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    EDITORIAL

    Register for Copper Architecture Forum copperconcept.org

    View magazine back issues copperconcept.org

    Contact the Editorial Team [email protected]

    Upload your project to the website copperconcept.org

    Enter the European Copper in Architecture Awards copperconcept.org

    Cover: Platform for Arts & Creativity,Guimares, Portugal (page 14).Photo: Joo Morgado

    Copper Architecture Forum 34, May 2013

    Copper Architecture Forum is par t of the European Copper In Architecture

    Campaign. It is published twice a year and has a circulation of 25.000 copies.

    The magazine is distributed to architects and building professionals

    throughout Europe - and beyond in English , Czech, Danish, Finnish,French, German, Hungarian, Italian, Norwegian, Polish, Russian, Spanish

    and Swedish languages.

    Editor in Chief: Robert Pinter

    Editor: Chris Hodson RIBA

    Editorial team: Lennart Engstrm, Ari Lammikko, Chris Hodson, Graeme Bell,

    Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herber t Mock

    E-mail: [email protected]

    Address: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Brussel s, Belgium

    Publisher: Nigel Cotton, ECI

    Layout and technical production: Naula Grafisk Design, Sweden

    Printing: Strlins Grafiska AB 2013, Sweden

    Editorial panel:

    Birgit Schmitz, De birgit.schmitz@copper alliance.de

    Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@ copperalliance.pl

    Marco Crespi, It [email protected]

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

    Nikolaos Vergopoulos, Gr [email protected]

    Nuno Diaz, Es [email protected]

    Olivier Tissot, Fr [email protected]

    Paul Becquevort, Benelux paul.becquevor [email protected]

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

    Robert Pintr, Hu, Cz, SVK robert.pinter@ copperalliance.hu

    Vadim Ionov, Ru vadim.ionov@copp eralliance.ru

    Copper Architecture Forum 2013

    The 1995 first issue of Koppar Forum

    ran to just four pages.

    We begin this issue with a fond farewell to Lennart Engstrm who is retiring from ourEditorial eam. He instigated Copper Forum magazine 18 years ago and has played a keyrole in its development from the four-page first issue targeted at Scandinavian architectsto todays forty-page, pan-European 25,000 circulation magazine published in 13 langu-ages. All of us in the Editorial eam valued his wisdom, passion for copper in architecture

    and gentle yet persuasive nature, whilst working with Lennart was a lways fun as well.Of course, there have been changes over the last 33 issues, with continuing impro-vements to both the design of the magazine and its content to reflect architects currentinterests. oday, however, Copper Architecture Forums initial core values remain: topresent inspirational contemporary architecture, alongside topical issues affecting design

    with copper and its alloys.We take this opportunity to introduce the new Editor in Chief, Robert Pinter, and

    new Editor, architect Chris Hodson. Tey have both been part of the Editorial eamfor some time and have a wealth of experience in copper for architecture and construc-tion. With an architect as editor, the magazine will closely mirror our architect readersinterests and develop greater involvement with them particularly via our partnership

    website copperconcept.org.When editing Copper Architecture Forum, we look out for emerging trends and

    common threads between projects. In this issue, a number of themes become apparent.Firstly, the numerous possibilities of using copper faade elements to combine solarshading and light transmission are exemplified in several buildings. Solutions range fromperforated copper screens and mesh, to grids of profiled brass and sculptural curved fins.Some schemes also highlight copper used as a thoroughly modern material, characterisingcontemporary interventions to regenerate older buildings often historic and protected.Finally, copper takes on a civic role where major projects help to shape the wider urbanenvironment.

    We hope you enjoy the diversity and excellence of architectural design demonstratedin this issue.

    Te Editorial eam

    CHANGE AND CONTINUITY

    Lennart Engstrm, Founder

    and Editor Emeritus of Copper

    Architecture Forum

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    3COPPER ARCHITECTURE FORUM 34/2013

    34

    49 1011

    1213 1419

    2023 2425

    2630 3133

    3435 3638 The Copperconcept App

    Free & available for iPhone, iPad

    and Android devices.

    Inspiration and information combined in one app.

    Reference projects

    Architectural city maps

    Design Awards

    Copper Architecture Forum

    Articles

    Copper Architecture Forum 2013

    2 Change and Continuity editorial comment

    49 Iconic Copper transforming Gothenburgs historic post office intoa landmark hotel with a civic role

    1011 Automotive Architecture celebrating the automobile with a buildingregeneration in Moscow

    1213 Reinventing the Vernacular a new take on rural Normandy architectureveiled in copper

    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 building

    rating systems

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

    CONTENTS

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    4 COPPER ARCHITECTURE FORUM 34/2013

    ICONICCOPPERAfter 20 years of redundancy, the central Drottning-

    torget Post Office building in Gothenburg, Sweden, has

    been transformed into the 500-bedroom Clarion HotelPost with modern additions that reflect the aspirations

    of this vibrant city.

    The original building was designed between 1918 and 1925by Gothenburg architect Ernst Torulf in a mannerist classi-cal style using brick with stone embellishments, and slateMansard roofs with copper detailing, now patinated greenwith time. The Post Office is now a listed national monument.Architects Semrn & Mnssons deceptively simple strategywas to close-up the gap in the original horseshoe-shapedplan with a new addition, returning inwards to occupy the oldPost Office loading yard. The existing building was restoredand adapted to suit its new use while respecting its originalcharacter, detailing and protected status. The remainder ofthe yard was also infilled with new accommodation at lowerlevels and a glazed roof floods public areas with light.

    A New Landmark for the City

    The intervention closing off the yard creates a new, open pub-lic front to the buildings east side facing onto kareplatsenand Odinsgatan. The infill proceeds from either side one

    wing clad with copper, the other slate, the same materialsused on the old Post Office and aligns with the originaleaves level. Where the wings meet, they rise up together asa pair of monolithic forms separated by a vertical sliver ofglass. The resulting 13-storey tower creates a new land-mark for the city and also signals a subsidiary entrance tothe hotel: the main entrance, announced by its opulent goldmosaic, is on the west frontage of the existing building serv-ing Drottningtorget, a public square.

    by Chris Hodson

    The new additions respect and reflect the horizontal grid ofthe old fenestration but break up the simple vertical align-ment of openings. New facades are conceived as squarepanels each with horizontal bands of copper or slate andseamless flush glazing, apparently set at random. Accordingto the architects, this crisp, flat striated surface was partlyinspired by the Lajasalo church in Finland, with its horizontalstrips of pre-patinated copper.

    But here, verticality is re-introduced by the panel junctions,highlighted by the changes in colour of meeting horizontalbands of copper. Corners are expressed with a modern takeon traditional ver tical quoins (seen on the original building)expressed as a thin strip the thickness of the panels sometimes incorporating flush glazing amongst the copper.The faade grid remains uninterrupted throughout despite arooftop sun terrace and open pool overlooking Gothenburg.

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    5COPPER ARCHITECTURE FORUM 34/2013

    From the public square the new tower rises above the original building.

    Photo: Krister Engstrm

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    6 COPPER ARCHITECTURE FORUM 34/2013

    Plan level 13

    Plan level 9

    Plan level 3

    Plan level 2

    Plan level 1

    Street level

    Image:Semrn&

    Mnsson

    Photos: Krister Engstrm

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    7COPPER ARCHITECTURE FORUM 34/2013

    Rich Living Copper Surfaces

    From the start, the architects anticipated the newfacades as thin construction, sheet cladding. Thesolution involved discrete panels, each prefabricain the factory then installed complete on site to foa curtain wall external skin, independent of thestructural floors. This enabled close control of thcomplexities of the design of individual panels witthe overall faade layout, with different sizes of flglazing and a varied, striated copper surface. Thiswas made up of copper in three strip heights 20250 and 300 mm and three dif ferent intensitiesof pre-patinated copper, by var ying the amount ofgreen over the dark brown background. The com-bination of these elements enabled the creation orich, living copper surfaces.

    Architect: Semrn & Mnsson

    Copper Installer: Skandinaviska Glassystem AB

    Copper Product: Nordic Green Living

    Photo: Chris

    Photo: Lennart Hyse

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    8 COPPER ARCHITECTURE FORUM 34/2013

    Section

    Civic Role

    The Clarion Hotel Post site enjoys a pivotal location at the very centre ofGothenburg, next to the central station and the major Nordstaden shoppingcentre. The new tower responds with a civ ic role as an iconic urban focalpoint, tying together axes across the city that have long been disjointed.Most obviously it aligns with Odinsgatan, closing off views down that straightavenue. It also rises above the old Post Office when viewed from the publicsquare and other key locations in the centre.

    Photo: Chris Hodson

    Copper was so importantfor our design

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    9COPPER ARCHITECTURE FORUM 34/2013

    Te full interview with Professor Mnsson

    can be read at copperconcept.org

    INTERVIEWChris Hodson discusses the Clarion Post

    Hotel with Professor Magnus Mnsson,

    Owner of architects Semrn & Mnsson.

    CH: How did you become involved with the

    Hotel Post project?

    MM: I was invited by a developer to find a lo-

    cation for a big hotel here in Gothenburg, near

    the central station. I was already designing

    another hotel and was preoccupied with the

    anatomy of the building typology. Te Post

    Office building was converted into an office

    building in the late 80s but when I looked at

    it, I thought: this is not an office, this is a hotel just by the window arrangement. Te devel-oper agreed with my proposal for a spectacular

    project combining new and old and that was

    8 years ago.

    CH: What were the challenges in working on

    such a prominent, protected building?

    MM: Of course there was a struggle first of

    all with the different authorities. Te build-

    ing is protected by the highest classification

    of protection in Sweden and we were involvedwith not just the local authorities but also the

    national organisation in Stockholm, so that

    was a struggle. Actually you could not change

    anything on the exterior, that was one of the

    starting points.

    CH: Although you have three other offices, you

    are a locally based practice in Gothenburg.

    Do you approach a project on your door-step

    differently to working elsewhere?

    MM: I hope not. But, of course, I pass this

    building travelling from my home everyday so

    it is particularly close to me.

    CH: From an urban planning point of view,

    do you see the Post Hotel as having a major

    civic roll?

    MM: Oh yes it has. When the Swedish gov-

    ernment built the Post Office it actually cov-ered two blocks although it was meant to have

    a street through. Tis stopped natural expan-

    sion of the city to the east, with just a narrowstreet busy with trams squeezed next to the

    building. So, the new copper and slate tower

    signals the new town to the east, when viewed

    from the old centre. But it will also act as a fo-

    cal point closing the avenue to the east and a

    new square in front, currently being planned.

    CH: Is there some symbolism in the paired

    copper and slate towers?

    MM: Not as such. Te original design con-

    cept envisaged a taller tower, which was re-

    duced by the local authority. Tat was when I

    came up with the idea to make it in two mate-

    rials to give better proportions. And there are

    differences in our approach to the two materi-als with smaller and less windows in the slate

    tower giving a monolithic sense. Te copper

    tower has a much thinner material feel. Tere

    are lots of small signs telling you to interpret

    the differences.

    CH: Were there other reasons for using cop-per and slate other than simply referencing

    the original buildings roof?

    MM: In the 1920s everything was very lo-

    cal, but it was very natural and we were proudthat we had materials like copper. We wanted

    to develop this heritage with a material lan-

    guage that made the new parts distinctive but

    with continuity. I see the new building as a

    young relative with the same DNA. Copper

    was so important for our design.

    CH: And you have used the copper in diff

    ent band widths and intensities of patintion. What were your intentions behind thapproach?

    MM: Yes, Im very pleased about the resu

    it was a marvellous way to do the copper su

    faces. Actually, the cut slate sizes suggest

    a similar approach to structuring the coppbands to give a similar texture and the ho

    zontality mirrors that of traditional bric

    work found throughout the city.

    CH: As well as running a successful arch

    tectural practice with four offices, you a

    teach. When you have the opportunity, hodo you relax?

    MM: Its a juggling act and there is not mu

    spare time. But when I can, I draw.

    A new square is planned to the east of the hotel with the tower acting as a focal point for the avenue beyon

    Photo:Semrn&

    Mnsson

    The new copper and slate tower signals the newtown to the east, when viewed from the old centr

    Photo: Chris Hodson

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    10 COPPER ARCHITECTURE FORUM 34/2013

    Euromotors asked us to create a new image for the autoservice centre to reflect key company brand features:consistency, reliability and high quality service. The

    building stands on a busy road and this inspired our architec-tural concept. The dynamics of passing cars their movement,lights, shiny metallic bodywork all these images are projectedon the buildings faade. Running tight to the public footpath,the facade had to evolve as a two-dimensional surface but, atthe same time, suggesting the third dimension and horizontalmovement.

    AUTOMOTIVEARCHITECTURE

    Dark brown pre-oxidised copper was chosen as the material.This noble and reliable metal emphasised the status of Eu-romotors and its ethos of service in looking af ter high qualitycars. Using copper perforated panels enriched the buildingdesign, giving an illusion of a changing surface as you movealong the outside. During daytime, the perforations give aspecial depth to the faade due to the play of light and shad-ow. At night the dynamic effect is enhanced by the reflectionof car lights on the surface and also special lamps shiningthrough the panels in horizontal patterns like car headlights.

    The transformation of an unsightly soviet building erected

    in the middle of the 20th century, with a perforated copper

    front rediscovers an architectural typology that celebrates

    the automobile. To begin, Pavel Khegay and Amir Idiatulin

    of IND Architects explain their design concept.

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    11COPPER ARCHITECTURE FORUM 34/2013 11

    Photo:AndreyMarshal

    Here, Andrey Kulagin of Technical Designers and

    Installers PacificStroy discusses the realisation of

    the design.

    This was the first project in Russia using a suspendedfaade made of copper perforated panels with back-lighting. It presented us with a number of challengeswith the technical design, interpreting the architectsdrawings and 3-D visualisations par ticularly conceal-

    ing lights, supports and other items within the faadevoid. Working with natural materials like copper alwaysmakes one feel a special responsibility and inspira-tion. But problems during the installation process wereavoided because every detail was taken into account anddescribed in the technical documentation.

    Perforation of metal panels affects rigidity and we ca-tered for this by making holes in a checkerboard patternand adjusting the copper thickness. Panel edges wereleft un-perforated for fixing to the stainless steel sup-ports with copper rivets. The resulting faade representsEuromotors approach to business and creates asso-

    ciations with automobiles and quality engineering. Theperforation pattern is like the radiator of some vintagecar and the riveted joints suggest the skin of an aircraft .

    In Russia and other countries, automobile servicecentres are usually bland industrial buildings butEuromotors stands out with its unique architecture inter-preted in copper.

    The lifeless white faade of the original buildinghas been replaced with a vibrant, living skin offperforated copper.

    Photo: Andrey Marshal

    Architect: IND ArchitectsCopper Cladding Designers and Installers: PacificStroy (KrovExpo)Copper Product: Nordic Brown

    Photo: Evgeniy Golytki

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    12 COPPER ARCHITECTURE FORUM 34/2013

    This new cultural and media centre in the rural Normandy

    town of Gournay en Bray in northern France takes its cue

    from the forms of local buildings transformed into modern

    interventions, characterised by slate surfaces and glazing

    veiled by expanded copper sheet.

    The project comprises of two distinct wings, linked by a centralreception area. The 65 m long east wing contains multimedialibraries for adults and children, the west wing is longer at 75 mand houses both a Music School and Dance School. The archi-

    tects sought a contemporary building in the heart of the plot thatredefines the relationship with its natural surroundings (gardens,alleys, stone walls) and the built environment (traditional build-ings and shelters). They conceived the plan of the different culturalspaces as growing like a rhizome connected at the reception area.Here, full glazing plunges the visitor into the green setting high-lighted by the wild flower meadow between the two wings.

    The steep pitched roof profile of the existing buildings is reflectedin the new but with a modern continuity of surfaces in purple slate,interrupted by transparent mesh areas of expanded, pre-oxidisedcopper sheets over large glazed areas. The entrance to the com-

    plex from the street is announced by a dematerialised extrusionof vernacular buildings, also veiled in copper mesh.

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

    Copper Product: TECU Oxid

    Photos: Luc Boegly

    by Chris Hodson

    REINVENTINGTHE VERNACULAR

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    14 COPPER ARCHITECTURE FORUM 34/2013

    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 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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    15COPPER ARCHITECTURE FORUM 34/2013

    Architects: Pitgoras

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

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

    Photos: Joo Morgado - Architecture Photography

    8gZVi^kZAVWhWjh^cZhhhjeedgid[XZh[dgi]ZgZXZei^dc

    and installation of activities related to creative industries,

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

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    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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    16 COPPER ARCHITECTURE FORUM 34/2013

    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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    18 COPPER ARCHITECTURE FORUM 34/2013

    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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    19COPPER ARCHITECTURE FORUM 34/2013

    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. THRE ADED 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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    20 COPPER ARCHITECTURE FORUM 34/2013

    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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    21COPPER ARCHITECTURE FORUM 34/2013

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

    The Japanese Art Collection

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    22 COPPER ARCHITECTURE FORUM 34/2013

    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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    Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

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    Bearsted WingSt. Faith's StreetBrenchley Gardens

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

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

    10

    9

    8

    7

    6

    5

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    21

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    ,*%)"&%

    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

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    12

    Extension

    Refurbished Areas

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    24 COPPER ARCHITECTURE FORUM 34/2013

    COPPER

    CONTEXT

    CH: How did you come to design the new

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

    EK: Te Linguistic department buildingresulted from a competition in 2006, which

    our office won. Te new building is locatedin Powisle Plnocne Warsaws Latin Quar-

    ter and home to the University of Warsaw

    and the Academy of Fine Arts. Te area sits

    at a lower level than the main University and

    Academy buildings and the Old own: this

    picturesque topography played an important

    part in our design strategy. Immediately

    adjacent is the copper-clad University Library(opened in 1999) which also influenced the

    new building particularly its materiality.

    CH: What was the strategy behind your

    design and the different faade treatments in

    particular?

    EK: Our project was considered as a sort of

    a promenade, linking the higher University

    campus to the Library. Along this promenadewe situated all reading rooms demanded by

    the programme of different faculties belong-ing to the Linguistic Department. In order

    to connect the two new buildings we used a

    glass wall along Dobra Street which reflects

    the rich copper facade of the Library with its

    engravings and texts in different languages.Te 140 m long southern wall along Lipowa

    Street aims to give readers the impression of

    being in a garden space where light flickersthrough green leaves, creating a special, col-oured light inside a sunny environment,

    despite gloomy weather outside.

    Tis is achieved using yellow, green and lime

    foils on the double- skin glazed southern

    facade.

    CH: What are the reasons for the variety of

    treatments and materials on the facades?

    EK: Te whole project is in two phases andthe now-completed first phase represents only

    a third of the whole complex. So the impres-

    sion given by some facades is temporary.

    When complete, the whole building wil l read

    as having two wall finishes essentially, glass

    and copper.

    CH: Why did you choose pre-patinated copper?

    EK:. We selected copper for a number of

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

    reasons. Firstly, to accentuate the character of

    the district which is full of parks and close to

    the river. But, of course, the green mood of

    new architecture was previously introducedby the Library building. Although continu-ing down this line of thought, we choose a

    different finish for the copper pre-patinated

    with a living surface colour to differentiate

    our building from the Library. But we also

    wanted to show the variety of copper finishes

    which are possible.

    Copper is a living material, like nature. Its

    appearance changes over the years, with theweather, at different times of the day and in

    different lighting conditions. Tis is demon-

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

    Also on this facade, the idea of introducing

    yellow patches amongst the copper was to

    enliven it with artificial sun-beams. Tere

    is also a timber patch on this elevation,

    signalling a wooden terrace on the roof whichslides down the elevation. Te full effect

    will become clear when the whole complex is

    finished.

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    25COPPER ARCHITECTURE FORUM 34/2013

    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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    26 COPPER ARCHITECTURE FORUM 34/2013

    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.

    GZZXi^c\AdXVaBViZg^Vah

    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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    27COPPER ARCHITECTURE FORUM 34/2013

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    28 COPPER ARCHITECTURE FORUM 34/2013

    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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    29COPPER ARCHITECTURE FORUM 34/2013

    I]ZXdeeZgVaadnXaVYY^c\lVh

    to appear thin, as a drape or[VWg^X!l^i]VgZkZVai]^X`cZhh

    Vii]Z\aVo^c\d[dcan'*bb#

    All horizontal changes of direction for both elevations and

    i]Zgdd[XdcZhl^i]dcZZmXZei^dclZgZZmegZhhZYl^i]V

    gV^hZYXdgcZg#

    KZgi^XVaVcY]dg^odciVaXdci^cj^inlVhVX]^ZkZYWnXVgZ-

    fully setting out the shingle pattern to key points on the

    ZaZkVi^dch#I]ZZVkZh\jiiZgbZVchi]Vii]Zgdd[VcYlVaah

    VgZcdiXdci^cjdjhVcY^ilVhXg^i^XVaidVkd^YVXde^c\i]Vi

    XdjaYWgZV`i]ZkZgi^XVaXdci^cj^in#

    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

    The roof hip is subtly dif ferent to the elevation hip to

    egZkZcilViZg^c\gZhh^iZhhZci^Vaan[dgbhVeV^gd[hZ -

    XgZi\jiiZghi]VigjcZ^i]Zgh^YZd[i]ZXZcigVaegdl#

    From the outset, the roof intended to have a horizontal

    break that gave a datum against the various pitches and

    gdd[h#>iVahdYZbVg`hi]ZjeeZgVcYadlZgWV[Zh#>i^h

    VcZmegZhhZY&%%bb\Ve!VXgdhhl]^X]i]Zh]^c\aZeVi -

    iZgcVeeZVghidWZXdci^cjdjh#

    30 COPPER ARCHITECTURE FORUM 34/2013

    EaVcYZiV^ah]dl^c\XdeeZgVaadnXdgcZgVigdd[] e

    HZXi^dcYZiV^ah]dl^c\gdd[WV[ZZY\Z

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    31COPPER ARCHITECTURE FORUM 34/2013

    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 United

    The 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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    32 COPPER ARCHITECTURE FORUM 34/2013

    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.

    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. 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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    33COPPER ARCHITECTURE FORUM 34/2013

    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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    34 COPPER ARCHITECTURE FORUM 34/2013

    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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    35COPPER ARCHITECTURE FORUM 34/2013

    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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    36 COPPER ARCHITECTURE FORUM 34/2013

    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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    37COPPER ARCHITECTURE FORUM 34/2013

    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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    38 COPPER ARCHITECTURE FORUM 34/2013

    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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    39COPPER ARCHITECTURE FORUM 33/2012

    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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