Caf34 Ger Web

7/28/2019 Caf34 Ger Web

1/40

34

7/28/2019 Caf34 Ger Web

2/40

LEITARTIKEL

Anmelden und mehr erfahren ber das Copper Architecture Forum:copperconcept.org

Ausgaben des Copper Architecture Forum al s PDF: copperconcept.org

Kontakt zur Redaktion: [email protected]

Ihr Projekt-Upload auf der Website: copperconcept.org

Mitmachen beim European Copper in Architecture Award: copperconcept.org

Titel: Platform for Arts & Creativity,Guimares, Portugal (s. Seite 14).Photo: Joo Morgado

Copper Architecture Forum 34, Mai 2013

Copper Forum ist ein Teil der European Copper in Architecture Campaign.Es erscheint zweimal jhrlich mit einer Druckauflage von 25.000 Exemplaren.

Die Zeitschrift wendet sich an Architekten und Fachleuten in ganz Europaund der Welt und ist in verschiedenen Sprachausgaben verfgbar, wie zumBeispiel auf Englisch, Tschechisch, Dnisch, Finnisch, Franzsisch, Deutsch,Ungarisch, Italienisch, Norwegisch, Polnisch, Russisch und Schwedisch.

Chefredakteur: Robert Pinter

Redaktion: Chris Hodson RIBA

Redaktionsteam: Lennart Engstrm, Ari Lammikko, Chris Hodson, Graeme Bell,Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

E-mail: [email protected]

Postanschrift: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

Herausgeber: Nigel Cotton, ECI

Layout und Produktion: Jorma Naula Grafisk Design, Sweden

Druck: Strlins Grafiska AB 2013, Sweden

Redaktionsstab:

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

Marco Crespi, It [email protected]

Nicholas Hay, UK [email protected]

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux [email protected]

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

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

Vadim Ionov, Ru [email protected]

Copper Architecture Forum 2013

Die erste Ausgabe des Copper ArchitectureForum umfasste vier Seiten.

Zu Beginn dieser Ausgabe mchten wir uns von Lennart Engstrm verabschieden, der sich ausunserem Redaktionsteam zurckzieht. Vor 18 Jahren initiierte er das Magazin Copper Forum undwar seitdem eine Schlsse lfigur in der Entwicklung des Magazins von der ersten vierseitigen Ausga-be, die sich an skandinavische Architekten richtete, bis hin zum heutigen 40-seitigen europawei-ten Magazin, das in 13 Sprachen verlegt und mit einer Auflage von 25.000 Stck herausgegebenwird. Das gesamte Redaktionsteam schtzte seine Klugheit, seine Leidenschaft fr Kupfer in der

Architektur und seine sanfte jedoch berzeugende Art ; das Arbeiten mit Lennart war jedoch auchimmer mit Spa verbunden.

Natrlich gab es whrend der letzten 33 Ausgaben auch Vernderungen, wie fortlaufende Ver-besserungen sowohl beim Design als auch beim Inhalt des Magazins, um die aktuellen Interessender Architekten zu bercksichtigen.Die anfnglichen Grundwerte des Copper Architecture Forum bestehen noch immer: das Prsen-tieren von anspruchsvoller zeitgenssischer Architektur zusammen mit aktuellen Temen rund umKupfer und seine Legierungen.

Wir nehmen diesen Wechsel zum Anlass, um unseren neuen Chefredakteur Robert Pinter undunseren neuen Redakteur, den Architekten Chris Hodson, vorzustellen. Beide sind seit einiger Zeiteil unseres Redaktionsteams und besitzen eine Flle an Erfahrungen mit Kupfer in Architekturund Konstruktion. Mit einem Architekten als Redakteur wird das Magazin die Interessen der Ar-chitekten in unserer Leserschaft noch genauer aufspren und eine grere Einbindung entwickeln,insbesondere durch unsere Partner- Website copperconcept.org.

Bei der redaktionellen Arbeit am Copper Architecture Forum achten wir auf aufkommenderends und auch Gemeinsamkeiten zwischen Projekten. In dieser Ausgabe sind einige Temen ausdiesem Segment enthalten. Erstens werden an einigen Gebudebeispielen die zahllosen Mg-lichkeiten der Nutzung von Fassadenelementen aus Kupfer zur Beschattung in Kombination mitLichtdurchlssigkeit gezeigt. Lsungen reichen von perforierten Kupferblenden und netzen bishin zu profilierten Messinggittern und bildhauerisch gebogenen Rippen. Einige Beitrge beschf-tigen sich mit Kupfer als modernem Material, das Architekten helfen kann, zeitgenssische undcharaktervolle Ideen zur Umgestaltung lterer, historischer oft auch denkmalgeschtzter Gebudezu realisieren. Schluendlich nimmt Kupfer oft eine Rolle als Bindeglied ein, wenn groe Projektedazu beitragen sollen, das stdtebauliche Umfeld zu formen und zu prgen.

Wir hoffen, dass Ihnen d ie Vielfltigkeit und die Qua litt des architektonischenDesigns, die in dieser Ausgabe gezeigt werden, gefallen.

Die Redaktion

KONTINUITT UND WANDEL

Lennart Engstrm, Grnder undehemaliger Herausgeber desCopper Architecture Forum.

7/28/2019 Caf34 Ger Web

3/40

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

INHALT

2 Kontinuitt und Wandel Redaktionskommentar

49 Ikone in Kupfer die Umgestaltung von Gteborgs historischem Postamtin ein charaktervolles Hotel mit stdtebaulicher Bindegliedfunktion

1011 Automobile Architektur eine Gebudemetamorphose in Moskau feiertdas Automobil

1213 Die Wiederentdeckung des Regionaltypischen ein neuer Ansatzder lndliche Architektur in der Normandie verhllt in Kupfer

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

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

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

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

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

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

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

7/28/2019 Caf34 Ger Web

4/40

4 COPPER ARCHITECTURE FORUM 34/2013

IKONE IN

KUPFERNach 20 Jahren Leerstand wurde das zentrale Drottning-torget Postamtgebude in Gteborg in ein 500-BettenClarion Post Hotel mit modernen Anbauten verwandelt,die das Potential und die Entwicklung dieser pulsieren-den Stadt widerspiegeln.

Das Originalgebude wurde zwischen 1918 und 1925 vom Gte-borger Architekten Ernst Torulf in klassisch manieristischemStil gestaltet. Hierbei wurden Ziegel mit Steinverzierungen und

Mansardendcher aus Schiefer mit Kupferdetails, welche mitt-lerweile grn patiniert sind, benutzt. Das Postamt steht unterstrengem Denkmalschutz. Der zunchst simpel anmutende Ent-wurfsansatz des Architekturbros Semrn & Mnsson sah vor,die Lcke in dem ursprnglich hufeisenfrmigen Grundriss miteinem neuen Gebudeteil zu schlieen, welches in den Innenhofdes Komplexes hineinragt, um so die Flche des ehemaligenVerladehofs des alten Postamts mit nutzen zu knnen. Das be-stehende Gebude wurde restauriert und fr die neue Nutzungausgebaut, ohne jedoch den ursprnglichen Charakter, denDenkmalschutz und die historischen Details zu gefhrden. DerRestbestand des Hofes wurde auch mit neuen Rumlichkeiten

auf tiefergelegenen Ebenen aufgefllt. Ein glsernes Dach flutetdie ffentlichen Bereiche mit Licht.

Eine neue Sehenswrdigkeit fr die Stadt

Das Konzept, den Hof zu schlieen, schafft eine neue offeneVorderfassade zur Ostseite des Gebudes mit Blick auf den ka-replatsen und die Odinsgatan. Der Lckenschluss ist horizontalzweigeteilt ein Flgel ist mit Kupfer verkleidet, der andere mitSchiefer, die gleichen Materialien, die bereits beim alten Postamtbenutzt wurden- und nimmt beiderseits die Hhenentwicklungder bestehenden Dachtraufe auf. Wo sich die Flgel treffen,steigen sie gemeinsam wie ein Paar monolithischer Formen auf,die mit einer Zsur aus dem ver tikalen Silber der Verglasung

gegliedert werden. Der daraus resultierende 13-Stockwerkeumfassende Turm schafft einen neuen Blickfang fr die Stadtund betont den Nebeneingang des Hotels. Der Haupteingang,der mit einem opulenten goldfarbenen Mosaik eingefasst ist,wurde an der Westseite des bestehenden Gebudes beibehalten,um den Drottningtorget, einen ffentlichen Platz, zu erschlieen.

Die neuen Anbauten respektieren und reflektieren das ho-rizontale Gitter der historischen Fassadengliederung, aberbrechen die simple vertikale Anordnung der ffnungen auf.

von Chris Hodson

Neue Fassadenteile werden als viereckige Paneele, jedes miteinem horizontalen Band aus Kupfer oder Schiefer und mit einernahtlosen anscheinend zufllig bndigen Verglasung, wahrge-nommen. Nach Aussage der Architekten wurde diese frischeflach gestreifte Oberflche zum Teil von der Lajasalo Kirchein Finnland mit ihren horizontalen Streifen aus vorpatiniertemKupfer inspiriert.

Hier wird das Prinzip der Vertikalitt bei den Paneelverbindun-

gen wieder verwendet und von den Farbvernderungen bei demZusammentreffen mit horizontalen Kupferbndern hervorgeho-ben. Ecken werden mit einer modernen Interpretation analog zuden traditionellen vertikalen Mauerecken (wie beim ursprng-lichen Gebude) als dnner Streifen ausgebildet die Dicke desPaneels- dargestellt. Manchmal wird auch die bndige Vergla-sung inmitten des Kupfers aufgenommen. Das Fassadengitterbleibt durchweg ununterbrochen abgesehen von einer Dachter-rasse und einem offenen Pool, von wo aus ein schner Blick berGteborg mglich ist.

7/28/2019 Caf34 Ger Web

5/40


Die Fassade des Originalgebudes und der auf einen ffentlichen Platz ausgerichtete Hoteleingang.

Foto: Krister Engstrm

7/28/2019 Caf34 Ger Web

6/40


Plan 13. Etage

Plan 9. Etage

Plan 3. Etage

Plan 2. Etage

Plan 1. Etage

Straenniveau

7/28/2019 Caf34 Ger Web

7/40


Reiche lebendige Kupferoberflchen

Von Anfang an antizipierten die Architekten dieneuen Fassaden als dnn konstruierte Blech-

verkleidung. Die Lsung wurde mit vorgefertigenEinzelpaneelen realisiert, um eine Vorhangfassade unabhngig von den strukturellen Stockwerkezu formen. Dies ermglichte bereits vorab eineexakte Projektierung der Vielschichtigkeit desDesigns und der einzelnen Paneele innerhalb desLayouts der Gesamtfassade mit verschiedenen Gen von bndiger Verglasung und unterschiedlichgestreiften Kupferoberflchen. Die Varianz entstedurch Kupfer in drei Streifenhhen 200, 250 sow300 mm und drei verschiedene Intensitten vonvorpatiniertem Kupfer mit einer jeweils variierend

Intensitt von Grntnen vor dem dunkelbrau-nen Hintergrund erreicht. Die Kombination dieserElemente ermglicht die Schaffung von gut struktrierten und lebendigen Kupferoberflchen.

Architekt: Semrn & Mnsson

Verarbeiter: Skandinaviska Glassystem AB

Kupferprodukt: Nordic Green Living

Photo: Chris

Photo: Lennart Hyse

7/28/2019 Caf34 Ger Web

8/40


Abschnitt

Bindeglied

Das Clarion Hotel Post befindet sich in zentraler Lage im absoluten ZentrumGteborgs, neben dem Hauptbahnhof und dem groen Nordstaden Einkaufs-zentrum. Der neue Turm nimmt mit ikonenartiger Architektursprache eineSolitrposition im stdtischen Fokus ein, welcher die Achsen der Stadt, dielange getrennt waren, wieder zusammenfhrt. Am of fensichtlichsten passter sich der Odinsgatan an, um so den Blick die groe Strae herunter zufassen. Vom ffentlichen Platz Drottningtorget und anderen markantenOrten im Zentrum aus betrachtet, erhebt er sich ber das alte Postamt.

Foto: Chris Hodson

Kupfer war wichtigfr unser Design

7/28/2019 Caf34 Ger Web

9/40


Das gesamte Interview mit Professor Mnsso

kann auf www.copperconcept.org gelesen werden

INTERVIEWChris Hodson spricht ber das Clarion

Post Hotel mit Professor Magnus Mnsson,

Inhaber des Architekturbros Semrn &

Mnsson.

CH: Wie wurden Sie in das Projekt Hotel Posteinbezogen?

MM: Ich wurde von einem Bauunternehmergebeten, einen Platz fr ein groes Hotel hier

in Gteborg in der Nhe vom Hauptbahnhof zufinden. Ich war gerade dabei, ein anderes Hotel

zu planen und war daher ohnehin mit der Ana-tomie dieser Gebudetypologie beschftigt. DasGebude des Postamts war in den spten 80ern in

ein Brogebude konvertiert worden, aber a ls iches mir ansah, dachte ich: das ist kein Bro, das

ist ein Hotel- allein schon durch die Fensterge-staltung. Der Bauunternehmer war mit meinemVorschlag fr ein spektakulres Projekt, das neu

und alt kombiniert, einverstanden das ist 8 Jah-re her.

CH: Was waren die Herausforderungen bei derArbeit an e inem so herausragenden , ge schtztenGebude?

MM: Natrlich gab es zuerst Diskussionen mit

den verschiedenen Behrden. Das Gebude istgeschtzt durch die hchste Denkmalskla ssifizie-rung in Schweden und wir waren nicht nur mit

den lokalen Behrden konfrontiert, sondern auchmit der nationalen Organisation In Stockholm,

das war schon recht anstrengend. atschlichdurfte man an der Auenseite nichts verndern,

das war einer unserer Ausgangspunkte.CH: Obwohl Sie noch drei andere Bros haben,sind Sie in Gteborg lokal ttig. Gehen Sie an

ein Projekt vor Ihrer Haustr anders heran alsan eine Arbeit andernorts?

MM: Ich hoffe nicht. Aber natrlich komme ichtglich auf dem Weg von meinem Zuhause dort

vorbei, deswegen ist es besonders vertraut frmich.

CH: Sehen Sie das Post Hotel aus stdtebaulicherSicht in einer wichtigen Bindegliedfunktion?

MM: Oh ja, das ist so. Als die schwedische Re-gierung das Postamt baute, hat es tatschlich

zwei Blcke eingenommen, obwohl es ursprng-lich eine durchgehende Strae geben sollte. Dies

stoppte die natrliche Ausdehnung der Stadt inRichtung Osten. Es gab nur noch eine enge Stra-e voll mit Straenbahnen, die sich sozusagen

neben das Gebude quetschte. Deshalb symbo-lisiert der neue Kupfer- und Schieferturm aus der

Sicht des alten Zentrums die neue stliche Stadt.Aber er wird auch al s ein Fokuspunkt dienen, derdie groe Strae und einen neuen Platz, der der-

zeit in Planung ist, abschliet.

CH: Gibt es eine Symbolik in den gepaarten

Kupfer- und Schiefertrmen?

MM: Nicht direkt. Das ursprngliche Design-konzept sah einen hheren urm vor, welcher

von den lokalen Behrden limitiert wurde. AlsAntwort darauf kam ich mit der Idee, das Ganze

aus zwei Materialien zu machen, um dem urmbessere Proportionen zu geben. Und es gibt Un-terschiede in unserer Herangehensweise an die

beiden Materialien. Wir planten kleinere undweniger Fenster im Schieferturm, was ihm eine

monolithische Anmutung gibt. Der Kupferturmjedoch hat ein weitaus fil igraneres Materialgef-ge. Dort gibt es viele kleine Zeichen, die Ihnen

zeigen, wie man die Unterschiede interpretiert.

CH: Gab es noch andere Grnde Kupfer und

Schiefer zu verwenden oder wollte man sich nurauf das ursprngliche Dach des Gebudes be-ziehen?

MM: In den 1920ern war a lles sehr lokal orien-

tiert und es war sehr natrlich und wir warenstolz, dass wir Materialien wie Kupfer hatten.

Wir wollten dieses Erbe weiterentwickeln mit ei-

ner Materialsprache, die neue eile hervorhebt,aber mit Kontinuitt. Ich sehe das neue Gebu-

de als einen jungen Verwandten mit der gleichenDNA. Kupfer war wichtig fr unser Design.

CH: Sie haben Kupfer in verschiedenen Ban

breiten und Patinierungen genutzt. Was warIhre Absichten bei dieser Herangehensweise?

MM: Ja, und ich bin sehr zufrieden mit de

Ergebnis. Es war eine ausgezeichnete Art uWeise, die Kupferoberflchen so zu gesta lte

atschlich legten die Schieferabmessungeine hnliche Herangehensweise nahe, um dKupferbnder zu strukturieren und um ihn

eine hnliche extur zu geben. Die Horizonlitt spiegelt die des traditionellen Ziegelma

erwerks, das man berall in der Stadt findwieder.

CH: Neben dem Betrieb eines erfolgreichen A

chitekturbros mit vier Niederlassungen, uterrichten Sie auch. Wenn Sie die Gelegenh

haben, wie entspannen Sie sich?

MM: Es ist ein Jonglierakt und es gibt nicht vFreizeit. Aber wenn ich kann, male ich.

Ein neuer Platz stlich des Hotels , mit dem Turm als Fokus fr die groe Strae dahinter, ist geplant.

Photo:Semrn&

Mnsson

Der neue Kupfer-und Schieferturm symbolisiert ader Sicht des alten Zentrums die neue stliche Sta

Foto: Chris Hodson

7/28/2019 Caf34 Ger Web

10/40


Zu Beginn erklren Pavel Khegay und Amir Idiatulin von

IND Architects ihr Designkonzept.

Euromotors bat uns, ein neues Image fr ihr Autoservicezentrumzu schaffen, das die wichtigen Leitbilder der Firma widerspie-gelt: Bestndigkeit, Zuverlssigkeit und qualitativ hochwertigerService. Das Gebude steht an einer vielbefahrenen Strae. Dieshat unser architektonisches Konzept inspiriert. Die Dynamik dervorbeifahrenden Autos ihre Bewegungen, Lichter, glnzendemetallische Karosserien alle diese Bilder sind auf die Gebu-defassade projiziert worden. Knapp am ffentlichen Brgersteigentlang verlaufend musste die Fassade als eine zweidimensio-nale Oberflche entstehen, aber gleichzeitig die dritte Dimension

und die horizontale Bewegung andeuten.

AUTOMOBILEARCHITEKTUR

Als Material wurde voroxidiertes Kupfer gewhlt. Dieses edleund zuverlssige Material betont den Status von Euromotors undseine Servicegesinnung bei der Pflege qualitativ hochwertigerAutos. Der Einsatz von Paneelen aus perforier tem Kupfer berei-cherte das Gebudedesign und erweckt von auen den Anscheineiner wechselnden Oberflche. Aufgrund des Spiels von Lichtund Schatten geben die Perforierungen tagsber der Fassadeeine besondere Tiefe. In der Nacht wird der dynamische Effektvon der Rckstrahlung der Autoscheinwerfer auf der Oberfl-che verstrkt zudem scheinen Spezialleuchten in horizontalenMustern wie Autoscheinwerfer durch die Paneele.

Die Metamorphose eines unansehnlichen sowjetischen Gebudes,

das in der Mitte des 20. Jahrhunderts errichtet wurde, mittels

einer Vorderseite aus perforiertem Kupfer entdeckt eine archi-

tektonische Typologie wieder, welche das Automobil feiert.

7/28/2019 Caf34 Ger Web

11/40

11COPPER ARCHITECTURE FORUM 34/2013 11

Foto:AndreyMarshal

Andrey Kulagin von den Planern und Verarbeitern

der Pacific Stroy zur Realisierung des Designs.

Das war das erste Projekt in Russland, das eine vorgehngteFassade aus perforierten Kupferpaneelen mit Hintergrund-beleuchtung verwendete. Es stellte uns vor einige Herausforde-rungen bezglich der technischen Ausfhrung, der Auslegungder Architektenzeichnungen und 3-D-Visualisierungen ins-besondere das Verdecken der Leuchten, Sttzen und andererGegenstnde im Hohlraum der Fassade. Das Arbeiten mit

natrlichen Materialien wie Kupfer lsst einen immer einebesondere Verantwortung und Inspiration fhlen. Problemewhrend der Installation wurden vermieden, indem jedesDetail durchgeplant und in einer technischen Dokumentationbeschrieben wurde.

Die Perforation von Metallpaneelen beeinflusst die Fes-tigkeit und wir trugen dem Rechnung, indem wir die Lcherals Schachbrettmuster machten, und die Strke des Kupfersanpassten. Die Paneelkanten wurden unperforiert gelassen,damit die Paneele dort mit Kupfernieten an den Edelstahl-stutzen befestigt werden konnten. Die daraus resultierendeFassade reprsentiert Euromotors Geschftsansatz und

schafft Assoziationen mit Automobilen und qualitativ hochwer-tiger Technik. Das Perforationsmuster sieht aus wie die Heizungeines alten Autos. Die genieteten Verbindungen erinnern an dieAuenhlle eines Flugzeugs.

In Russland und anderen Lndern sind Autoservicezentrennormalerweise in faden Industriegebuden untergebracht aber Euromotors sticht mit seiner einzigartigen in Kupfer

interpretierten Architektur hervor.

Die leblose weie Fassade des ursprnglichenGebudes wurde durch eine dynamische, lebhaf-te Auenhaut aus perforiertem Kupfer ersetzt.

Foto: Andrey Marshal

Architekt: IND ArchitectsPlanung und Installation der Kupferverkleidung: PacificStroy (KrovExpo)Kupferprodukt: Nordic Brown

Foto: Evgeniy Golytkin

7/28/2019 Caf34 Ger Web

12/40


Das neue Kultur- und Medienzentrum in der lndlichenStadt Gournay en Bray in der nordfranzsischen Normandie

besinnt sich in seinem typologischen Ursprung auf die For-

men der einheimischen Gebude. Aus dem Materialmix von

Schiefer, Glas und ausdrucksstarken Kupferblechen bilden

sich charakteristische moderne Formen.

Das Projekt besteht aus zwei markanten Flgeln, die ber einenzentralen Eingangsbereich verbunden sind. Der 65 Meter langeOstflgel bietet Raum fr eine multimediale Bibliothek fr Er-wachsene und Kinder, der Westflgel ist mit 75 Metern lnger,und beherbergt sowohl eine Musik- als auch eine Tanzschule. Die

Architekten suchten nach einer zeitgemen architektonischenUmsetzung, welche die Beziehung zu ihrer natrlichen Umgebung(Grten, Gassen, Steinmauern) und dem bebauten Umfeld (traditi-onelle Gebude und Schuppen) neu definiert. Sie entwarfen einenPlan von unterschiedlichen kulturellen Rumen, die wie ein Rhizom,welches im Empfangsbereich seinen Ursprung hat, gewachsenzu sein scheinen. Die Vollverglasung taucht den Besucher in einegrne Umgebung, welche unterstrichen wird durch eine Wildblu-menwiese zwischen den beiden Flgeln.

Das steile Satteldachprofil des bestehenden Gebudes wird im Neu-en widergespiegelt, allerdings mit einer modernen Kontinuitt auspurpurfarbenem Schiefer, welcher von semitransparenten perfo-

rierten und voroxidierten Kupferblechen ber den groen verglastenBereichen unterbrochen wird. Der Eingang zu dem Komplex wirdvon der Strae aus angekndigt durch eine quasi entmaterialisierteVerhllung des teilweise mit Kupfernetzmateral bekleideten regio-naltypischen Baukrpers.

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

Kupferprodukt: TECU Oxid

Fotos: Luc Boegly

von Chris Hodson

DIE WIEDERENTDECKUNG

DES LOKALEN

7/28/2019 Caf34 Ger Web

13/40


7/28/2019 Caf34 Ger Web

14/40


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:

6gi8ZcigZl]^X]]djhZhi]ZeZgbVcZci8daaZXi^dcd[

Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

VcYh]dlh!VcYXdbeaZbZciVgnhZgk^XZh#

7/28/2019 Caf34 Ger Web

15/40


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,

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

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

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

YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

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

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

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

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

7/28/2019 Caf34 Ger Web

16/40


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

7/28/2019 Caf34 Ger Web

17/40

COPPER ARCHITECTURE FORUM 34/2013 17

7/28/2019 Caf34 Ger Web

18/40


A TRANQUILBACKDROPIN BRASSThe 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.

7/28/2019 Caf34 Ger Web

19/40


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

7/28/2019 Caf34 Ger Web

20/40


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 forthe upgrade of Maidstone Museum, a protectedhistoric building in the South-East of England,

dating back as far as the time of King Henry VIII.Their thoroughly contemporary design involvescrisply detailed golden copper alloy and glassrectilinear forms, interweaving amongst ancientbuildings to create new vistas from both insideand 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

7/28/2019 Caf34 Ger Web

21/40


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

The Japanese Art Collection

7/28/2019 Caf34 Ger Web

22/40


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.

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

7/28/2019 Caf34 Ger Web

23/40

23COPPER ARCHITECTURE FORUM 34/2013 2323

1

2 3

4

5

6

7

8

9

10

A

A

B11

11 10

9

8

8

8

1

2

3

4

5

7

6

A

A

B

12

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

10

9

8

7

6

5

4

3

21

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

7/28/2019 Caf34 Ger Web

24/40


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.

7/28/2019 Caf34 Ger Web

25/40


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.

7/28/2019 Caf34 Ger Web

26/40


SEAMLESS ARTICULATIONThe 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.

7/28/2019 Caf34 Ger Web

27/40


7/28/2019 Caf34 Ger Web

28/40


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

7/28/2019 Caf34 Ger Web

29/40


I]ZXdeeZgVaadnXaVYY^c\lVh

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

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

All horizontal changes of direction for both elevations and

i]Zgdd[XdcZhlî]dcZZmXZei^dclZgZZmegZhhZYlî]V

gV^hZYXdgcZg#

KZgi^XVaVcY]dgôdciVaXdci^cjînlVhVX]^ZkZYWnXVgZ-

fully setting out the shingle pattern to key points on the

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

VgZcdiXdci^cjdjhVcYîlVhXgî^XVaidVkd^YVXde^c\i]Vi

XdjaYWgZVì]ZkZgi^XVaXdci^cjîn#

Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing foldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

7/28/2019 Caf34 Ger Web

30/40

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\gZhhîZhhZci^Vaan[dgbhVeV^gd[hZ -

XgZi\jiiZghi]VigjcZî]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#


EaVcYZiVâh]dl^c\XdeeZgVaadnXdgcZgVigdd[] e

HZXi^dcYZiVâh]dl^c\gdd[WV[ZZY\Z

7/28/2019 Caf34 Ger Web

31/40


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

7/28/2019 Caf34 Ger Web

32/40


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.

7/28/2019 Caf34 Ger Web

33/40


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

7/28/2019 Caf34 Ger Web

34/40


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.

7/28/2019 Caf34 Ger Web

35/40


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 Cyclevisit our dedicated website www.copperlife-cycle.org. The site provides importan

information on aspects related to the usof life cycle data and the methodologieused for copper, and also provides a linfor practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads theWay in Copper Recycling.

7/28/2019 Caf34 Ger Web

36/40


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

7/28/2019 Caf34 Ger Web

37/40


SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

7/28/2019 Caf34 Ger Web

38/40


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.

7/28/2019 Caf34 Ger Web

39/40


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:

7/28/2019 Caf34 Ger Web

40/40

Caf34 Ger Web

Documents

Transcript of Caf34 Ger Web