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ЖУРНАЛ О МЕДИ Д ЛЯ СТРОИТЕЛЬНОЙ ОТРАСЛИ • 25/2008
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Hannele Numminen
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Церковь СвятогоИоанна Богословав Тарту, Эстония.
Эско Миттинен,
архитектор из компании SAFA
Церковь Святого Иоанна Богос-
лова в Тарту строилась этапа-ми, начиная с четырнадцатого и
вплоть до восемнадцатого столетия. Втечение этого времени храм приобрелнастоящий облик. Церковь построена изкирпича. Первоначально храм планиро-валось возвести в готическом стиле. Напротяжении всей истории своего суще-ствования церковь несколько раз раз-рушали. Верхняя часть башни, своды иклирос храма были разрушены во времяСеверной войны в 18-м столетии.
В 19-м веке храм восстановили, внесянекоторые изменения в его облик. Ав-тором проекта по восстановлению хра-ма стал архитектор Гайст. Фасад зданиябыл обновлен в конце 19-го - начале 20-го столетия и в начале 20-го столетияпод руководством Ригана и архитектораБокслаффа.
В 1944 году, в конце Второй Мировойвойны, храм был разрушен. В 1952 году обрушились северная стена и неф
В 1989 году запустили проект повосстановлению церкви. Эстонскаяархитектурно-строительная фирма OÜWunibald Ehitus приступила к реставра-ционным работам в 1991 году.
На пожертвованные жителями Тарту деньги на храм уложили кровлю из меди.Храм был восстановлен и открыт для по-
сетителей в 1999 году.В 2002 году компанию As. EhitusfrmaRand and Tuulberg наняли в качестве ге-нерального подрядчика для реализациипроекта по реконструкции храма. Глав-ная задача, которую поставили передработниками компании, заключалась
в том, чтобы восстановить церковь в
первоначальном виде. Для выполненияданной работы, по мере возможностинужно было придерживаться ориги-нальных технологий использовавшихсядля возведения храма несколько столе-тий назад.
Ответственными за выполнение про-екта по реконструкции средневеково-го храма стали архитекторы компанииARG, в том числе Удо Тиирмаа, тесносотрудничавшие с историком КауромФлеетоа.
С 1993 по 1996 работы в рамках про-екта реставрации были направлены наусиление основания церкви. Для укре-
пления стен башни использовалисьстальные трубы. Одновременно с уста-новкой укрепляющих стальных трубпоэтапно проводились работы по залив-ке фундамента. В результате получилиплавающее основание. Кари Аввелан,дипломированный специалист в обла-сти новых технологий в строительствеконструкторской фирмы Kareg Oy, спро-ектировал и следил за выполнением ра-бот данной части проекта по восстанов-лению церкви.
Церковь – важный элемент в архи-тектуре средневекового города Тарту.Это образец ранней архитектуры горо-да, являющийся образцом, прообразом
и воплощением эстетического аспектаградостроительства.
Церковь Святого Ионна Богословав Тарту известна всей мировой обще-ственности благодаря исключительнымтерракотовым скульптурам.
Вид, открывающийся с улицы Джаани.
Вход в церковь.
Церковная башня.
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Вид на улицу Люубеки.
Месторасположения церкви и ее план. Основание башни
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COPPER –
HE ESSENIALMAERIAL OF
HE INSPRAIONAL
WOODEN BOA CENRE
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Sleek sailing boats were the source oinspiration or the design
Architect Jesperi Vara o the Lahdelma & Mahlamäki Oy Ar-
chitectural Oce states that it would be wrong to say the build-
ing is simply an overturned boat. It is much more. Te contour
is patterned on the sleek lines o sailing boats and the structureso the hull, but bearing any constructional limitations in mind.
Te large glass suraces give transparency to the activities, and
together with the copper surace they reect the vicinity o the
sea and the port. Te renovation and building o wooden boats
require great skill and superb cratsmanship as well as careully
selected high-quality materials. Tis idea is best reected in the
selection o a natural and valued surace material or the açade
– a material that displays the mastery o the highly skilled crats-
men and later on the patina o age.
Te shape o the building also inspired the architects to select
copper. Te practical demands made on the building were basedon the instructions given by Wooden Boat Builder Allan Savol-
ainen. Architect Vara captures the true nature o copper in his
description o it as a natural and honest material with a timeless
quality in any environment. Copper maintains its individual
properties in dierent applications.
Kotka Town on the Baltic coast is the home o the sleek new wooden boat centre. Copper was
considered as the açade material rom the outset. The owner o the centre ound the copper
sheeting proposed by the architects so ascinating that there was no need to consider other
alternatives. The architects drew their inspiration rom the sleek lines and the hull structure o
sailing boats.
Smooth cooperation and highly skilledcratsmanship
Te successul outcome o the project was guaranteed by smooth
cooperation among all the project parties throughout the con-
struction stage. Architect Vara admits that the highly skilled
sheet metal workmanship and commitment shown by the Kan-gasniemen Peltityö Sheet Metal Works were vital to the project s
success. Project Head Pekka Pynnönen o Kangasniemen Pel-
tityö states that the project posed an exciting challenge, as it
was a unique opportunity – there was no previous experience o
anything similar. It was extremely important to pay scrupulous
attention to every deta il to ensure the architect s and the owner s
wishes were carried out exactly as intended. Tis, o course, re-
quired smooth cooperation among the dierent players. Careul
planning and scheduling o delivery times o materials were also
absolutely essential to assure the timely progress and completion
o the project.
Written by Hannele Numminen
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Building details
Originally the copper sheeting was intended to be 0.8
mm thick, but in the end 0.7-mm thickness was used.
A total o 13,000 kg o Nordic Brown copper sheet-
ing and Luvata NSF Panel 402 açade lamellas were
used. However, the lamellas were slightly alteredater sample installation. The alteration was easy to
carry out as the sheet metal works had been com-
missioned to manuacture the lamellas. The 1,300
lamellas used were mainly sized 600x1800 mm. Also
200 kg o Nordic Prenet net sheeting was installed
on the building. Stainless-steel brackets and screws
were used as asteners, and the seaming is mostly o
double rebating type.
Additionally, there are curved suraces, which orm
the lower ceiling at the ends o the building. Double
rebating seaming could not be used on these sur-
aces, but they were seamed using the tongue-and-groove joints. The convex surace becomes partly
concave with a varying radius. All these details were
given careul consideration in advance, drawings
were made and approval received rom the architect
beore implementation. The substructure required
uncompromised precision rom the carpenters, but
the closely cooperating building crew managed to
overcome this problem, too.
The ramework o the building is supported by steel
arcs visible inside. Attached to the steel arcs are the
glued laminated timber, the plywood, the supporting
rails or the ventilation space, the surace plywoodand the elt used as the actual waterproong, on
which the copper sheeting is installed. The main con-
tractor o the building was YIT Rakennus Oy, which
had also previously done building work in the Kotka
area in cooperation with the sheet metal works. This
meant that the supervisors as well as the carpenters
knew each other rom beore, which acilitated the
implementation o a demanding project like this, and
ensured that scheduling and execution o the building
work went according to plan. The completed Kotka
Wooden Boat Centre is a ne example o superb de-
sign and skilled cratsmanship.
The Finnish Wooden Boat Centre
Owner: Oy Scripo Ab / Henrik AndersinCommissioned by Martina and Henrik Andersin
Project Coordinator: Leo SkogströmArchitect: Lahdelma & Mahlamäki Oy Architectural Oce /
Ilmari Lahdelma, Jesperi VaraStructural Engineering: Magnus Malmberg Oy Engineering Oce
Main Contractor: YIT Rakennus OyCopper roof: Kangasniemen Peltityö Ky
Sheet Metal Works / Pekka Pynnönen
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AE Stålmontage produced the 12 tonnes o1.00 mm semi-hardened Tombak sheets orcladding with interlocking panels.
Client: Casa Entreprise
Architects: Vallentin & Haugland
Tombak acade: AE Stålmontage
Tombak acade on administration andwarehouse buildingHorsens–Denmark
Casa Entreprise has moved into its
new administration and warehou-
se building, where the client andarchitect chose to clad the administration
section with cassettes o Tombak, an alloy
consisting o 80% copper and 20% zinc.
Over time, the acade will change rom its
characteristic golden sheen to an attrac-
tive bronze colour.
The project involves around 2,000 m2 split
between two administration buildings and
associated warehouse sheds. The sheds
are built around a common manoeuvring
area at the back o the buildings, so thatthe administration acade aces the en-
trance.
By Mogens Præstegaard
Because the warehouse sheds need a
large manoeuvring area, it was only natu-
ral to keep their rooine the same as orthe administration buildings. As such, the
latter are integrated with the warehouse
sheds, to achieve harmonious incorpora-
tion o the building elements.
The administration buildings are raised
rom ground level, to create a good view
rom the ofces and space or parking un-
derneath the building.
The sheds consist o light coloured con-
crete elements, and only the administra-
tion block is clad in Tombak.
The distinctive entrance consists o glassand black zinc.
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A mellow patchworkIn spite o its massive size, the building maintains a composed and peaceul appear-
ance. Te dierent height levels o the açade enliven and lighten the building. Ini-
tially the architect had planned to use rock and glass on the açade, but changed his
mind ater becoming acquainted with the Finnish copper architecture. Inspired by the
widely admired Laajasalo Church, the architect decided to use copper ribbons o two
dierent tones with varying amounts o patina on the surace. Te use o two shades
and dierent lengths o ribbons creates an interesting patchwork quilt eect. However,
the gradation o similar shades conveys peaceulness and balance.
“Random harmony”Te street-level shopping centre merges into the building extremely well. Te 34 apart-
ments above the shops with their balconies and abundant glass suraces lighten the
colourul açade. Te pre-patinated copper panels were installed without any precise
plan to allow a ortuitous combination o tones. Te result is a harmonious interrela-
tion well balanced with the architecture in the rest o the building.
Equal amounts o the darker Nordic Green Living 1 copper and the lighter Nordic
Green raditional were used. Te panels were 0.7 mm thick, and a total o 1,500
square metres o copper was installed. Te fnished shopping centre with the apart-
ments is an interesting construction and certainly unique in Hoorn. Te varied green
o the patina tones with the lush park-like environment extremely well.
Pictures by Erik Droog rom Rietvink Architects
Written by Hannele Numminen
”De Korenbloem”Creativity was given wings, when dierent surace patterns were al-
ternated on the copper açade o a Dutch block o ats. Pre-patinated
copper ribbons were toned in a patination procedure during produc-
tion. When the shades and lengths o the ribbons were varied, the
end result was entirely unpredictable. This kind o approach was
adopted by Rietvink Architecten bna., a Dutch architectural ofce,
which designed the business and apartment building in Hoorn – a
perect example o a successul and unprejudiced use o copper.
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Architect: Rietvink Architecten bnaOosthuizen, the Netherlands
Contractor:Leebo in Drunen, the Netherlands
Pictures by Erik Droog rom Rietvink ArchitectsWritten by Hannele Numminen
Arkkitehti: Rietvink Architecten bnaOosthuizen, the Netherlands
Urakoitsija:
Leebo in Drunen, the Netherlands
in Hoorn – a celebration o copper colours
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The fve-star Astir Palace hotel on the Athenian Riviera
on the Mediterranean coast oers the guests a wonderul
escape to a world o luxury and indulgence. The hotel is
surrounded by the rich colours o Greece ranging rom the
greens o the landscape to the blues o the Mediterranean.
The hotel also has a spa and 77 bungalows entirely renova-
ted over the past year. Prepatinated Finnish Nordic Green
PLUS copper has been used as the roofng material or the
bungalows.
Mediterrane
Blue and greenIn addition to the hotel and the spa the Astir Palace also has 77
bungalows built in long chains near the beach. Te bungalows are
built on dierent levels orming a terraced profle on the shore.
Te landscape around the hotel area mainly eatures various sha-
des o blue and green, and one o the requirements set or the roo-
fng material was that it would melt into the surroundings. Sincethe Astir Palace is located in a protected conservation area, which
is archaeologically invaluable, a lot o actors had to be taken into
account in the design stage.
Te Zeppos – Georgiadi & Associates Architectural Oce were
well aware o these special conditions when they undertook the
extensive renovation project. Tey were amiliar with the Finnish
Nordic products and asked or product samples o roofng mate-
rials. Among these samples they ound exactly what they wanted!
Te samples o copper convinced the architects that prepatinated
copper would create the eect they had in mind or the bunga-
lows.
Excellent choiceTe Greek contractor Achilleus echniki S.A placed an order or
47 tons o Nordic Green PLUS copper ribbon. Te ribbon was de-
livered prepatinated, which meant it was easy and quick to install.
Te shade selected appears naturally aged and is in perect har-
mony with the surrounding cultural heritage. Besides, the other
properties o copper also justiy its use: it is a durable material able
to withstand the weather by the sea.
Installation was done by DBS-Steopoulos, a Greek sheet metal
works. Te complete renovation o the bungalows was an extensi-
ve project, but everything advanced speedily without any parti-
cular problems, and the project was completed in seven months!
Te word copper is believed to originate rom the Greek Isle o
Cyprus, so Greece has a long tradition o the use o copper.
By Hannele Numminen
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opper at the Astir Palace
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EUROPEAN ARCHITECTURALAWARDS LAUNCHThe 2009 ‘European Copper in Architecture Awards’ have just been launched.
Architects involved with copper buildings are encouraged to enter and take advan-
tage o this major opportunity to present their work to an international audience.
These well-established Awards recog-
nise architectural excellence and cel-
ebrate the use o copper in all its orms.
The last two decades have seen their
transormation rom a UK based pro-
gramme highlighting cratsmanship,
into a major, design-led Awards event or
projects across Europe. Following the
recent growth in entries – over 70 at the
last event - rom a wide range o coun-
tries, the 2009 Awards 14 will, or the
rst time, consider all entries together
to select the very best in contemporaryEuropean architecture. This continuing
growth in interest in the Awards mirrors
the increasing popularity o copper and
its alloys as inspirational, as well as en-
vironmentally sustainable, architectural
materials.
The design-led competition covers re-
cently completed buildings in European
countries participating in the European
Copper in Architecture Campaign. Tobe eligible, all entries must incorporate
cladding, roong or other architectural
elements o copper or copper alloys,
such as bronze. But any building type
can be entered – rom major landmark
projects to more modest buildings.
There is also a discretionary award or
innovation in specic areas o relevance
today, such as sustainable building, eco-
nomical construction, preabrication,
conservation or new uses o copper.
Winning and shortlisted projects will
be eatured in a special issue o the
international magazine ‘Architectural
Review’, which will be available at the‘World Architecture Festival’, held in
Barcelona during October 2009. As with
previous Copper in Architecture Awards,
the best entries will also be covered in
Copper Forum. All entries will be judged
by a panel o practising architects at the
oreront o design in Europe, chaired
by Paul Finch, Editor o Architectural
Review and Programme Director o
the World Architecture Festival. These
Awards are proving particularly impor-tant, not only to showcase the best and
most innovative uses o copper in con-
temporary design, but also to discover
By Chris Hodson
and present to a wide international audi-
ence exciting and inspirational architec-ture that might otherwise be missed.
Images and inormation on winning and
shortlisted projects rom recent Euro-
pean Copper in Architecture Awards
have been eatured in previous issues
o Copper Forum and brochures can be
downloaded rom the websites: www.
copperino.co.uk/arch and www.cop-
perconcept.org. Entry orms and details
o the 2009 Awards are also availableat these websites or via e-mail to: hel-
[email protected]. Entries must be
submitted by 31 May 2009 and the win-
ners will be announced at a presentation
in London, UK during September 2009
beore the World Architecture Festival.
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“It will be a pleasure to chair the 14th series o the Copper in Archi-
tecture Awards. Te standard o architecture in the submitted entries,
and the imaginative use o this attractive material, has increased
signicantly in recent years, with the 13th Awards setting a very high
standard indeed or those taking part in the coming year.
Architecture is an international activity these days, and the gradual evolution o the awards scheme to refect the increasing specication
o copper by architects working outside as well as inside their own
countries has been appropriate and worthwhile.
I look orward to a stimulating day o judging in 2009, and to meet-
ing the winners in due course.”
Paul Finch, Editor, The Architectural Review
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1
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COPPER Decoration and Architecture
Other techniques are also popular such as copper shingles that
oer a distinctive ‘fsh scale’ appearance using a variety o shapes
including squares, diamonds and rhomboids (7). For a more
linear appearance, copper panels pre-ormed on two sides can
be used vertically, horizontally or diagonally, while cassettes in
more square proportions give larger areas o at copper surace.
Most recently, alloys such as brass and bronze, and a ‘golden’ al-
loy o copper and aluminium have been developed or architec-
tural applications. Again, architects have seized upon these op-
portunities to explore decorative treatments o eectively plain
areas. In this Middlesbrough project, regular bands o metal
cladding become abstract by the interplay o ‘golden’ copper al-
loy panels with both mirror and mat stainless steel (8).
Tis trend or making a at elevation into a piece o public art
is growing. Another recently completed example – this time a
central London hotel – combines brass and ‘golden’ copper al-
loys to give apparently random, abstract coloured decoration to
an otherwise at, regular açade (9). But at close quarters, the
variety and natural characteristics o the copper alloys add rich-
ness to the suraces, bringing them to lie (10).
With other recently developed orms o copper, its perception as
just a solid, rigid sheet is being broken down. In this example,
buildings are encased with a quilted curtain o copper alloy wire
mesh (11). Te phosphor bronze mesh panels are held in tension,
retaining exibility and giving a remarkable tactile quality (12).
A key word in architectural design today is “transparency”, with
architects exploring screens in ront o glazed acades – or in
some cases within the glazing assembly. Generally they protect
glazing rom the sun and perhaps control views into the build-
ing whilst allowing views out. But, o course, these screens help
to defne the architecture o a building and copper solutions
are particularly popular. In the simplest orm, expanded coppersheets give a regular patterns over glazed acades (13). Lighter
versions are also used, in this case in the orm o a 1mm thick
copper ‘net’ (14).
Perorated metal sheet is a well-used component o internal
building fttings and urniture but perorated copper has caught
the imaginations o many architects with its transparent quali-
ties and surace decoration possibilities or acades. In this Lux-
embourg example, an irregular design o perorations is simply
replicated on all panels, which are then juxtaposed together or
a more random surace (15).
But probably the most innovative interpretation o this tech-
nique – and on a major scale – can be ound at architects Her-
zog & De Meuron’s ‘de Young Museum’ in San Francisco, USA
(16). Tis massive building is completely shrouded in a pero-
rated copper skin. Te pattern o perorations is not regular but
generated by images o tree oliage translated onto the copper in
varying hole sizes. Tis process mirrors the visual eects o dap-
pled tree shading across the building’s external suraces. Added
to this complexity is the architects’ intention that prevailing
winds on the site will accelerate the patination process to some
elevations, creating a natural variety o colours to the transpar-
ent veil.
The approach taken with the de Young Museum exemplifes how
architects today are exploring new ways to use the unique characte-
ristics and opportunities o copper or architectural decoration.
7 8
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COPPER Decoration and Architecture
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30 COPPER FORUM 25/08
he long awaited BRE (Building
Research Establishment) Green
Guide to Specifcation has now
been launched in the UK. Although dis-
cussions will continue between the cop-
per industry and BRE to resolve some
issues, the Guide provides independent
endorsement o the low environmen-
tal impact o both copper roofng and
cladding. Te Green Guide is a new,
on-line tool – available at www.thegreen-
guide.org.uk - providing architects with
straightorward and independent guid-
ance on making the best environmental
choices or building materials. It looks at
specifcations or complete building ele-
ments, including structure, insulation,
weatherproofng and internal fnishes -
not individual materials. It then rates a
wide range o these elements rom ‘A+’
or best environmental perormance to
‘E’ or the worst, using Lie Cycle Analy-
sis (LCA) techniques.
COPPER RATEDTe copper industry has been working
alongside BRE or some time, providing
the most popular copper-based roofng
and walling specifcations or consid-
eration in the Guide, together with the
most current LCA data. All the copper-
fnished roos and most copper wall clad-
ding specifcations achieved the best ‘A+’
or ‘A’ summary ratings. Even the ew
cladding specifcations with lower rat-
ings could easily be improved by replac-
ing particular components – but not the
copper cladding itsel - with more sus-
tainable alternatives, something that the
copper industry is still exploring with
BRE.
Apart rom providing architects with
useul guidance when selecting materi-
als, Guide ratings orm an important
component o other environmental as-
sessment tools such as BREEAM 2008
and the Code or Sustainable Homes.
BREEAM is the Building Research Es-
tablishment’s Environmental Assessment
Method, a widely used environmental
assessment method or buildings in the
UK and other countries, with the new
version taking eect rom August 2008.
Various versions o BREEAM 2008 have
been created to suit common building
types – such as healthcare, schools, in-
dustrial, oces, retail, law courts and
prisons - as well as a bespoke version or
others types o building. With BREEAM
2008, credits are awarded in nine catego-
ries according to perormance and added
together to produce a single overall score
on a scale ranging rom ‘Pass’ to the new-
ly added ‘Outstanding’ category.
SUSTAINABLE HOMES A similar approach is also taken with the
Code or Sustainable Homes, which re-
places BREEAM Ecohomes. Homes are
rated rom Code Level 1 – “above regu-
latory standards” to the highest Level 6,
GREEN COPPERIn the last issue o Copper Forum (24/2008) architect Chris Hodson repor-
ted on sustainability considerations or building construction in the UK.
Since then, there has been a rush o developments which impact on theenvironmental credentials o copper in architecture, with important les-
sons or other countries as well.
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By Chris Hodson
an “aspirational standard based on zero
carbon emissions or the dwelling and
high perormance across all environmen-
tal categories”. Te British government
has confrmed that it is mandatory or all
new homes to have a rating against theCode and it is also expected that national
building regulations across the UK will
one day require new housing to achieve
specifc Levels.
For use o materials, both BREEAM
2008 and the Code or Sustainable
Homes include ‘credits’ directly related
to BRE Green Guide ratings or key ele-
ments such as external walls and roos.
Tese credits range rom 3 or an A+
Guide rating to 0.25 or D and none or
E ratings. So, we can see that selecting
constructions made up o environmen-
tally sound materials has a direct inu-
ence on the sustainability assessment o
buildings. And in uture, this in turn
will determine whether or not the build-
ing complies with UK law.
THE GREEN HOUSEHowever, it is stil l early days or the Code
or Sustainable Homes and there are ew
examples achieving the higher Levels
built yet. But on one new house achiev-
ing the highest ‘Level 6’, copper cladding
helps demonstrate that there is no reason
why meeting the highest sustainability
standards should stie architectural de-
sign. Opened in May this year, Green
House is the frst home by a “volume”
house-builder to achieve Code Level 6.
Designed by Gaunt Francis Architects, it
aims to make sustainable housing main-
stream and is designed as a test bed or
Code-compliant materials, technologies,systems and strategies - with potential
or mass production in mind. Tis pro-
totype building will be rigorously tested
over the next two years to assess its de-
sign, construction and materials. Green
House achieved an overall score o 15
Code credits or its key materials.
Copper was chosen by the architects
or its special architectural cladding
qualities to contrast with white rendered
walls, alongside its sound environmen-
tal credentials. Te three-storey, three-
bedroom amily home was specifcally
designed to look more conventional than
its neighbouring projects at the BRE In-
novation Park - comprising the most pro-
gressive, experimental, sustainable homes
in Europe. Green House has proved very
popular with consumers as well, winning
the 2007 Home or the Future compe-
tition with 22,000 readers o a national
newspaper voting or it.
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Helsinki Music Housecurrent status
Ola Laiho, architect SAFA
Helsinki Music House is an im-
portant investment in Finnish
culture at the start o the third mil-
lennium. Once completed, it will
play an essential role in the Finnish
music lie.
The decision on the construction
o the Music House was made atthe beginning o summer 2008, ol-
lowing an implementation design
stage based on an architectural
competition, and a long decision-
making process.
The Music House will be located on
a central plot in downtown Helsinki,
opposite the Parliament House, in
the vicinity o the National Museum,
the Finlandia House, Kiasma andthe railway station. Copper as a ma-
terial contributes signicantly to the
townscape.
Esko Miettinen, architect SAFA
Te winners o the design competition
or the Helsinki Music House were an-
nounced in 2000. Te location o the
House in the öölö Bay area had been
selected on the basis o extensive studies,
deliberations and public debate.
At the frst stage o the competition, 243approved entries were received. Six o
them were awarded as showing most po-
tential or development. Te second stage
was open or all the participants who had
submitted an approved entry at the frst
stage, i.e. almost seventy entries. Te jury
chose ”a mezza voice” as the winner, and
the current designs are primarily based
on the solution presented in this winning
entry.
Te primary objective o the location and
layout o the building masses as well as
the environmental approach has been to
produce an integral and peaceul general
appearance or the building. Te House
is fxed to the environmental coordinates,
with the two sides o the main mass ol-
lowing the directions o the Finlandia
House and the Parliament House, while
the tallest part o the main mass contin-
ues along the eastern wall surace o the
Karamzin Park. Te tallest sections o
the building are also as close to the green
zone as possible to create an impression
o a continuing belt o public buildings
into the park.
Te open glass side o the Music House
displays the activities carried out inside
the building and connects it with the
more recent buildings and architecture
on the east side o the area. Te more sol-
id açade on the street side is a perorated
copper açade with green patination,
seeking contact with the buildings in theEtu-öölö town block and the ush park
areas.
Te Parliament House is a signifcant
contributor to the layout o the square.
Te view down rom the stairs o the
Music House toward the parks and ur-
ther to the Parliament House is open.
Te inclined deck o the lower building
part has been treated like a park envi-
ronment, descending toward south and
giving space to Kiasma’s independent
architecture.
Te entrance square at the same level
with Mannerheimintie Road contin-
ues as a pedestrian and bicycle road to
Kiasma and as a ootpath down to the
event square at öölö Bay level. Tis citi-
zen square has been designed as a venue
or outdoor concerts and similar events,
with the upper inclined deck, Manner-
heimintie Road and even the stairs o the
Parliament House providing more space
or spectators. Te productions realised
in the Music House or also internation-
al music events could in the uture be
shown on a giant screen erected on the
square.
Point-xed glass wall in the oyer, suspended rom glasssupports. The concert hall mass is seen behind the oyer,and the administrative acilities are above the oyer.
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33COPPER FORUM 25/08
Client KOY Helsinki Music House
End-usersSibelius Academy / Senate Properties
Helsinki Filharmonia HKOFinnish Radio Symphony Orchestra RSO
Project Management ConsultantISS-Proko Oy
Main/Architectural/Interior designLPR-arkkitehdit Oy
Acoustic designNagata Acoustics Inc.
Insinööritoimisto Akukon Oy
Structural designInsinööritoimisto Mikko Vahanen Oy
Insinööritoimisto Oy Matti Ollila & Co
Site plan
Green mass as a continuation o the park zone
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34 COPPER FORUM 25/08
Te Client has defned openness as an objective or the Mu-
sic House. Te aim has been to create an active connection
between the House and its environment and to provide an as-
sembly place or the audience.
Te House wishes to acilitate interaction between music
proessionals, students and spectators. Te lobby part o thebuilding that is connected with the event square is designed
as a mainly open space or visitors, with dierent music events
organised in the various parts o the lobby. Te oyer areas are
during the day utilised as caeteria and exhibition acilities.
Te second entrance to the building at the öölö Bay level
also provides access to the main lobby and urther to the oyer.
Te glass walls o the oyer open up toward the park views,
the event square in the south and the downtown parts o the
City. Te core o the building, a vineyard type concert hall is
accessed rom the ringed oyer level and the wall between the
two parts consists o two sound absorbing glass walls through
which the crater like concert hall can be seen rom the oyer
and lobby areas. Te visual connection can be blocked by a
curtain lowered into the space between the glass walls. Te
concert hall seats 1650 spectators, partly on the airly narrow
gallery level.
In addition to the concert hall, there will be fve smaller music
rooms, each with 150-300 seats. Te purpose o use o each
room has been taken into account in the design o the acoustic
eatures. Tis makes it possible to perorm dierent types o
music in a central location in downtown Helsinki. Te ground
level o the building contains the concert hall stage, the re-
hearsal rooms and the loading area. Most o the artists’ rooms
or both orchestras are also located on this level, round the
two atriums. Te administrative acilities o the Music House
and the orchestras occupy the top part o the tall oyer on the
south side.
Te classrooms and the oces o the Sibelius Academy are
grouped on seven oors round the atrium that looks toward
the Karamzin Park. Te public music library and the studios
o the Academy are located on the two lower oors, near the
ground lobby.
Te oundation engineering works as well as the construction
o the maintenance tunnel under öölänlahti Street are cur-
rently under way on the Music House plot. Te costs are still
being clarifed as the plans progress and develop. Te Music
House is estimated to be completed in 2010.
East elevation
South elevation
Section
Floor plan, 2nd foor
Floor plan, ground foor
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35COPPER FORUM 25/08
Green açades o pre-patinated copper on the tall building mass
Foyer with beams and columns o steel constructionVineyard type concert hall. 1:10 acoustic scale model
Lobby with the bridge o steel construction in Sibelius Academy
Foyer acilities on the side o ”Citizen Park ”
35COPPER FORUM 25/08
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36 COPPER FORUM 25/08
Award-winning,
luxurious ”Stella Maris”
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Elements o a luxury hotelin an apartment building
A company called OOO “Settle City” com-missioned Architectural Oce Gerasimov
and co with S.V. Petrova as the main architect
to design the apartment building. Te açade
o the building consists o our dierent units
connected by bright glass-walled lobbies. Te
19-apartment Stella Maris is not ar rom the
centre, on the beautiul Ristisaari Island. Te
island is in the River Neva Delta, where local
people oten gather to enjoy their leisure time.
It is easy to reach by underground. Tere are
a lot o other highly respectable houses and
parks on the island that people go to see and
admire or their architecture.
Stella Maris has its own granite street lead-
ing up to the building. Instead o the ordi-
nary, usually boring staircases, the building
welcomes those who enter with bright and
spacious lobbies. Te building also eatures a
beautiul conservatory where the lucky resi-
dents can enjoy an ever-lasting summer round
the year. In the building there is also a SPA
department and a gym, which enables the resi-
dents to keep ft without stepping outside. Te
basement also houses a sae car park, and boat
owners can dock right in ront o the building.
Anything that the residents could possibly de-
sire is certain to be available.
Tis type o community could also be called
“a big amily” as the residents can spend time
together on common premises. With shared
acilities it is, o course, extremely importan
that the residents have similar values and en
joy each other´s company. All this has bee
taken into consideration in the marketin
o the apartments, and the buyers are care
ully selected. Tis guarantees that the luxur
homes will hold their value and be attractiv
to uture buyers, too.
The Nordic Green PLUS copper onthe roo
As a whole, Stella Maris is the ultimate i
class with nothing but the best materials use
in construction. Te exceptional shape o th
roo draws a passer-by´s attention, and th
our roo arcs can be seen as waves in the sea
Te açade o the building has a lot o glass
which means the inside is bathed in light and
oers magnifcent views o the river. Finnish
copper manuactured by Luvata Pori Oy ha
been used or the roo. Te malleable materia
is easy to shape, so the creation o the curve
and bends o the building involved no di
culty. Te shade o colour used is the patin
green Nordic Green PLUS to match the sur
roundings and complement the combinatio
o glass and brown rock. Te superb “Stell
Maris” won a silver medal in the Rakennus
taide Architectural Competition in 2007. T
apartments under the glowing copper roo
are certain to live up to the expectations o
the most demanding resident.
The fve-storey “Stella Maris” apartment building is a fne example o mo-
dern architecture and high-class homes in today´s St Petersburg. Side by
side with the old and historically valuable buildings there are luxury homes
that represent the latest in modern architecture and eature every concei-
vable service under one roo. Architects have been able to come up with and
implement innovative ideas more or less unheard-o in ordinary building con-
struction. Stella Maris is one o these ascinating buildings, and it was awar-
ded a silver medal in the “Rakennustaide 2007” Architectural Competition.
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38 COPPER FORUM 25/08
Architects Heikki and Kaija Siren won the invitational
design competition in 1960 and the Building was com-
pleted in 1968.
Te design concept o the building is built on a circle placed
at the joint o two rectangular coordinate systems running in
dierent directions. It thus creates a link in the townscape. Te
base diameter o the building is 76.4 m and the depth o the
rame is 17.2 m.
Te circular building is an oce block with commercial aci-
lities on the ground oor. Te cubic volume o the building is
125 000 m3.
Te building displays some modernistic architectural elements,
such as the continuous windows on the açades and the at
roo. Continuous windows dominate the açades in a consist-
ent manner. Te clean geometric shape o the building, on the
other hand, suggests classical architecture, or modernism with
classical inuences. It could also be said that the building bears
resemblance to the 19th century architectural heritage o Hel-
sinki. Te asymmetrical parts o the building are ound in the
area o the frst two oors.
Te building envelope is covered with ombak (architectural
bronze). Te inormation on the companies and organisations
that occupy the building is displayed on the açade as part o
the architectural appearance o the building, with a careully
thought-out relationship between the text and the açade. Te
text type used in the displayed inormation has also been de-
fned, and the density contrast between the inormation and the
background has been optimised. No major deviations rom the
plans have occurred ater the building was frst completed.
Te building was renovated in 2004. Renovations covered a total
area o ca. 36 000 m2 and the court-yard was also remodelled.
Te renovations were designed by architect Jukka Siren, who
continues the work o his parents. Te objective o the renova-
tions and the alterations was to increase light inside the building
and to modernise the acilities taking the character o the build-
ing into account.
Te building has become patinated over time. Te circular
building is a signifcant element in the townscape, and the orm
language and the technical implementation are o a good stand-
ard. It is an internationally known object o architecture.
Esko Miettinenarchitect SAFA
CircularbuildingHelsinki
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Section
Facade
Site plan
View from Hakaniemi square
The building mass
The renewed plans. The drawings are from the year 2004.