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Okadka: Pawilon tymczasowy,

Mnster, Niemcy (strony 10-11)

Zdjcie: Christian Richters

Dywersyfkacja miedzi

W biecym numerze zaprezentowano eklek tyczny zestaw nowoczesnychbudowli, w konstrukcjach ktrych mied i jej stopy odgrywaj kluczowerole w serze wyrazu twrczego architektw. Zestawienie to mona odebrajako typologiczn podr, ktra ujawnia postpujc dywersyfkacj w za-kresie wykorzystania tego rodzaju materiaw we wszelk ich typach budyn-kw i na zupenie nowe sposoby.

Postrzeganie miedzi ewoluowao dotd wraz ze zmian jej roli w nowoczesnejarchitekturze, i trend ten nadal obowizuje. Naturalnie mied pozostaje ma-teriaem stosowanym gwnie w budynkach, gdzie utosamia si j z ich temhistorycznym. Lecz architekci czsto przyjmuj zupenie wiee podejcie,jak w przypadku kaplicy opisanej w artykule zamykajcym biecy numer(strony 36-38), bdcej stokowato zwieczonym walcem przebijajcym siprzez centraln cz zabudowa szkolnych, w obrbie ktrych si znajduje,spinajc ze sob kopuy i iglice typowe dla tradycyjnych budowli sakralnych.Miedziany dach stanowi rwnie kluczowy element pierwszego z opisywa-nych w tym numerze projektw, atrium w duym centrum konferencyjno--hotelowym (strony 4-7), gdzie przyj on form zdekonstruowanej gwiazdy,demonstrujc potencja tego materiau do stosowania w innowacyjnych, no-woczesnych formach, tak wewntrz , jak i na zewntrz budynkw.

Moliwoci nadawania miedzi przernych ksztatw posunito jeszcze dalej,konstruujc niezwykle wyraziste krzywizny budynku nadmorskiego klubu(strony 8-9), co byo moliwe dziki technikom modelowania komputero-wego oferujcym projektantom pozorn swobod twrcz . Dla kontrastuzaprezentowano budynek stacji odzi ratunkowej (strony 12-15), ktrego for-ma w peni odzwierciedla jego funkcj, za konstrukcja skupia si na spo-czywajcym wewntrz pojedzie, chronic go miedzianym paszczem przednegatywnym wpywem ostrego klimatu i dostarczajc rozwiza gotowychdo zastosowania w innych miejscach. Z kolei idea ochrony rodowiska po razkolejny zdeterminowaa form wykonanych z brzu i szka oson dla dwchantycznych kamieni runicznych (strony 28-29), zapewniajc im prost, a jed-noczenie aspirujc do miana artyzmu jako rzebiarsk.

Wyraziste formy cechuj take zabudowania Marlowe Teatre (strony 16-19),z typologicznego punktu widzenia tradycyjnie kojarzone z materiaem, ja-kim jest mied. o samo mona z reszt powiedzie o bibliotekach publicz-nych w Seinjoki (strony 32-35), obiektach towarzyszcych centrum AlvarAalto, ktrych formy daj wyraz poszanowaniu dla jego ikonicznego kon-tekstu, a jednoczenie dystansuj si od niego dziki miedzianej powoce.Kolejna opisywana tu biblioteka, czyli Deptford Lounge (strony 2427),zostaa wpisana w zabudowania nowego orodka uy tecznoci publicznej,a jej wizja a rchitektoniczna wyraa si poprzez transparentno zotawejelewacji miedzianej.

ypologiczna rnorodno miedzi rozwinita zostaa jeszcze bardziej tam,gdzie nadano jej abstrakcyjnego wydwiku poprzez zastosowanie rnychform materiau, ktry oywia elewacje typowego budynku, jakim jest wielo-kondygnacyjny parking samochodowy (strony 20-23). Z kolei tymczasowakonstrukcja budynku (strony 10-11), a wic standardowo raczej nie utosa-miana z zastosowaniem miedzi w architekturze, zyskuje zupenie nowe zna-czenie dziki pokryciu jej w caoci zotym stopem. I wreszcie dochodzimydo prezentacji skromnej domowej przybudwki (strony 30-31), ktra przy-pomina obserwatorowi o tym, e mied moe rwnie dobrze by stosowanaw takim wymiarze, oferujc jednoczenie wyjtkowe wasnoci na tle innychmateriaw.

rendy architektoniczne oparte na zastosowaniu miedzi stale si rozwija-j, stymulowane przez architektw entuzjastycznie nastawionych do wizjiwykorzystania tego mater iau i moliwoci jakie on daje. Rwnie i my po-zostaniemy wierni misji prezentowania najlepszych przykadw jej zastoso-wania, zarwno w formie drukowanej, jak i na stronie ww w.copperconcept.org oczywicie przy Waszym wsparciu.

Zesp redakcyjny

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

E-mail: [email protected]

Adres: CAF, European Copper Institute (ECI), Avenue de Tervueren 168 b-10,B-1150 Bruksela, Belgia

Wydawca: Nigel Cotton, ECI

Opraowanie grafczne i techniczne: Naula Grafsk Design, Szwecja

Druk: Strlins Grafska AB 2012, Szwecja

Zesp wydawniczy:

Birgit Schmitz, De [email protected]

Kazimierz Zakrzewski, Pl [email protected]

Marco Crespi, It [email protected] Hay, UK nick.hay@co pperallianc e.org.uk

Nikolaos Vergopoulo s, Gr nick.vergop oulos@cop peralliance.gr

Nuno Diaz, Es nuno.diaz@co pperallian ce.es

Olivier Tissot, Fr olivier.tissot@ copperalli ance.r

Paul Becquevort, Benelux [email protected]

Pia Voutilainen, Se, No, Fi, Dk pia.voutilainen@ coppera lliance.se

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

Vadim Ionov, Ru vadim.io nov@copper alliance.ru

Copper Architecture Forum 2 012

Magazyn Copper Architecture Forum nr 33, listopad 2012

Magazyn Copper Architecture Forum jest elementem europejskiej kampanii

Mied w Architekturze. Publikacja wydawana jest dwa razy do roku nakadem

25 tysicy egzemplarzy.

Magazyn jest przeznaczony dla architektw i osb zawodowo zwizanych

z bran budowlan i w ydawany jest w caej Europie w jzykach angielskim,

czeskim, duskim, iskim, rancuskim, niemieckim, wgierskim, woskim,

norweskim, polskim, rosyjskim, hiszpaskim i szwedzkim.

OD WYDAWCY

Jeeli w przyszoci chcesz otrzymywa kolejne wydania magazynu

Copper Architecture Forum, zarejestruj si na stronie

www.copperconcept.org, gdzie znajdziesz take edycje archiwalne.

Jeeli chcesz wysa projekt, zoy propozycj artykuu lub po

prostu podzieli si swoimi spostrzeeniami z redakcj maga-

zynu Copper Architecture Forum, prosimy o kontakt e-mailowyz adresem: [email protected].

www.copperconcept.org

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3COPPER ARCHITECTURE FORUM 33/2012

2 Dywersyfkacja miedzi od wydawcy

4-7 Nowe spojrzenie na atriumwiee spojrzenie na hotelowe atrium na przykadzie nowego centrum konerencyjnego w No

8-9 Mied w swobodnej postaci cyrowej swoboda projektowania uwidoczniona w artyst ycznej wizji nadmorskiego klubu w Australii

10-11 Gwiazda przemijajcatymczasowa konstrukcja pawilonu w centrum Mnster w Niemczech pokryta zotym stopem m

1215 Copper Wave copper protects this new lieboat station on Englands most southerly point

1619 Canterbury Tales the new Marlowe Theatre makes a bold statement on Canterburys skyline

2023 Animating the Utilitarian copper brings to lie the acades o a multi-storey car park in Nottingham, UK

2427 Copper at the Heart o the Community a new typology o school and community building or Deptord, London

2829 Sheltering Bronze Hands ancient runic stones in Denmark are protected by bronze and glass

3031 Copper over Time a contemporary copper and oak house extension anticipates change

3235 Famous Neighbours the challenge o designing a new library close to ve Alvar Aalto buildings

3638 Conical Copper a copper clad chapel at the heart o this new school in Cheltenham, UK

39 Copper Architecture News updates, including our architectural awards launch and a new App or architects

SpiS trec

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4 COPPER ARCHITECTURE FORUM 33/2012

Hotel Clarion w Trondheim to jeden z najwikszych w Skandynawii i najwikszy

w Norwegii kompleks konerencyjno-hotelowy. Autorzy projektu architekto-

nicznego, czyli pracownia Space Group, przyjli zaoenie takiego ustawienia

osobnych, bryowatych skrzyde hotelowych, aby zapewni gociom jak naj-

lepszy widok na morze, otoczenie i k rajobraz miasta. Zastosowana skrtna kon-

wencja aranacyjna otwiera hotelowe atrium, tworzc wyranie trjwymiarow

przestrze o skomplikowanej ormie wielopaszczyznowego dachu, czyli zde-

konstruowanej zotej gwiazdy, opadajcej kaskadowo ku ziemi. Budynek robi

poruszajce wraenie, gdy ogldany jest pod dowolnym ktem, lecz w szcze-

glnoci z perspektywy lotu ptaka, w takiej bowiem postaci przybysze najcz-

ciej widz go po raz pierwszy, spogldajc przez okna samolotu.

Oto kompleks obiektw hotelowych w Norwegii, ktrego celem

stao si przeksztacenie typowej unkcji konerencyjnej w nowo-

czesn wizj atrium wyjania Chris Hodson.

Nowe spojrzenie na atrium

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Z przestrzeni pomidzy kadym moduem wyania si,rozdzielajca je a zarazem czca w jedn cao,

rozbita na kawaki zota gwiazda

Surowy reim materialnyW projekcie budynku wyranie odznacza si

rygorystyczne podejcie do kwestii material-

noci w relacjach pomidzy poszczeglnymi

jego elementami. Masywna, ciemna i pokryta

bogat aktur brya gwnej sali konerencyj-

nej jednoznacznie kontrastuje w przeszklony-

mi moduami hotelowymi, ktrych elewacje

przypominaj biay sitodruk zdematerializowa-

ny w celu utworzenia delikatnie zarysowanych,

jakby wyaniajcych si z chmury okien. Z prze-

strzeni pomidzy kadym moduem wyania

si rozdzielajca je a zarazem czca w jedn

cao rozbita na kawaki zota gwiazda pokry-

ta stopem miedzi, aluminium i cynku.

Tak swj wasny projekt komentuje archi-

tekt Jens Niehues: Dziki uytemu stopowi

miedzi zyskalimy materia, ktry pozwala

nam na zaprojektowanie tryskajcej energi

powierzchni odzwierciedlajcej wewntrzn

funkcj gwiazdy i nadanie jej bogatej, zota-

wej barwy. Nie tylko w peni realizowa nasze

zaoenia koncepcyjne, lecz naturalnie rwnie

spenia wszelkie techniczne kryteria materia-

owe narzucone nam przez tak wymagajcy

klimat, jaki panuje na zachodnim wybrzeu

Norwegii.

Ten konkretny stop miedzi nie pokrywa si

z czasem niebiesk czy zielon patyn, nawet

pod wpywem ostrych warunkw klimatycz-

nych, lecz zachowuje na dugo swj zotawy

odcie. Waciwoci tego materiau umoli-

wiaj rwnie tworzenie pocze pionowych,

poziomych czy ukonych, ktre podkrelaj

trjktny ksztat naszej gwiazdy. Co wicej,

materia tego typu mona podda proce-

sowi obrbki wykaczajcej w taki sposb,

by uzyska niezwykle wyranie zarysowane

krawdzie czy detale rynien. W ostatecznym

rozrachunku, wybr zotego stopu miedzi

z ca pewnoci okaza si opacalny, czego

najlepszym dowodem jest ostateczna forma

budynku.

Autorzy projektu:Space Group www.spacegroup.no

(Pena lista czonkw zespou architektonicznego i konsult

jest dostpna na stron ie www.copperconcept.org)

Wykonawca konstrukcji miedzianej: Mster Blikk Trond

Wykorzystane wyroby miedziane: Nordic Royal

Zdjcia: Joern Adde, Peter Hebeisen

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A3.01

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K1.17

Dekonstrukcja tradycyjnego atrium hotelowego.

Ch uchwycenia enomenalnych widokw zewntrznych

doprowadzia do utworzenia centralnej zotej gwiazdy.

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Napicie ronie

Na pocztku napicie ukryte w projekcie budowanejest w miar, jak zewntrzny, ekspresyjny plan hotelu

rozmywa si w przestrzeni, tworzc otwart przestrze

publiczn. W sercu konstrukcji znajduje si zorientowany

w pionie punkt centralny, pomylany jako transormacja

tradycyjnie pojmowanego, jednowymiarowego atrium

hotelowego w dynamiczn, trjwymiarow przestrze.

To w tym wanie miejscu atmosera i skala budowli

balansuj pomidzy intymnoci i widowiskowoci,

podobnie jak i panoramiczne widoki na zewntrz oraz

wewntrzne, krystaliczne ksztaty nawizujce do bu-

dzcych groz orm lodowcw, kliw i kry.

Za ponad nimi wszystkimi wznosz si dugie pasy zo-tego stopu miedzi uormowane na ksztat gwiazdy.

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Poruszajce ormy dachu tego nadmor-

skiego budynku klubowego demonstruj

swobod, jak projektantom zapewnia

mied, szczeglnie gdy stosowane s

techniki modelowania inormacji

o budynku Building Inormation

Modelling (BIM).

MIED W SWOBODNEJ POSTACI CYFROWEJ

Autorzy projektu: Walter Barda Design Wykorzystane wyroby miedziane: mied TECU Classic Wykonawca konstrukcji miedzianej: Copper & Zinc Link Zdjcia: dziki uprzejmoci Trend Mag

Tekst: opracowano w oparciu o artyku opublikowany na amach Trend Magazine na stronie www.trendsideas.com przy wsparciu Mortena Pedersena z Copper & Zinc Link.

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Budynki klubu jachtowego i zespou willowego tworz-

ce orodek pod nazw Hamilton Island Yacht Club and

Villas na wyspach Whitsunday, nalecych do austra-

lijskiej Wielkiej Ray Koralowej, zostay zaprojektowane tak,

by wyranie unaoczni ich wizualny wpyw na otoczenie, nie

tylko gdy spoglda si na nie z ldu czy z morza, lecz rwnie

z powietrza, bowiem wanie t drog na wysp przybywa

wielu goci. Architekci zakadali stworzenie budynku przerzu-

conego ponad alochronem i czcego elementy typowo

morskie z tradycj eglugi jachtowej. Proces projektowania za-

owocowa powstaniem niemal posgowego poczenia orm

pokrytych okadzin miedzian, odwoujcych si ksztatami

do postawionych na wiatr agli, spinakerw, kilw czy te wiru-

jcego wiatru, przypyww i odpyww oraz prdw morskich.

Centralnym punktem klubu jachtowego jest zadaszony ga-

nek, lub weranda, z ktrego drogi rozchodz si do prywatnych

pokoi i pomieszcze oglnodostpnych. Dziki stopniowemu

zrnicowaniu poziomw sutowych oraz rampie dla pie-

szych, z budynku doj mona do platormy wspornikowej

eektownie unoszcej si ponad taf wody. Budynki klubo-

we oeruj restauracje, bary, sal audytoryjn, pomieszczenia

konerencyjne, siowni, kryty basen, czy telni oraz przestrze

wystawiennicz. W orodku dostpnych jest take 35 wolno-

stojcych willi mieszkalnych.

Zoone formy okadziny miedzianej

Dachy klubu jachtowego, uormowane w skomplikowane

bryy przypominajce patki kwiatowe, opieraj si na stalo-

wych kolumnach o ksztatach zblionych do drzew, ktrych

gazie stykaj si z zakrzywionymi powierzchniami dachowy-

mi pod rnymi ktami. Budynek wyposaony zosta w ruszt

konstrukcyjny, ktrego rozpito siga 16 m, oraz wspornik

o wysokoci 11 m, ktre to elementy przenosz obcienia

boczne na ciany centralne. W ten sposb zminimalizowano

przestrze konstrukcyjn pomidzy pokryciem dachowym a

sutami, co stanowio jeden z wymogw stawianych przez ar-

chitektw. Rozwizanie to uprocio take proces wytwarzania

konstrukcji dachowej. Z kolei mied wybrano ze wzgldu na jej

trwao i cechy wizualne, jak rwnie naturalnie jej wyjtkow

zdolno do pokrywania zoonych, trjwymiarowych bry.

Modelowanie inormacji o budynku

Metoda BIM (Building Inormation Modeling) okazaa si by kluczowym

narzdziem w procesie opracowywania projektu budowlanego i samej

budowy kompleksu Hamilton Club, a zwaszcza tworzenia jego miedzia-nych dachw. Z uwagi na zoono ksztatw, konieczne okazao si

wykorzystanie znacznej liczby przekrojw i rysunkw technicznych de-

tali, aby mc skutecznie zaprezentowa dopasowanie poszczeglnych

elementw. Odpowiednie dane przekazywane byy innym zaintereso-

wanym stronom, na przykad producentowi stali konstrukcyjnej, ktry

bazowa bezporednio na modelu cyrowym.

Dostpno w peni cyrowego modelu budynku na miejscu prowadze-

nia robt oznaczaa take dla zespou odpowiedzialnego za budow

moliwo porwnywania trjwymiarowych szkicw z konstrukcj rze-

czywistego budynku w miar postpw prac. Dostpne byy rwnie

czciowe przekroje perspektywiczne poszczeglnych elementw, ktre

pozwalay wszystkim dokadnie zrozumie sposb, w jaki budynek mia

zosta wzniesiony. Jednak metoda BIM to wicej, ni tylko oprogramo-wanie CAD i modelowanie trjwymiarowe, jako e poszczeglnym

elementom i materiaom przypisywane s atrybuty modelowe takie jak

koszt, kwalikacje rodowiskowe czy czstotliwo konserwacji.

Modelowanie inormacji o budynku to metoda pozwalajca na

tworzenie kompleksowych modeli cyrowych na potrzeby prac projekto-

wych, produkcyjnych czy konstrukcyjnych, a take eksploatacji budynkw

z penym zaangaowaniem inwestora i uytkownikw. Umoliwia archi-

tektom tworzenie bardziej zrwnowaonych i dokadniejszych projektw,

minimalizujc usterki i straty. Opcje symulacji aktycznej eksploatacji

obiektu w warunkach rzeczywistych pozwalaj lepiej zrozumie zwizane

z danym projektem koszty, wymogi harmonogramowe oraz jego wpy w

rodowiskowy.

Wkrtce mona spodziewa si istotnego wzrostu znaczenia me-

tody BIM w projektowaniu wszelkiego rodzaju budynkw. Otwiera

ona szeroko drzwi architektom pragncym odkrywa nowe ormy

ekspresji, a mied jawi si w tym kontekcie jako materia idealnie

nadajcy si do realizacji najbardziej innowacyjnych projektw.

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GWIAZDA PRZEMIJAJCATa na wskro nowoczesna, pokryta okadzin ze zotego

stopu miedzi konstrukcja, skutecznie koncentruje uwag

przechodniw na wystawie pt. Zoty przepych: sztuka

zdobnicza redniowiecznej Westalii, jaka odbywa si

w Mnster w Niemczech.

Tymczasowy, nowoczesny pawilon ustawiony w sercu placu katedral-

nego (Dormplatz) daje wyrany kontrast historycznemu centrum

miasta, stanowic poczenie pomidzy przestrzeni wystawien-

nicz muzeum i komnat sztuki gmachu katedry. Projekt pawilonu jest

owocem wsppracy pomidzy Akademi Architektury w Mnster oraz

pracowni modulorbeat. Zesp 33 studentw pod kierownictwem Marca

Gnnewiga i Jana Kampshofa, opracowywa rne wersje wstpne pro-

jektu.

Zote rozwizanieOstatecznie jury konkursu przychylio si do wizji zotego rozwizania budy

ku w ksztacie gwiazdy na planie stylizowanego krzya, ktrego najbardzi

charakterystycznymi elementami stay si elewacje ze zotego stopu mied

Tymczasowy pawilon sucy popularyzacji sztuki to w Mnster nic noweg

Pi lat temu, pracownia modulorbeatzaprojektowaa podobny budynek,

w ktrym rwnie zastosowano powierzchnie ze stopw miedzi.Pawilon penicy unkcj ttnicego yciem warsztatu sta si miejsce

organizacji edukacyjnych sesji artystycznych towarzyszcych wystawie. Dzi

moliwoci zagldania do wntrza budynku poprzez oszklone ciany szcz

towe, jego prosta, wrcz surowa koncepcja architektoniczna przenosi si d

wntrza. Konstrukcja nona wykonana z litego lub krzyowo laminowaneg

drewna jest kompletnie odsonita, co powoduje, e powierzchnie posadze

sutw i cian rwnomiernie poyskuj w sposb typowy dla drewna, a p

dobnie rzecz si ma w przypadku omiu znajdujcych si we wntrzu sto

roboczych, zmontowanych osobicie przez czonkw zespou projektanckieg

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workshop

83,5 m2

information

12,9 m2

entrance

4,0 m2

ramp

sliding

door

l

Poudniowo-zachodnia asada z oszklon cian szczytow

Pnocno-wschodnia asada z zadaszonym wejciem

Elewacje modulowaneOpracowane przez architektw elewacje wykonane ze stopu miedzi byy

modulowane pionowo z zastosowaniem niepowtarzalnych proli o nie-

regularnych, alistych ksztatach, przypominajcych miechy. Ich szybk,

tani i bezproblemow produkcj zaja si specjalistyczna rma korzy-

stajca z wasnych technologii prolowania. Pawilon wystawy Zoty

splendor zyska wic bezkompromisow, jednorodnie zot orm, prze-

aman wycznie na cianach szczytowych konstrukcji na planie krzya

zatopionymi w nich drzwiami oraz oszklonymi powierzchniami.

Do momentu opublikowania niniejszego tekstu pawilon zostanie j

zdemontowany, jednak z zastosowaniem oryginalnych materiaw zost

nie odtworzony na terenie lokalnej szkoy, gdzie korzysta z niego bd

nauczyciele midzy innymi przedmiotw artystycznych, dziki czem

osignity zostanie koncepcyjnie spjny i w peni zrwnowaony eek

Autorzy projektu: Modulorbeat oraz Akademia Architektury w Mnster

Wykonawca konstrukcji miedzianej: Schabos GmbH

Producent preabrykowanych elementw miedzianych: MN Metallverarbeitung Neus

Wykorzystane wyroby miedziane: mied TECU Gold

Zdjcia: Christian Richters

Rzut kondygnacji

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The new structure sits on the ootprint

o the original building: well-positioned

or lieboat launching in bad weather

but also reducing the environmental

impact o the scheme. At rst sight,

the wave prole o The Lizard lieboat

station appears symbolic o its coastal

position - but orm really does ollow

unction and refects the arrangement

o internal accommodation, ocused on

the lieboat itsel. Essentially, the ves-

sel is mounted on a tipping cradle, which

tilts to align with the slipway, enabling it

to be launched and recovered allowing

volunteer crews to reach those in trou-

ble as quickly as possible. The outward

raking wall to the side o the building

refects the demand or accommodation

at the main foor level with ast access

straight onto the lieboat.

by Chris Hodson

The new RNLI lieboat station at The Lizard is protected by a curved copper skinto withstand the extremely aggressive coastal environment o its unique locationon Englands most southerly point. The RNLI charity saves lives at sea. Its volun-teers provide a 24-hour search and rescue service around the United Kingdom andRepublic o Ireland coasts. The buildings design was developed rom a previousproject, also by PBWC Architects, in Padstow, Cornwall. It is a direct response tothe specic technical demands o the new RNLI ast slipway type lieboat housedthere and is an exemplar or uture buildings o the type in other locations.

Weather-tight DesignAll accommodation is located on one

side o the building, which allows the

heated and serviced zones to be e-

ciently grouped together and all ventila-

tion and lighting needs to be met with a

strip o ribbon glazing or punched win-

dows within the raked wall. The curve

o the roo then encloses the minimum

volume required or the lieboat and cre-

ates a simple orm that lends itsel to

a single fexible roo nish. The design

aims to maximise roo area while mini-

mising penetrations to ensure a robust,

weather-tight nish.

Photo: PBWC Architects

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Copper ChoiceThe selection o metal roong was a logical

progression rom the development o the dis-

tinctive, wave-like, curved orm. PBWC project

architect Cian Spowart commented: Ater the

Padstow project, we reviewed the roofng ma-

terial and system or The Lizard lieboat sta-tion. Here, copper was selected or its durabili-

ty and capability o withstanding the aggressive

coastal environment, including the possibility

o debris being thrown up rom the sea. In ad-

dition, the aesthetic choice o copper over other

metal roofng was driven by its characteristic

weathering over time to give a rich green patina

complementing the aqua blue hues o the local

coastline.

Architects: PBWC Architects

Copper Installer: Full Metal Jacket

Copper product: Nordic Standard

Photos (where indicated) and drawings: PBWC Architects

All other photos: Geo Squibb (Cornish Pixels Photography)

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Challenging ConstructionUnsurprisingly, the buildings site at the

bottom o a tight, steep slope presented

special challenges with construction. The

building is predominately timber rame

with glulam-curved members providing the

iconic shape. Dry construction and preab-rication techniques are maximised or ast,

sae assembly and ecient deliveries to

site.

The double skin roo is nished in copper

trays with standing seam joints and was

installed by copper specialists Full Metal

Jacket, who recently won an Award or their

work on the project rom the National Fed-

eration o Roong Contractors. The long-

strip, copper trays were craned down onto

the building and installed by hand, display-

ing a particularly high standard o crats-manship under challenging conditions.

cOpper cONStrUctiO

Section D-D

Stairwell

Public Viewing

Boathouse

!

FA FB FE FFFDFC

. . .

. . .

. . .

!

!

F.F.L - 13.35

F.F.L - 10.25 (MAX)

F.F.L - 7.55

Main Floor

!Lower Floor

!Boatwell Floor

A-AB-B

!

!

! fuelcabinet

!

fuel tank

!. . .

. . .

. . .

!

!

F1 F2 F5 F6F4F3

C-C D-D E-E

Public Viewing

Boathouse

Boat Well

Section A-A

fuel cabinet

!Photo:PBWCArch

itects

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The Marlowe is, in ormal terms, a complex

pavilion. It sets up a dynamic relationship

with its viewers, giving dierent architec-tural and urban emphasis depending rom

where in the city it is viewed. At street

level, its architecture is ordered by an

8m high colonnaded loggia in white cast

Dolomite stone, which orms a portal to

the multi-level glazed oyer and sets up a

civic elevation to the Friars, an important

historic street within the city. The oyer

connects all the major internal spaces to

the riverside terraces and pathways and is

seen as a crystal ribbon by day transorm-

ing into a blade o light by night. New viewso the rootops o the historic city and its

cathedral open up rom the main stairs

and upper levels.

The colonnaded loggia mediates be-

tween the street scale o the Friars (the

street which the Marlowe aces) and the

necessarily larger orms o the two thea-

tres and the fy tower. The colonnaded

Standing on the banks o the River Stour and close to Canterbury Cathedrals

UNESCO World Heritage Site, the new Marlowe Theatre makes a bold

statement on the Canterbury skyline. Architect Keith Williams discusses his

practices competition-winning design and its use o materials.

Copper plays a distinct role in the composition of the theatre overall

Canterbury Tales

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COPPER ARCHITECTURE FORUM 33/2012

overhang also provides shelter to the

south-acing oyer rom high angle solar

gain and provides an architectural unity tothe composition. A new public square has

been created by setting the Marlowe back

rom the existing street edge.

The fy tower o the old theatre, widely

regarded as an eyesore, was the second

tallest structure in the city ater Bell

Harry, the medieval Cathedrals principal

tower. The new Marlowes fy tower is 9m

taller than its predecessor, allowing it to

be sculpted to create a pinnacle orm ac-

ing toward the Cathedral, adding accent

and silhouette to the citys skyline. Its

orm can be seen as a prominent symbol

o secular architecture within the historic

city whilst ensuring that Bell Harry re-

tains its predominance. From the east, the

fy tower dominates the street scene an-

nouncing this major new cultural project

within the city.

Materiality and ContextualityThe composition and massing o the new

Marlowe is rooted in its context. The build-ing is seen to step up in scale gradually

rom a lower-rise street scale along the

Friars, up to the larger volumes o the

main auditorium and fy tower beyond.

Materiality is also determined to a large

degree contextually, in that it borrows

the hues and tones o the Canterbury

townscape. The reconstituted stone col-

onnade takes its cue rom the whites and

creams o buildings in the city, whilst the

pre-oxidised brown copper cladding ech-

oes the colour and hues o the nearby tiledrootops. Materials are used to create

something highly contemporary, whilst at

the same time complimentary to the con-

text in terms o texture and colour.

Copper plays a distinct role in the compo-

sition o the theatre overall, surrounding

the volume o the studio space, which me-diates between the entrance scale and the

larger volumes beyond. The studio theatre

is raised 4 metres above the ground; a vol-

ume wrapped entirely in copper. As such it

is almost at roo level o the surrounding

buildings hence the relationship between

the reddish brown copper cladding with

the colouration o Canterburys rooscape.

The underside o this volume orms the

internal sot to the restaurant space cre-

ated beneath. The raising o the volume

allows the restaurant to be slid beneathat oyer level, giving views to an adjacent

external terrace and the banks o the River

Stour.

17

Architects: Keith Williams Architects

Copper Installer: TR Freeman

Copper product: TECU Oxid

Photos: Hlne Binet (unless indicated otherwise)

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Level 2 Level 3

Level 1

Photo: Keith Williams Architects

1. Paved Forecourt2. Foyer3. Box Oce4. Bar5. Cae6. Auditorium7. Stage8. Dressing Rooms9. Second Space

10. Creative Space

11. Administration Oces12. Meeting Room

1

2

2

3

4

5

6

7

8

8

11

Coun t er We i g h t Ar ea

2

2

4

9

:

.

.

.

.

.

.

.

.

l

4

9

10

11

11 12

8

8

:

.

.

.

.

.

.

.

.

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cOpper iN detail


Copper Studio

Horizontal standing seam bands o varying

widths (using trays o 230 mm, 430 mm

and 600 mm) wrap continuously around thestudio volume, with olded birds mouth

corner details enabling the horizontality

to fow continuously around all sides. At

the junction with the main glazed curtain

walling, the copper runs cleanly through

rom outside to inside, with internal

openings ormed to create a connection

between the studio theatre bar areas and

the main entrance oyer.

Though the rationale in each case is

dierent, the use o copper at the Marlowe

echoes our previous work at the Unicorn

Theatre in London, completed in 2005 (UK

Award Winner o the Copper in Architecture

Awards 13 in 2007).

Section AA

l li i ll

l l l ii i i

l lll i

l i i i i

i l i

i

l il l

l ii li

l l i

l i

130

50

110 160 140

Sealant type to be confirmedby copper sub-contractor -sealant to be compatible withboth copper and aluminium

back to back claddingangles - details and layoutto be confirmed by coppersub-contractor

copper rainscreenpanels on underlay

Metal angle by glazingsubcontractors to support EPDMand provide backing for copper toseal against at a later stage

80mm insulationon vapour barrier

FW60+SG Level 3 curtain wallOpaque glazing to high panelsto conceal structure

Mullion tied back to structural steelto glazing subcontractors details

18mm plywood

210

TOS +22.935

7

11

6

2

1

2

2

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ANIMATING

THE UTILITARIAN

Forming part o the Hub development at Nottingham RailwayStation, this 6-storey structure accommodates 950 car spaces.

The 112 m long building is sandwiched between the railway to

the north and the busy Queens Road to the south with older

buildings beyond. Architects Leeds Studio developed an original

design by another practice, BDP, (ollowing a successul bid by

VINCI Construction UK) adding an array o horizontally banded

vertical copper panels to transorm this typical parking building.

The panels create an architectural language and are continuous

over curtain walling as well as conventional open car parking

decks, only being broken by the concrete lit core on the West

Elevation.

The palette o copper suraces at Nottingham includes solid

green pre-patinated copper and a variant with less intense

patination, revealing some background material. Standard mill

nish and light brown pre-oxidised copper were also used, to-

gether with an alloy o copper and aluminium with a long-lasting

golden colour which provides distinctive highlights around the

building.

Although creating a random, abstract eel, arrangement o the

panels is based on a limited modular language with three panel

widths: 210 mm, 420 mm and 840 mm, and spacing between o:

105 mm, 210 mm and 420 mm. Panels are generally 2870 mm

high with some reduced to 1470 mm crowning the top o thebuilding and where the base o the cladding is raised up.

by Chris Hodson

An abstract design using vertical panels o copper with

dierent suraces animates long, straight acades o an

otherwise typical multi-storey car park, adding a sense o

movement which refects its transport interchange setting.

Architects: Leeds Studio

Copper Installer: CA Group

Main Contractor: VINCI Construction UK

Copper products: Nordic GreenTM Traditional, Nordic GreenTM Living 1

Nordic Standard, Nordic BrownTM Light, Nordic RoyalTM

Photos: Chris Hodson

Drawings: Leeds Studio

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Tere is a designed progressionof copper colours running

around the whole building

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A Mosaic of ColourThe composition gives a mosaic o colour that sits in clearly de-

ned horizontal bands along the length o the building, breaking

up the subservient concrete rame - typical o multi-storey car

park buildings - and curtain walling. The eect is particularly

animated on the two long elevations, especially when viewed

rom moving trains or cars. In addition to the layering o ma-

terials, the colour choices are carried through in the design torepresent diering aspects o the location.

Project architect Antony Hall explained: The copper panels

to the North are predominantly in green shades and reer to the

modern aspect o the adjacent railway. The panels on the South

are predominantly in traditional brown copper shades to reer-

ence the brick heritage warehouses and other structures lining

the conservation area opposite across the busy road. Key view-

points ormed in locations around the building are highlighted

with the golden coloured copper alloy. Vertical circulation ele-

ments are also highlighted in the same manner. There is a de-

signed progression o copper colours running around the whole

building, beginning and ending at the West Elevation lit shat.We have also anticipated the natural changes to copper in the

environment.

Multi-storey car park architecture is generally constrained by

vehicle circulation and other technical demands, reducing it to

a utilitarian level. But the numerous permutations of surfaces

and forms available with architectural copper today offer de-

signers exciting possibilities to treat bare facades as a blank

canvas. The Nottingham project is an inspiring example of this

approach.

North Elevation showing the disposition o green, gold and brown copper shades.

The previous station car park t ypies the conventional open concrete deckdesign approach, contrasting with that o the new building.

South Elevation.

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COPPER AT THE HEART

OF THE COMMUNITY

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This landmark building makes symbolic as well as unctional use o itsperorated golden copper alloy acades to generate a new civic ocus.Pollard Thomas Edwards architects describe how the programme anddesign developed a new typology o school and community building.

Overall complex with Deptord Lounge on the right.

Deptord Lounge is the jewel inthe crown o the regeneration o

Deptord. Tis is a antasticpublic space with rst-classacilities, which is already

proving popular withthe community.

- Sir Steve Bullock, Mayor o Lewisham

Photo: Chris Hodson

Resolution Way Resolution Studios School School Play School Deptord Lounge Griin Street Deptord Lounge School School Play School Resolution

Resolutio

The brie rom the London Borough o Lewisham was to create the centrepiece

o their regeneration o Deptord Town Centre a new civic ocus or Deptord.

This was to include a state-o-the-art public library, including a resource centre

and council services centre called the Deptord Lounge with a new building

or Tidemill Primary School, relocated rom its existing site.

Our scheme, completed in December 2011, created rom the bare bones o this

brie, a highly innovative mix o co-located uses on a single site: the completed

complex houses acilities shared between the new primary school and the whole

community via the Deptord Lounge. To this mix we also added apartments over

artists studios and exhibition space Resolution Studios.

The design was also driven by the aspiration to restore to Deptord something

o the grandeur o its past, rst as a hub o shipbuilding and later as the location

o the rst railway station south o the River Thames. Now the golden Lounge

building sails galleon-like above Gin Square, a new public space or Deptord.

Tidemill Academy lies within an urban oasis, sheltered on one side by the Dept-

ord Lounge and on the other by Resolution studios, with classrooms grouped

around a green and leay central play space. And new homes look out over the

historic St Pauls Church and the railway line leading over the r iver.

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School and Community Use

Shared acilities o Deptord Lounge include a rootop sports

pitch, a fexible suite o assembly spaces and a dining hall and

kitchen, which are available or hire. All these acilities are lo-

cated on the upper foors o the Lounge building and all elements

have separate access points both rom within the school and

rom the public realm. This enables the school to have sole use

o the shared acilities during the school day. Then, out o school

hours, the shared acilities orm an integral part o the Deptord

Lounge and are open to the whole community.

The rootop sports pitch enclosed by pierced copp er alloy panels.

School playground with steps to the Deptord Lounge beyond.Photo:ArcEyeImagesLtd/RobertG

reshoff2012

Photo:ArcEye

ImagesLtd/RobertGreshoff2012

Photo:ArcEyeImagesLtd/RobertGreshoff2012

Photo:ChrisHodson

Photo:ChrisHodson

Architects: Pollard Thomas Edwards architects www.ptea.co.uk

Copper installer: English Architectural Glass (EAG)

Copper Products: Nordic Royal

Photos: Chris Hodson, Robert Gresho (ArcEye Images Ltd)

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INTERVIEW

CH:How did your selection o the golden cop-

per alloy come about and did you look at othermaterials?

HK-B: We wanted a material that related

strongly to the conceptual meaning o the

Deptord Lounge on a series o levels. It was

to be seen as a landmark a civic ocus or

all ages and cultures. Initially timber cladding

was considered, relating to Deptords nautical

past but timber requires maintenance. We

also sought an inspiring material, with reec-

tive properties that would give the building a

jewel-like quality set against its main street

context. Tis meant considering various met-

als including copper. It also led to the idea oexpanded metal meshes or perorated sheets.

We elt that the perorated golden copper al-

loy cladding oered multiple meanings on a

conceptual level. Te gold surace symbolises

wealth across all cultures, welcoming and

bringing together a diverse community into

a building that oers a wealth o knowledge

and services.

CH: What about sustainability and environ-

mental considerations when choosing the aade

material?

HK-B: Copper and its alloys have sound sus-

tainable credentials with exceptional durabili-

ty and liespan. Te weathering characteristics

o this copper alloy are important: the mate-

rial is virtually maintenance ree and provides

a surace that will change very little over time,

which means it wi ll retain its crisp jewel like

quality.

CH: What were the design intentions behind this

dramatic statement o a transparent golden skin?HK-B: Te wrapping o the gold cladding

aims to uniy the buildings complex range o

unctions, binding them together.

Contextually, it relates to various points o

Deptords rich history, including its growth

rom a small shing village into the Royal Na-

val Dockyard with links to HMS Discovery,

Sir Francis Drake and Captain James Cook.

So, the wrapping has multiple unctions and

reerences. From a distance the golden orm

appears solid but close-up reveals itsel as

transparent and light-weight, oating above

its glazed base. On a unctional level, thewrapping provides solar shading to the large

areas o glazing, while also allowing suitable

levels o light in.

CH: How were these intentions realised on the

building with the pierced copper alloy panels and

how did the detailed design develop?

HK-B: Te panels are rigid olded cassettes

that provide sharp and clean joints between

panels, rather than something that would

buckle and distort. Te nautical reerences

continue with the setting-out o the panelsin a stretcher bond pattern like historic tim-

ber hull construction in ship-building. Te

perorations are kept back rom the edges to

help express each panel individually while

retaining rigidity. We explored various pero-

ration shapes, rom square to raised diamond

patterned with a cheese grater appearance,

and settled on simple circular holes, again ar-

ranged in a stretcher bond pattern. Dierentlevels o peroration were also considered, as

the transparency o the wrapping adds anoth-

er dimension with the play o light. Te build-

ing responds to its uses and environment,

continually changing with light conditions

throughout the day and into the evening, be-

coming more or less revealing suggesting

discovery. Te level o transparency increases

with distance away rom the solid ships bow

corner, with its large symbolic window, gradu-

ally blurring solid and void.

CH:How was the light, foating eel o the piercedcopper alloy skin achieved in structural terms?

HK-B: Initially, the cladding was to be sus-

pended on rods rom a ring beam. But due to

the buildings subtle shits o orm both in

the vertical and horizontal planes additional

support was required, depending on location

around the building. Te solution was to x

steel brackets back to the main building struc-

ture at the top and bottom o the wall. Tese

then support a rame and suspension rods, to

which the copper al loy panels were xed. Ad-

ditional structure and stays were incorporated

where the golden wrapping pulled urther

away rom the building, reducing movement

rom wind loading. Te transparency o the

panels also oered urther opportunities to

express the structure behind with honesty.

Chris Hodson discusses the transparency and materiality o the Deptord Lounge acades

with Hamish Kilord-Brown, Project Architect at Pollard Thomas Edwards architects.


Photos: Chris Hodson

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Te Jelling runic stones mark Denmarks transition to Christi-

anity in the year 965 and the monument is also known as Den-

marks birth certicate. Inaugurated in December 2011, the

project is based on the winning competition design by NOBEL

arkitekter. Our principal aims were to protect the runic stones

or the uture and, at the same time, provide an architectural

composition allowing spectators to get very close to them.

Sheltering Bronze Hands

Deceptively simple bronze and glass structures provide a safe

environment for preserving two unique 10th century runic

stones designated a UNESCO World Heritage site - at Jell-

ing Church, Denmark. But these interventions go well beyond

conservation, seeking to transform the visitor experience, as

architect Erik Nobel explains.

by Chris Hodson

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29COPPER ARCHITECTURE FORUM 33/2012 29

Te design orms a stylised dialogue between the two stones,

which represent the rst two kings o Denmark Gorm and

Harald Bluetooth. Te bronze angles orm one gable and the

roo or each structure, while the other aces are ully glazed. Our

objective was to accentuate the runic stones curved orms by

contrasting them with the straight lines o the coverings which,

in a metaphorical sense, hold protective hands over them. Te

cast bronze contrasts with the texture o the ancient stones and

highlights their grey and reddish granite suraces.

Te requirement or creating a controlled climate around the

stones was a centra l consideration in the development o the pro-

ject. Our consulting engineers rom Rambll designed a special

heating and ventilation system which ensures a rost-ree climate

around the runic stones. Articial lighting has been discreetly

added using specially designed bre-optic light sources, which

are integrated in the roo structure.

Te lighting emphasises the stones runic scriptures and visual

motis, and accentuates their shapes. Juxtaposed with the angu-

lar bronze orms, the articial lighting creates a completely new

way o viewing the rune stones, enhancing the experience o one

o Denmarks most valuable monuments.

Architect: NOBEL arkitekter a/sPhotos: Jens Lindhe (unless indicated otherwise)

Photo: NOBEL

Plan arrangement

Elevation

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We were appointed to careully restore elements o the ex isting

architecture creating a contemporary yet sensitive addition to

the rear. o the ront o the property the new addition appears as

a simple copper box peeping above the layers o existing green

glazed tiles o the existing home.

In the reurbishment, living and entertaining space is provided

at ground oor through the introduction o a predominantly sin-

gle storey glazed element. At rst oor, a layered copper and oak

orm appears to delicately hover. Set on a shited geometry to

acknowledge the existing building orm, this creates a series o

overhangs, cantilevers and canopies to shelter its occupants rom

the persistent Welsh rain.

Copper over timeTis thoroughly modern addition to an existing home in

Cardif, South Wales discussed by Kristian Hyde o Hyde

+ Hyde Architects combines copper with oak and glass in

its careully conceived design to anticipate change.

Te original house is quirky but beautiul. Te unknown ar-

chitect has put a great deal o eort into the detailing, some

o which is very playul. Tere is a certain humour about some

o the spaces that continue to make our clients smile. Te new

addition responds with a singular oak clad curve at rst oor

which mimics the geometry o the existing curved glazing o

the main house. Tis is introduced to turn the new addition

into the main private garden at the rear.

Copper was chosen as a suitable material or acades and other

details to converse with the existing green glazed roo tiles o

the existing dwelling. Ater a decade it will begin to relate in

colour and tone to the existing tiles nearby, its salmon pink and

russet brown tones will be gone orever. Tats the beauty o

copper, its timeless and orces us to think about buildings in

time. Coppers material character helps buildings eel as i they

have always been there.

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Tats the beauty o coppeits timeless and orces

to think about buildings in tim

Architects: Hyde + Hyde Archit

Photos: Kristian Alexander Hyde, Warren Orc

Internal openable wor natural ventilatio

Timber cladding ree

materiality o tree ca

Hardwood concealed glazing

Copper standingseam to matchexisting vocabularyo green roo

Original House

UPPER LEVEL PLAN

Terrace

New Addition

Bedroom

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copper has been used comprehensively across acades,

plinth and roos creating a single-material skin

Photo:MarttiKapanen

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Famous

Neighbours

The Centre displays Aaltos masterul touch, ranging

rom the areas town planning to the smallest door

detail and is an invaluable cultural asset which gives

the whole town its identity. Five Aalto buildings make

up the Centre: the City Hall, State Oce Building,

Theatre, the Cross o the Plains Church and the Old

Library.

DIALOGUE BETWEEN OLD AND NEW

Built in 1965, the Librar y needed a modern extension

to meet todays demands and JKMMs design, called

Clover, won the competition or the project. The aim

was to create dialogue between old and new. The new

library respects the protected cultural environment

but, at the same time, takes pride in contemporary

architecture. One o the objectives o the design was

to nd an interace with the typical characteristics oAlvar Aaltos architecture without imitating it.

The Finnish town o Seinjoki hosts the mos

extensive cluster o buildings designed by Alva

Aalto in the world. Asmo Jaaksi o architectsJKMM explains his practices approach to design

ing a new addition to this hallowed Aalto Centre.

Photo:TuomasU

usheimo

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VARIED INTERESTING SHAPES

The new library stands separate rom Altos

original, although connected by an under-

ground link. Division o the building into

three sculptural units was an important de-

cision to be able to blend the large buildingvolume with the surrounding townscape.

This generates varied, interesting shapes

when viewed rom dierent directions. The

exposed boarded-ormwork concrete in-

teriors are punctuated by careully placed

windows and larger glazing oering con-

trolled views o the Centre. The view rom

the glazed wall in the main library hall is

dominated by the highlights o the area: the

bell tower or the Cross o the Plains Church

and the an-shaped acade o the original

Aalto Library. The heart o the building isthe wide staircase, intended or dierent

events and as an inormal meeting place,

which leads to the collection departments

on the ground foor and through the con-

necting underground corridor to the Aalto

Library.

LIVELY AND VIVID SURFACE

The external skin o the new library is

dominated by copper. The darkening pre-

oxidised copper sets the new library apartrom the whiteness o the surrounding

buildings. Copper is not a new material to

the area but in the Aalto Centre it is mainly

the roos that eature the materials beauti-

ully patinated green suraces. In the new

library, copper has been used comprehen-

sively across acades, plinth and roos

creating a single-material skin.

A special shape o copper shingle was spe-

cically designed or the acades to give the

building a highly individual, lively and vivid

surace. In some situations, the shingle

surace is ormed into ventilation slots to

accommodate air handling. Copper is also

used to orm vertical grilles and as a door

acing to maintain the material continuity.

Photo:TuomasUusheimo

Photo:TuomasUusheimo

Photo:MarttiKapanen

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CELLAR 1:500

READINGSTEPS

YOUTH,MUSIC,MOVIES

OPEN STACK

SOCIALSPACES

EXHIBITION

MUSICLISTENING

GAMES

YOUTHINFO

GROUND LEVEL 1:500

BOOK HALL

CHILDREN

NEWS AREA

ENTRANCE HALL

READINGSTEPS

SILENTREADINGROOM

CUSTOMERSERVICE

CAFE

JAAKSI HALL

BOOKMOBILESTACK

OFFICES

OFFICES

DISTRIBUTION

A

A

B

B

PLAY

EXHIBITION

1ST FLOOR 1:500

OFFICES

OFFICES

OFFICES

MEETINGROOM STAFF

CAFE

A

Facade nort

Facade north

Facade sout

Facade sout

NORTHWEST

NORTHEAST

SOUTHWEST

SOUTHEAST

Section A

Section B

SECTION A 1:500

::

T T L L L T L. + . + . .

: : . .

: ECTION B 1:500

::

Cellar Ground level 1st Floor

Architects: JKMM

Copper Installer: Pohjanmaan Pelti

Copper Product: Nordic Brown Light

Photos: Tuomas Uusheimo, Martti Kapanen

Photo:MarttiKapanen

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All Saints Academy is a church schoolor the community in Cheltenham,UK. It provides secondary education or

900 pupils and 250 sixth-orm students.

Te buildings striking orm curves around

an impressive external plaza with an ele-

gant canopy and three-storey high glazed

atrium at its centre. Te design developed

around the concept o a hand, the atrium

acting as a uni ying device rom which key

internal and external areas are accessed.Curved open galleries within lead to three

radiating learning wings providing most o

the classroom accommodation.

A Visible BeaconTe entrance atrium orms the heart o the

building and the public ace o the Acad-

emy. Above the reception area rises the

distinctive conical orm o the copper-clad

chapel. It acts as a visible beacon reecting

the Christian ethos o the Academy. Te

building is clad with a limited palette o

materials. Te ground oor is brickwork

to provide a human scale to the Academy

as well as being durable. Upper levels are

clad with an insulated render system. Te

copper shingles to the chapel and the con-

dent use o colour oer a lively counter-

point to the rened acades.

Sculpting o the chapel brings light pour-

ing into the space rom above. A single

slot window with a coloured glass design

provides a ocus within the contemplative

space. At roo level, the cone is truncated

and a large opening ormed in the vertical

ace, inlled with glazing. A separate, low-

er copper clad orm completes the compo-

sition and encloses mechanical plant ser-

vicing the chapel.

A chapel in the distinctive form of a copper-clad cone is at the heart of the glazed

atrium welcoming visitors to this new school. Russel Hayden of Nicholas Hare

Architects discusses the design concept and how it was realised.

CONICAL COPPER

Learning wings

Dining and kitchen

Main hall and drama

Chapel above reception

Library

Primary circulation

WCs and changing areas

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cOpper clOSe-Up

Covering the Cone with CopperA key element o the concept was or the

chapel to appear monolithic both with-

in the space and externally as it reached

through the atrium roo. Te original

proposal was or timber cladding, but the

design team recognised the difculty o

ensuring the internal and external elements

would weather consistently. Bright copper

was selected with a special, anti-weathering

coating to minimise any change as the sur-

ace aged.

Shingles were chosen to deal with the com-

plex orm that curves in both plan and

section. Te cladding o the chapel was

undertaken with real cratsmanship by

NDM, the copper shingles gradually re-

ducing in size to accommodate the conical

shape. Te orm was computer modelled,

as the size o each row o shingles had to

be calculated to suit the diminishing diam-

eter.

Architects: Nicholas Hare Architectswww.nicholashare.co.uk

Copper Installer: NDM Metal Rooing & Cladding

Copper Product: TECU Classic (coated)

Photos: Huton+Crow

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COPPER ARCHITECTURE NEW

The Copperconcept App

Free & available for iPhone and iPad.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum Articles

Copper Architecture on-lineExperience copper architecture online- a denitive resource or architectural insp

ration, including electronic versions o Copper Architecture Forum, the EuropeaCopper in Architecture Awards and many other helpul publications available

www.copperconcept.org

Copperconcept.org is organised into 17 separate language sections, each edite

locally. The website eatures an extensive selection o regularly updated projec

reerences, demonstrating dierent uses o copper and highlighting some o th

best examples o copper architecture rom around Europe and beyond. O course

inormation on the European Copper in Architecture Awards can be ound there

alongside articles on topical issues, such as the antimicrobial capabilities o coppe

As well as design inspiration, Copperconcept.org gives access to a range o arch

tectural and technical publications, and links to other organisations including cop

per abricators. Journalists and editors can also access press releases, articles an

images or publication. Finally and most importantly the website hosts Coppe

Architecture Forum and you can register or your ree subscription there, as well a

download the latest, and previous, issues o the magazine.

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

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ARCHITECTURAL

AWARDS LAUNCH

Entries are invited for the 2013 European Copper in Architecture Awards

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

their work to an international audience.

All entries must incorporate facades, roong or other architecturalelements of copper or copper alloys. Any scale or type of project

can be entered from major landmark buildings to modest schemes.

Architects and critics, drawn from a panel including some of the

most inuential designers in Europe, will judge all the entries on

their architectural qualities from graphic submissions.

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