktujte redakci [email protected]

Nahrajte svj projekt na webov strnky copperconcept.org

Pihlaste se do evropsk soute M v architektue copperconcept.org

Frum o mdi v architektue . 34, kvten 2013

Frum o mdi v architektue je soust Evropsk kampan m v architektue.Je vydvno dvakrt ron a m nklad 25 000 vtisk.

asopis je distribuovn architektm a stavebnm odbornkm

v cel Evrop i mimo ni v anglitin, etin, dntin, fntin,rancouztin, nmin, maartin, italtin, nortin, poltin, rutin, panl-tin a vdtin.

redaktor: Robert Pintr

Redaktor: Chris Hodson RIBA

Redakn tm: Lennart Engstrm, Ari Lammikko, Chris Hodson, Graeme Bell,Hermann Kersting, Robrt Pintr, Irina Dumitrescu, Herbert Mock

E-mail: [email protected]

Adresa: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Brusel, Belgie

Vydavatel: Nigel Cotton, ECI

Sazba a technick vroba: Jorma Naula Grafsk Design, vdsko

Tisk: Strlins Grafska AB 2013, vdsko

Redakn panel:

Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected]

Marco Crespi, It marco.crespi@coppe ralliance.i t

Nicholas Hay, UK nick.hay@copper alliance.org. uk

Nikolaos Vergopoulos, Gr nick.vergopoulos@cop peralliance .gr

Nuno Diaz, Es nuno.diaz@copper alliance.es

Olivier Tissot, Fr olivier.tissot@copp eralliance. r

Paul Becquevort , Benelux paul.becquevor t@copperalli ance.be

Pia Voutilainen, Se, No, Fi, Dk pia.voutilainen @copperallian ce.se

Robert Pintr, Hu, Cz, SVK robert.p inter@copperal liance.hu

Vadim Ionov, Ru vadim.ionov@coppe ralliance.r u

Copper Architecture Forum 2013

Prvn vydn Koppar Forum v roce1995 mlo pouze tyi strnky.

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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

OBSAH

2 Zmna a kontinuita redakn koment

49 Ikonick m transormace historickho potovnho adu v Gteborgudo vraznho hotelu s veejnou unkc

1011 Automobilov architektura pestavba budovy v Moskv oslavujeautomobil

1213 Znovuobjeven lidov architektury nov pstup k venkovskarchitektue, zahalen v mdi, v Normandii

1419 A Platorm or Arts & Creativity brass regenerates one o Portugalsmost important historical city centres

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

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

2630 Seamless Articulation a new library or Worcester cloaked in skilullydetailed copper alloy

3133 Solar Waves highly architectural brise soleil fns shield the glazed rontageo a new London school

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

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

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4 COPPER ARCHITECTURE FORUM 34/2013

IKONICKMBudova centrln poty Drottningtorget v Gteborgu vevdsku, 20 let nepotebn, byla nov pemnna na

ptisetpokojov hotel Clarion Post s modernmi pstav-

bami, odrejcmi ambice tohoto pulsujcho msta.

Pvodn budova byla navrena mezi lty 1918 a 1925 gte-

borgskm architektem Ernstem Torulem v manristickm

klasickm stylu, s vyuitm cihel s kamennmi ozdobami a s bid-

licovou mansardovou stechou s mdnmi detaily, vlivem asu

nyn zelen patinovanmi. Potovn budova je nyn chrnnou n-

rodn kulturn pamtkou. Zdnliv jednoduchou strategi architekt

Semrn & Mnsson bylo, uzavt mezeru v pvodnm pdorysu

tvaru podkovy novou pstavbou, zabrajc pvodn nakldkov

ndvo star poty. Stvajc budova byla restaurovna a pizp-

sobena tak, aby vyhovovala svmu novmu vyuit pi zachovn

pvodnho charakteru, detail a ochrany pamtky. Zbytek dvora

byl na nich rovnch tak zaplnn novmi ubytovacmi prostory

a prosklenmi stechami, zalvajcmi veejn prostory svtlem.

Nov ikona mstaVestavba, uzavrajc dvr, vytv nov, veejnosti oteven

vchodn elo budovy, smujc na kareplatsen a Odinsgatan.

Vyplovn probh z obou stran kdly, zarovnanmi s pvodnokapovou rovn - jedno kdlo je pokryt md, druh bidlic,

stejnmi materily, kter byly pouity na star pot. Tam, kde se

kdla setkvaj, zvedaj se spolen jako pr monolitickch orem,

oddlench svislm pramenem skla. Vsledn 13. podlan v vy-

tv nov orientan bod msta a oznauje tak vedlej vchod do

hotelu; hlavn vchod, ohlaujc se svou honosnou zlatou mozaikou,

zstv na zpadnm prel stvajc budovy, smrem na veejn

nmst Drottningtorget.

Chris Hodson

Nov pstavby respektuj a odrej horizontln rastr starho pro-

sklen, ale rozbjej jednoduch svisl zarovnn oken. Nov asdy

jsou koncipovny jako tvercov panely, kad s horizontlnmi

pruhy z mdi nebo bidlice a bezev zarovnanm zasklenm, my-

sln nhodn rozmstnm. Podle architekt byl tento ostr, ploe

pruhovan povrch sten inspirovn kostelem Lajasalo ve Finsku,

kter m horizontln pruhy z pedpatinovan mdi.

Ale tady je kenm panel znovu zavedena vertiklnost, zdrazn-

n zmnami v barv stkajcch se horizontlnch mdnch ps.

Rohy jsou vyjdeny modern verz tradinch vertiklnch roho-

vch kamen (zachovanch na pvodnm objektu), vyjdench

jako tenk prouek tlouky panel nkdy zahrnujcch mezi

md vloen zasklen. Rastr asdy zstv neperuen navzdo-

ry slunen sten terase a otevenmu baznu s vhledem na

Gteborg.

Fotograie: Lennart Hyse

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Fotograie: Krister Engstrm

Prel pvodn budovy a vchod do hotelu, stc na veejn nmst.

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Pln 13. podla

Pln 9. podla

Pln 3. podla

Pln 2. podla

Pln 1. podla

rove uliceFotograie: Krister Engstrm

Image:Semrn&Mnsson

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iv mdn povrchy

Architekti zamleli novou asdu od zatku jako tenkplechy obloenou konstrukci. een zahrnovalo jed-

notliv panely, vyroben v tovrn a nsledn na mst

v celku instalovan, take vytvo obvodov pl vnj

asdy, nezvisl na struktue podla. To umonilo pe

n zen sloitho nvrhu jednotlivch panel v rmci

celkovho uspodn asdy, s rznmi rozmry zaskle

a pestrm, pn pruhovanm mdnm povrchem.

byl tvoen z ps mdi ve tech vkch - 200, 250 a 3

mm - a se temi rznmi intenzitami pedpatinace m

mncmi odstny od zelen po tmav hndou. Kombi

nace tchto prvk umonila vytvoen bohatch, iv

mdnch povrch.

Architekt: Semrn & Mnsson

Mont mdi: Skandinaviska Glassystem AB

Mdn produkt: Nordic Green Living

Fotograie: Lennart Hyse

Fotograie: Chr

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Veejn unkceLokalita hotelu Clarion Post pedstavuje stejn msto v samm centru Gteborgu,

v tsn blzkosti hlavnho ndra a hlavnho nkupnho centra Nordstaden. Novv pozitivn reaguje na veejnou unkci ikonickho bodu msta, propojujcho jeho

osy, po dlouhou dobu nespojen. Nejvce zejm navazuje na Odinsgatan, uzavr

vhledy dol na pm bulvr. Ty se nad starou potou tak pi pohledu z veejn-

ho nmst a dalch klovch mst v centru.

ez

Fotograie: Chris Hodso

M proto byla pro n skvldesign velmi dleit

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Fotograie: Krister Engstrm

Cel rozhovor s profesorem Mnssonem

si mete pest na copperconcept.org

ROZHOVORChris Hodson hovo s profesorem Mag-

nusem Mnssonem, majitelem architek-

tonickho studia Semrn & Mnsson, o

hotelu Post Clarion.

CH: Jak jste se k projektu Hotel Post dostali?

MM: Na poadavek stavebnho investora jsemzde v Gteborgu, v blzkosti hlavnho vlako-vho ndra, hledal pozemek pro velk hotel.Navrhoval jsem u jin hotel a zaujala mneanatomie stavebn typologie. Budova potov-nho adu byla na konci 80. let pemnnana administrativn budovu, ale kdy jsem sena ni podval, pomyslel jsem si: to nen kance-l, to je hotel - u jen rozmstnm oken. In-vestor souhlasil s mm nvrhem na velkolepprojekt, kombinujc star s novm - a to byloped 8 lety.

CH: Jak jste mli problmy, pi prci na ta-

kov prominentn, chrnn budov?

MM: Byl to samozejm pedevm boj s rz-nmi ady. Budova je chrnna nejvymstupnm ochrany vdska a my jsme jednalinejen s mstnmi orgny, ale tak s nrodn or-ganizac ve Stockholmu, byl to opravdu boj.Vlastn nebylo mon zmnit nic na exteriru,to bylo jednm z vchozch bod.

CH: Akoli mte ti dal kancele, vae z-kladna je v Gteborgu. Pistupujete k pro-

jektu pr krok od vaich dve jinak, ne pi

prci jinde?

MM: Doufm, e ne. Ale je pravda, e kolemtto budovy kadodenn prochzm cestou zmho domova, je opravdu blzko.

CH: Z urbanistickho hlediska, vidte Post

Hotel jako nositele vznamn veejn role?

MM: Ano, je tomu tak. Kdy vdsk vldapotovn ad postavila, zabrala tm ve sku-tenosti dva bloky, co ale znamenalo omezen

ulinho prchodu. Zastavila se tak pirozenexpanze msta smrem na vchod, zstala jenzk run ulice s tramvajemi, namakanmivedle budovy. Nov mdn a bidlicov vtak pi pohledu od starho centra oznaujenov msto na vchod. Ale bude tak pso-bit jako kontaktn bod, uzavrajc bulvr kvchodu a nov, v souasn dob plnovannmst vpedu.

CH: Je v pru v z mdi a bidlice njak

symbolismus?

MM: o ani ne. Pvodn koncept nvrhupedpokldal vy v, kter byla mstnmadem snena. A tehdy jsem piel s npa-dem postavit ji ze dvou materil, aby zskalalep proporce. A rozdly v naem pstupu kobma materilm jsou vyjden menmpotem oken mench rozmr, kter bidli-cov vi dvaj dojem monolitu. Mdn vpsob pocitov jako z mnohem tenho ma-terilu. Je zde spousta malch symbol, kternapomhaj v interpretaci rozdl.

CH: Byly tam i jin dvody pro pouit mdia bidlice, ne jen odkaz na stechu pvodn

budovy?

MM: V roce 1920 bylo vechno velmi lokln,ale bylo to velmi pirozen a my jsme byli hrd,e jsme mli materily jako m. Chtli jsmetoto ddictv rozvinout jazykem materil,kter nov sti zvrazn, ale zachovaj konti-nuitu stavby. Vidm novou budovu jako mla-dou pbuznou, se shodnou DNA. M protobyla pro n skvl design velmi dleit.

CH: M jste pouili v rznch kch p

a intenzitch patinovn. Co jste tmto pstupem sledovali?

MM: Ano, jsem velmi poten vsledkebyl to asn zpsob, jak mdn povrcrealizovat. Vlastn z rozmr ezan bidlivyplynul podobn pstup ke strukturovmdnch ps, aby podobn struktura a hrizontlnost zrcadlila tradin zdiva, nachz

jc se po celm mst.

CH: Krom provozu spn architektonic

praxe se tymi kancelemi tak ute. Kd

mte monost, jak odpovte?

MM: Je to nco jako onglovn a moc volnho asu nezbv. Ale kdy mu, tak kreslm

Nov nmst je plnovno na vchod od hotelu, kde v psob jako kontaktn msto pro bulvr, kter se za n nach

Nov mdn a bidlicov v pi pohledu od starhocentra oznauje nov msto na vchod.

Fotografie:Semrn&Mnsson

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Euromotors ns podala o vytvoen novho image servisnho

centra automobil tak, aby odrelo klov vlastnosti fremn

znaky: dslednost, spolehlivost a vysokou kvalitu slueb. Bu-

dova stoj na run ulici a to n architektonick koncept inspirovalo.

Dynamika projdjcch automobil jejich pohyb, svtla, leskl ko-

vov karoserie vechny tyto obrazy se promtaj na asd. Fasda,

vedouc tsn podl veejnho chodnku, se vine jako dvojrozmrn

povrch, ale zrove naznauje tet rozmr a horizontln pohyb.

AUTOMOBILOVARCHITEKTURA

Jako materil byla zvolena tmav hnd, pedoxidovan m. Tento

vzneen a spolehliv kov zdrazuje pozici Euromotors a jeho tos

slueb vysoce kvalitn pe o vozy. Nvrh budovy obohatilo pouit

mdnch perorovanch panel, poskytujcch pi mjen budovy

iluzi mncho se povrchu. Dky he svtla a stnu bhem dne posky-

tuje perorace asd zvltn hloubku. V noci se dynamick inek

zvyuje odrazem svtel aut na povrchu - a tak specilnmi lampami,

svtcmi jako reektory aut skrz panely horizontln struktury.

Nevzhledn sovtsk budova, postaven v polovin 20. stolet,

objevuje svou transformac pomoc perforovan mdi typ ar-

chitektury, oslavujc automobil. Pavel Khegay a Amir Idiatulin

z IND Architects vysvtluj koncepci svho nvrhu.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Fotografie:AndreyMarshal

Andrey Kulagin z frmy PacifcStroy, zajiujc tech-nick nvrh a instalaci, popisuje realizaci nvrhu.

lo o prvn projekt, realizovan v Rusku pomoc zaven asdy,

vyroben z perorovanch panel mdi se zadnm podsvce-

nm. Pedstavovala pro ns adu vzev, pokud jde o technick

design, interpretaci vkres architekt a 3-D vizualizac zejm-

na ukryt osvtlen, podpr a dalch prvk v prostoru asdy. Pi

prci s prodnmi materily, jako je m, lovk vdy ct zvltn

odpovdnost a inspiraci. Ale problmm bhem instalanho

procesu jsme se vyhnuli dk y tomu, e v technick dokumentaci

byl zohlednn a popsn kad detail.

Protoe perorace kovovch panel m vliv na tuhost, zajistili

jsme ji achovnicovm vzorem drovn a pizpsobenm

tlouky mdi. Pro upevnn k podprm z nerezov oceli po-

moc mdnch nt byly okraje panel ponechny bez otvor.

Vsledn asda reprezentuje pstup Euromotors k podnikn a

vytv asociace s automobily a kvalitn technikou. Vzor perora-

ce je jako chladi njakho veterna a ntovan spoje naznauj

povrch letadla.

V Rusku a dalch zemch jsou automobilov servisn stediska

obvykle nevrazn prmyslov stavby ale Euromotors vynik

jedinenou architekturou, ztvrnnou md.

Neiv bl asda pvodn budovy byla nahrazenaivm, pulsujcm povrchem z perorovan mdi.

Fotografie: Andrey Marshal

Architekt: IND Architects

Nvrh a instalace mdnch obklad: PaciicStroy (KrovExpo)

Mdn produkt: Nordic Brown

Fotografie: Evgeniy Golytki

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Nov kulturn a multimediln centrum ve venkovskm

msteku Gournay en Bray, v Normandii na severu Fran-

cie, vychz z tvar mstnch budov, transormovanch do

modern ormy, vyznaujc se bidlicovmi povrchy a sklem,

zahalenm expandovanm mdnm plechem.

Projekt se skld ze dvou samostatnch kdel, spojench centrln

recepc. 65 metr dlouh vchodn kdlo obsahuje multimediln

knihovny pro dospl a dti, del zpadn kdlo ukrv ve svch 75

metrech hudebn a tanen kolu. Architekti usilovali o modern budovu

v srdci pozemku, nov defnujc vztah pirozenho prosted (zahrady,uliky, kamenn zdi) a staveb (tradin budovy a psteky). Pojali pln

rznch kulturnch prostor jako rostouc oddenky, pipojen k recepci.

Jejich pln zasklen vrh nvtvnka do zelen, zvraznn loukou s

divokmi kvtinami mezi dvma kdly.

Profl strmch ikmch stech stvajcch objekt se odr v novch, ale

modern navazujcch povrch purpurov bidlice, peruen oblastmi

prhledn soviny expandovanch pedoxidovanch mdnch plech

nad velkmi zasklenmi plochami. Vstup z ulice do arelu je zvraznn

dematerializovanm vysunutm lidovch budov, tak zahalench do

mdn soviny.

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

Mdn produkt: TECU Oxid

Fotograie: Luc Boegly

Chris Hodson

ZNOVUOBJEVENLIDOV ARCHITEKTURY

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A Platformfor Arts & Creativity

A thoroughly contemporary intervention is at the heart

of the regeneration of the ancient centre of Guimares,

one of Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profile facades in its realisation.

The buildings that make up the municipal market and the

space contained by them commonly referred to as the

square together form the urban character of the city of

Guimares. Before being relocated, the old municipal market

enjoyed a privileged and very central location with excel-

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

centre.

MULTIFUNCTIONAL SPACE

Now, the transformation of the marketplace into a multi-

functional space dedicated to artistic, economic, cultural and

social activities appropriate to the citys European Capital of

Culture 2012 status, has reintegrated the area into the urban

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

project extended out to adjacent building plots, enabling the

regeneration of the interior space of the block previously a

characterless area used for marble processing.

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

spaces which defined the functions of both new and existing

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

program areas were identified:

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Architects: Pitgoras

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

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

Photos: Joo Morgado - Architecture Photography

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VcY^chiVaaVi^dcd[VXi^k^i ZhgZaViZYidXgZVi^kZ^cYjhig^Zh!

Vaadl^c\i]ZYZkZadebZcid[Wjh^cZhhegd_ZXih#

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YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

The program also sought to recover the existing building on

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

ditional multidisciplinary commercial activities. The whole

structure, according to the program, would complement

existing facilities in the city, as well as those under develop-

ment as part of the European Capital of Culture.

When interpreting the program, we aimed to allow for the

possibility of each one of its components functioning inde-

pendently and simultaneously, by creating accesses to each

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

outdoor square and garden.

We opted for a methodology of intervention that involved

the rehabilitation of the existing building to the east

keeping the materials and textures but redoing the entire

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

towards the Avenue which characterises the build-

ing was renovated but its interior and faade facing the

square were the subject of almost complete demolition

and redesign. Although it was intended to maintain the

scale and the existing formal relations, we proposed a

new solution for the building that promotes a strong rela-tionship with the square and emphasises the relationship

of this structure with the outer space.

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The new building takes a radically different approach to its

surroundings, both from the standpoint of architectural

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

succession of volumes, with full and empty, marked by the

juxtaposition of contrasting sur faces. The external coverings

a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from dense

and opaque on the majority of surfaces, to transparent when

partially concealing the buildings few openings.

This series of dissonant elements resulted from the need to

create a variety of different spaces in the exhibition area.

It creates a tension manifested in the volumes of the building

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

the main feature of its design.

For the square, we formulated a design significantly more

clinical, using large concrete slabs which act as a counterpart

to the surrounding buildings. It is conceived as a large mul-

tifunctional meeting area and obviously a public space by

its very nature. It will remain intentionally sparsely equipped,

with large trees to the east preserved and planting introduced

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

for spontaneous or organised activities on the Plat form.

RADICALLY DIFFERENT APPROACH

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COPPER ARCHITECTURE FORUM 34/2013 17

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A TRANQUIL

BACKDROPIN BRASS

The architects choice of brass for the facades

of the new building was informed by the mate-

rials ancient heritage, sustainability credentials

and ability to deliver a cost-effective solution to

the complexities of the program. Brass profiles,

in conjunction with exposed glazed areas, ef-

fectively dematerialise the massive geometric

forms of the new building which is 150 m long

and stands 8 m high softening its relationship

to the public square.

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

the scale and proportions of the surrounding

buildings without overwhelming them. Despite

the regularity of the brass grid, it provides a

tranquil backdrop to the square, constantly

changing with the light then transforming

from opaque to transparent at night.

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P4

P2

P3

P1

Brass section detail

1. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

2. IRON BAR 70 x 6 mm, TO BE METALLIZED AND PAINTED

3. BRASS BAR 25 x 4 mm

4. TOOTHED BRASS BAR 4 mm, FOR FITTING THE TUBULAR

BRASS, WELDED TO THE VERTICAL BARS

5. FACADE COVERING IN BRASS PANELS

6. BRASS BAR 20 x 2 mm

7. ROUNDED BRASS SHEET 2 mm

8. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

9. NEOPRENE WEDGE

10. THREA DED ROD OF IRON 8 mm IN DIAMETER, WELDED TO

THE IRON BAR, TO BE METALLIZED AND PAINTED

Assembley and fixation of the facade panels

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In the summer of 2006 Maidstone Borough Council

launched an exciting and ambitious scheme to open

up Maidstone Museums collections and transform

its services and facilities for visitors. The East Wing

project forms the second phase of the Museums re-

development programme, following the renovation of

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

manor house dating from 1561. It was acquired by

Maidstone Borough Council in 1855 and opened as

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

building protected by law.

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

mens are outstanding in their diversity and quality,

forming the largest mixed collections in Kent and one

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

elements such as the Japanese Art Collection are of

international significance. The East Wing projects

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

lections, more public involvement and increased use

of the Museum and its collections.

The new interventions allow greater public visibility

of the collections and also the Museums historic

buildings. There is now a visual reconnection to

Brenchley Gardens, as originally intended by the

Museums Victorian founders, and better views of the

Museum from the town centre. Public facilities, ease

of visitor flow through the building and accessibility

for all have also been substantially improved.

Hugh Broughton Architects explain the project for

the upgrade of Maidstone Museum, a protected

historic building in the South-East of England,

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

crisply detailed golden copper alloy and glass

rectilinear forms, interweaving amongst ancient

buildings to create new vistas from both inside

and out.

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal roofing & Cladding)

Copper Product: TECU Gold

Photos: Hufton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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

The Japanese Art Collection

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

these key objectives. At the lower levels of the revitalised

East Wing, a new entrance and orientation area face

Maidstones High Street and welcome visitors. A gallery

created between an improved shop and the refurbished

stores provides a home for a Solomon Islands War Canoe

the only example of its kind outside the Islands. Views

from this gallery reveal a public courtyard and Tudor

faades unseen by the public for over 40 years.

A young learners education room is complemented

at first floor level by a glazed meeting room, creating

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

necting the museum with Brenchley Gardens. A dynamic

new gallery space above the reception, lit by curvaceous,

north facing rooflights, provides a permanent home

for the collection of Japanese Art. The extensions were

complemented by refurbishment and reorganisation of

the existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagrid

of golden copper alloy shingles, creating a contemporary

counterpoise to the existing brick faades. Over time the

shingles may loose their shine but not their beauty.

1

1

2

3

4

5

1

2

3

Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

4

5

6

Bearsted WingSt. Faith's StreetBrenchley Gardens

7

9

8

6

5

4

2

1

3

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

8

7

6

5

4

3

2

1

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23COPPER ARCHITECTURE FORUM 34/2013 2323

1

2 3

4

5

6

7

8

9

10

A

A

B11

11 10

9

8

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Japanese GalleryBentlif Art Gallery 1Bentlif Art Gallery 2Upper Bearsted GalleryCharles GalleryCCTV&&$Escape StairUpper*&(Glass&&$WCAir handling unit

10

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11

,*%)"&%

Refurbished Areas

Reception / Visitor Information CentreShop and OrientationCanoe GalleryEducation roomLibraryVestibuleQueen's Own Royal West Kent Regimental RoomWCsLower StoreEscape StairTudor CourtyardBrenchley Gardens

1

2

3

45

6

7

8

9

10

11

12

Extension

Refurbished Areas

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COPPER

CONTEXT

CH: How did you come to design the new

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

EK: Te Linguistic department buildingresulted from a competition in 2006, 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 buildings 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 particularly its materiality.

CH: What was the strategy behind your

design and the different faade treatments in

particular?

EK: Our project was considered as a sort 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 a long 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 of

treatments 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 ofnew architecture was previously introducedby the Library building. Although 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 Living

Photos: Artur Biakowski (Grande)

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATION

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

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

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

of its unique external form resonates with the scale and grain

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

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

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

The iconic funnels are as fundamental to the interior of the

building as they are to its external appearance, providing

natural light and ventilation to the heart of the floor plates.

The Hive evolved from a groundbreaking partnership to create

a fully integrated public and university library, which is com-

pletely new to the UK and highly innovative internationally.

The building also includes the county archives and record

office, a local history centre, the countys archaeology service

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

cultural, learning and information centre of excellence

promoting lifelong learning, engendering social inclusion

and raising aspirations in the broadest sense for the whole

community, regardless of age, background, or ability.

GZZXi^c\AdXVaBViZg^Vah

The cladding of golden copper alloy shingles reflects the rich

palette of colours and materials which characterise the city

centre - the red and gold of brick, terracotta and stone embel-

lished with gilded filigree and finely decorated encaustic tiles.

The elevational language of solid walls and punched openings

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

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

and glare, and the need for excessive mechanical systems to

maintain a comfortable environment.

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

is designed to reduce the scale of this significant new public

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

The distinctive roof cones are formed in solid laminated timber

panels that span between the eaves beam and a timber ring

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

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

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

the golden cladding.

WnC^X`=dY\Zh!:ckZadeZEVX`V\Z6gX]^iZXi[dg;Z^aYZc8aZ\\7gVYaZnHijY^dh

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Articulation of the metal fabric was developed in the

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

ensure that it appeared seamless and that cover pieces

or horizontal elements of gold that might break up the

shingle pattern were avoided. The design team were

aided by the excellent copper installers who mocked-

up a number of the key detail junctions (some shown

here) for discussion and exploration ahead of the start

of their site works.

As the installations progressed to site, the installers

identified potential difficulties with particular gutter

junctions early enough for the design team to discuss

practical solutions on site. These conversations were

supported by sketches and formal drawings, and test-

ing where necessary. The quality of the copper alloy

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

of how well the design and installation team worked

together.

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

volume of such a striking material to be the defining

characteristic but, by developing the details together

with a dedicated and skilled installer, the cladding

becomes more than simply distinctive. Instead, the

prominence of the material is embellished and refined:

the subtleties of the golden cloak demonstrated in its

careful stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

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

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Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing foldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

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

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

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

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

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

Opened in 1958, Holland Park School became the flagship for

comprehensive education in England, known as the social-

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

an architectural competition for redevelopment was insti-

gated, the schools existing buildings were beyond economic

repair and failed to meet modern demands, with inflexible

accommodation and tortuous circulation. The greatest chal-

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

built on the original site while the existing school remained in

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

the construction but also left more usable external space

than before.

Two Halves United

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

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

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

sports hall and swimming pool as well as kitchen and dining

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

as two distinct halves united by a central atrium stretching

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

half contains the more conventional teaching spaces and

is constructed using in-situ concrete columns and flat slab

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

structure enabling the larger teaching and assembly rooms.

This structure then straddles the larger spaces within the

basement to create clear-span spaces.

Maximising natural lighting deep into the building with exten-

sive glazing, while controlling glare and solar gain, proved

central to the architects strategy for design of the facades.

But reducing visual impact of the long block on its sensitive

surroundings close to Holland Park and with mature trees

on site was also important. The east elevation is finished

with a gently undulating stainless steel mesh, passing over

a central copper canopy signalling the main entrance.

Wn8]g^h=dYhdc

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

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

strong, dynamic three-dimensional character. The architect

for the project, Peter Runacres, explains the development of

their design: Due to the buildings orientation, this eleva-

tion receives more solar gain than the east side and vertical

fins are more effective in controlling glare while maximising

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

smaller fins but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and found that

this arrangement created too much visual mass so, instead,

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

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

P h

t

G

B

l l

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

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

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

developed for the fin profiles, which gives an organic feel

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

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

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad fins are thin in section,

minimising the impact on views from inside the building. But

their depth acts as an effective barrier to glare and unwanted

solar gain from afternoon sunshine. Viewed from an angle,

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

namic sinuous forms across the faade.

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

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

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

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

Section

Site Plan

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Improving the environmental

performance of products for

consumers and the building

construction sector is important

to the copper industry. EU initi-

atives, such as the Sustainable

Consumption and Production

action plan, emphasise greater

resource efficiency and the

commercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-

front of industries committed

to reducing the environmental

impact of its operations. Today,

one third of the energy consump-

tion of modern European copper

manufacturing is used to operate envi-

ronmental protection measures.

Recently, the copper industry has de-

veloped an environmental profile which

covers around 90% of the EUs produc-

tion of both copper metal and copper

products. A critical review by externalexperts has confirmed the high qual-

ity, consistency and correctness of the

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

pects of ore extraction, the production

of other raw materials, energy supply

and the production of the metal itself

are detailed. As such, it captures the full

impact of the so-called cradle-to-gate

approach and shows where the greatest

environmental impacts occur and where

improvement actions would deliver the

most benefits.

Whilst this profile is based on a cra-

dle to-gate assessment, many of the

benefits to society derived from copper

will be found during the downstream

use phase. The copper industry pro-

vides support to those wishing to use

the LCI data in their own Life Cycle As-

sessments including the use phase and

end-of-life phases.

Only about 20% of the total impact aris-

es from EU copper production sites,

influenced mainly by technology, lo-

cal authority permit requirements, the

source of energy supplying the produc-

tion site and a companys own standards.

Geologically, copper is associated with

other valuable metals, such as molybde-num, silver and gold. Since their natural

concentrations are much lower, the ore

needs careful treatment. Modern mining

techniques require less energy than in

the past, making the recovery of small

amounts of metal possible.

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

tecture has evolved from an add-on to an

expectation and societys understand-

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

building rating systems have responded

to this shift by expanding their focus

from operational impacts towards a

more holistic life cycle approach.

To date, various green building rating

schemes exist. They differ in their ap-

proach to considering building product

sustainability in the context of

the whole building. LCAs are

provided by the copper industry

to represent the ecological per-

formance of copper products

(e.g. sheets, tubes and wire of

copper) in a transparent way.

Moreover, the copper industry

has developed Environmental

Product Declarations (EPD)

based on LCAs for commu-nicating reliable quantitative

environmental data for prod-

ucts based upon independently

verified calculations.

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

a useful starting point for assessing the

sustainability of architectural materials

and provides independent endorsement

of the low environmental impact of both

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

from A+ to E, using LCA techniques.

Ratings form an important part of the

Code for Sustainable Homes and other

assessment tools such as BREEAM.

Various complete wall or roof build-ups

are considered, each including materials

for structure, insulation, moisture con-

trol and finishes. All the copper-finished

roofs and most copper wall cladding

specifications included achieved A+ or

A summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,

without affecting the copper skin itself.

Coppers longevity is a major strength,

resulting from its complex patination

process that ensures extreme durabil-

ity with no maintenance and resistance

to corrosion in virtually any atmospheric

conditions.

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

of multiple applications in energy, transportation and buildings.

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But despite these high summary ratings,

coppers life-span is one aspect that the

Green Guide simply underestimates. It

includes unexpectedly low replacement

intervals for copper cladding and roof-

ing generally just 45 years that are

not justified either by experience or by

science. Many historic copper roofs have

survived for hundreds of years and some

are known to have performed well for

over 700 years.

Below are some examples of gaining

credits in green building rating schemes,

but there are many more opportunities

to use copper to gain credits in building

rating schemes not least in plumbing, re-

newables, heating and cooling.

The UKs Environmental AssessmentMethod for Buildings (BREEAM 2011)Credits are available for using specifi-

cations for key building elements (e.g.

external walls and roofs) with low embod-

ied environmental impact as measured

by the Green Guide to Specification.

Copper product manufacturers proving

that their product is better than the aver-

age in terms of embodied impact of the

60 year study period, because of reduced

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

product specific Green Guide ratings by

undertaking certification to BRE Globals

Environmental Profiles Scheme.

For the responsible sourcing of ma-

terials, credits can be achieved when

construction materials at least 80 % of

materials used - are responsibly sourced.

Points are awarded depending on the type

of certification available for the materials

used in each building element.

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

Building Council addresses: Sustain-

able Sites; Water Efficiency; Energy &

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

Innovation & Design. Life-cycle

is not part of the current version

(LEED 2009) but it will be incor-

porated into the next one (LEED

V4) that will assess the buildings

life cycle impact reduction. LEED

categories where copper can

contribute include:

MR Credit 1 Building reuse:

credits can be achieved if build-

ing products can be reusedduring renovations, which is usu-

ally possible due to the durability

of copper.

MR Credit 2 Diversion from

landfill: credits apply to end of

life of the building and its materials. Since

it encourages the recycling of products

instead of their disposal, credits can be

achieved if materials such as copper are

used in buildings which have a high value

as secondary materials and high recy-

cling rates.

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

materials in the construction is high. Usu-

ally, this is the case for copper products.

MR Credit 5 Regional materials: i.e.

extracted, processed and manufactured

regionally. If copper products from re-

gional processing or manufacturing sites

are used in buildings, additional credits

can be achieved.

SS Credit 7 Heat island effect: credits

are awarded depending on the Solar Re-

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

or cladding, manufacturers can provide

an initial SRI and one 3 years after instal-

lation.

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

pillars of sustainability. It doesnt as-

sess individual measures, but the overall

performance of buildings and an LCA ca

culation are mandatory.

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

facturing costs of faade and roof hav

to be considered. No maintenance cost

during use phase. Please note, the end o

life scenario is not part of the LCC calcu

lation.

SOC1.6 Exterior quality: this criterio

evaluates the design of outdoor areas.

The goal of the criterion is to maximiz

the roof area by integration of technica

structures in the building and reductio

of fascia/parapets. Special outdoor area

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

TEC1.6 Ease of dismantling and recycling

copper is a non-toxic, recyclable mate

rial, which is a requirement for a goo

evaluation of this criterion. The effort o

dismantling and sorting is low and th

value is high, which helps ensure the re

use of copper metal at the end of its life.

To learn more about the copper Life Cycle

visit our dedicated website www.copper

life-cycle.org. The site provides importan

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

used for copper, and also provides a lin

for practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads the

Way in Copper Recycling.

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COPPER TAKES CONTROL

The Prfecture du Rhne building designed

by architects GARBIT & BLONDEAU is the

administrative centre for the Rhne depart-

ment, demanding a strong public presence. It

replaces a previous building on a corner plot

in the central Third Arrondissement of Lyon,

the departments capital city. Its plan-form is

straightforward with six storeys plus a set-

back penthouse and external roof areas, and

a 2-storey basement.

Copper Clad Volumes

The two main facades are articulated as

distinct, copper-clad volumes aligning with

the typical Mansard-roofed blocks either

side. The volumes are separated on the west

front by an inset cloak of suspended stainless

steel mesh reaching up to the penthouse and

signaling the buildings entrance. Copper was

the architects first choice and its sustainable

credentials a consideration. Opaque cladding

is generally pre-oxidised copper, selected for

its more regular brown shade than mill finish

material.

The defining external features of the new

building are vertical shutters clad in perfo-

rated, pre-oxidised copper. In conjunction

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

solar gain and optimising natural lighting.

with the suspended stainless steel mesh

screens at street level, the perforated cop-

per gives transparency but the motorised,

pivoting shutter arrangement also animates

the facades. This brise soleil arrangement

allows direct response to external condi-

tions, controlling solar gain and glare, whilst

maximizing potential for daylighting deep

into the building. This strategy is thoroughly

sustainable in terms of both environmental

performance and choice of materials.

West Elevation

Wn8]g^h=dYhdc

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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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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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caf34 cz web

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