Kobberdifferentiering

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2 LEDERE Kobberdifferentiering Denne udgave samler en eklektisk blanding af nye bygninger, hvor kobber og kobberlegering spiller en central rolle i det arkitektoniske udtryk. Den kan betragtes som en typologisk rundvisning, der afdækker en stigende differentiering i brugen af materialet blandt designere af alle bygningstyper og nye teknikker. Opfattelsen af kobber har ændret sig i takt med dens voksende rolle i moderne arkitektur, og den ændrer sig stadigvæk. Kobber anvendes selvfølgelig stadig på de bygningstyper, som materialet har en historisk tilknytning til. Men ofte er der en moderne vinkel på disse bygningstyper, som det f.eks. kan ses i kapellet i slutningen af denne udgave (s ) en konisk tromle, der bryder igennem midten af den tilhørende skole med inspiration fra både kirkelige kupler og spir. Kobbertage er også en vigtig bestanddel i vores første projekt, et atrium til et stort konferencehotel (s. 4-7), som er formet som en dekonstrueret guldlegeret stjerne, der demonstrerer materialets muligheder for innovative og moderne former både indvendig og udvendig. Kobbers unikke udformningsmuligheder løftes til et endnu højere niveau med de dramatiske kurver i et klubhus ved havet (s. 8-9), som blev muliggjort af computermodelteknikker, der giver mulighed for større designfrihed. I modsætning hertil følger formen funktionen på en redningsstation (s ), der er designet med henblik på det fartøj, den huser, og som beskyttes af kobber mod de mest hårdføre miljøer dette design har vist sig kompetent til at blive gentaget andre steder. Miljøbeskyttelse definerer også bronze- og glasindhegningen af to oldgamle runesten (s ), men med enkel, skulpturel kvalitet. Tydeligt definerede former karakteriserer også Marlowe Theatre (s ) en typologi, som traditionelt er forbundet med kobber. Det samme kan siges om offentlige biblioteker, men i Seinäjoki (s ) respekterer en ny afdeling i Alvar Aalto-centeret dets ikoniske kontekst, men differentierer sig samtidig ved at have en kobberbelagt overflade. Et andet bibliotek Deptford Lounge (s ) udvikler sig til en ny, åben kommunal bygning, hvilket kommer til udtryk i gennemsigtigheden af de guldlegerede facader. Den typologiske variation i kobber udvides yderligere med en abstrakt behandling ved brug af flere materialetyper til at oplive facaden på et ellers typisk parkeringshus (s ). Og en midlertidig bygning (s ) en anden type, som ikke så ofte forbindes med kobber får særlig betydning med en fuldstændig belægning af guldlegering. Til slut minder en mellemstor tilbygning til et hus (s ) os om, at kobber også kan skabe en bestemt form for kvalitet sammen med andre materialer. Kobberarkitektur er fortsat under udvikling drevet af arkitekter og deres entusiasme omkring materialet og dets muligheder. Og med din hjælp vi vil fortsat vise de bedste eksempler her og på Redaktionen Hvis du fremover vil modtage dine egne kopier af Copper Architecture Forum, skal du tilmelde dig på hvor du kan downloade tidligere udgaver. Hvis du vil indsende et projekt, anbefale et artikelemne eller kommentere på Copper Architecture Forum, skal du sende en til: Copper Architecture Forum 33, november 2012 Copper Architecture Forum er en del af den igangværende kampagne European Copper In Architecture Campaign, og udgives to gange om året i et oplag på eksemplarer. Magasinet uddeles til arkitekter og byggesagkyndige i hele Europa på dansk, engelsk, finsk, fransk, italiensk, norsk, polsk, russisk, spansk, svensk, tjekkisk, tysk og ungarsk. Forsidebillede: Midlertidig pavillon, Münster, Tyskland (side 10-11) Billede: Christian Richters Redaktionsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock Adresse: CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium Udgiver: Nigel Cotton, ECI Layout og teknisk produktion: Naula Grafisk Design, Sverige Tryk: Strålins Grafiska AB 2012, Sverige Redaktionspanel: Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Paul Becquevort, Benelux Pia Voutilainen, Se, No, Fi, Dk Robert Pintér, Hu, Cz, SVK Vadim Ionov, Ru Copper Architecture Forum 2012

3 Indhold 33 2 Kobberdifferentiering - redaktionens kommentar 4-7 Det moderne atrium - en moderne fortolkning af et atrium i dette nye konferencecenter i Norge 8-9 Digital kobber i fri form - designfrihed ved udformningen af et australsk klubhus ved havet Stjernekud - en midlertidig pavillon i den tyske by Münster belagt med gylden kobberlegering Copper Wave copper protects this new lifeboat station on England s most southerly point Canterbury Tales the new Marlowe Theatre makes a bold statement on Canterbury s skyline Animating the Utilitarian copper brings to life the facades of a multi-storey car park in Nottingham, UK Copper at the Heart of the Community a new typology of school and community building for Deptford, London Sheltering Bronze Hands ancient runic stones in Denmark are protected by bronze and glass Copper over Time a contemporary copper and oak house extension anticipates change Famous Neighbours the challenge of designing a new library close to five Alvar Aalto buildings Conical Copper a copper clad chapel at the heart of this new school in Cheltenham, UK 39 Copper Architecture News updates, including our architectural awards launch and a new App for architects 3

4 Det moderne atrium Et hotelkompleks i Norge forsøger at transformere konferenceoplevelsen med en dramatisk ny tilgang til det moderne atrium, forklarer Chris Hodson. Clarion Hotel i Trondheim er et af Skandinaviens største kongreshoteller og det største i Norge. Arkitekterne bag designet, Space Group, anvendte en strategi, der bestod i at tilpasse unikke pladelignende værelsesfløje, så gæsterne fik et perfekt udsyn over havet, landskabet og byen. Denne vridningsteknik åbner det centrale atrium og skaber et tredimensionelt område med en kompleks, facetteret tagform en dekonstrueret guldstjerne der strømmer nedad. Bygningen er et dramatisk syn fra alle vinkler, men især fra oven, hvorfra de fleste gæster ser den første gang, når de ankommer med fly. 4

5 Den splintrende guldstjerne bryder igennem mellem hver blok og binder dem samme Hårdføre materialer Designet udviser en hårdfør anvendelse af materialer mellem de forskellige elementer. Den enorme, mørke kasse i hovedkonferencesalen står i dyb kontrast til de glasdækkede værelsesafsnit med hvidt silketryk, der er opløst og derved danner vinduer med en blød skylignende effekt. Den splintrende guldstjerne bryder igennem mellem hver blok og binder dem sammen. Den er formet af en kobbelegereing med aluminium og zink. Projektarkitekt Jens Niehues sagde: I kobberlegering fandt vi et materiale, der gav os mulighed for at skabe et design med en levende overflade, der afspejler Stjernens naturlige funktion og giver en detaljeret, gylden nuance. Ud over at realisere vores konceptmæssige målsætninger skulle materialet naturligvis også overholde vores tekniske udfordringer i forbindelse med det krævende klima på den norske vestkyst. Kobberlegeringen udvikler ikke en blå eller grøn patina med tiden, selv i dette hårde klima, men forbliver gylden. Materialets karakteristika danner lodrette, vandrette eller skrå samlinger, der fremhæver Stjernens trekantform. Desuden kan materialet bearbejdes, så det får en skarp kant, og tagrendedetaljerne er tydelige. Valget af gylden kobbelegering var det helt rigtige til denne bygning. Arkitekter: Space Group (Hele designteamet og de øvrige medvirkende konsulenter kan ses på Kobbermontering: Mäster Blikk Trondheim Kobberprodukter: Nordic Royal Billeder: Joern Adde, Peter Hebeisen 5

6 Orienteringen, der skulle give perfekt udsyn, skabte den centrale guldstjerne. Dekonstruktion af det traditionelle hotelatrium. K1 K2 K3.03 K3.05 K3.09 A1 A3.01 A3.02 A2 D3.72 D3.73 A3.03 A3.05 A3.07 A3.09 A3.11 A3.13 A3.19 A3 A4 A3.08 A5 A3.10 A6 A3.12 A7 Dx D3.06 Dy Dz D1 D2 D3.60 D3 D3.62 D3.61 D3.01 D5 D4 D3.63 D6 D3.65 D3.64 D8 D7 C1 Cz Cy D3.68 D3.67 D3.66 D11 D10 D9 X3.03 C2 D3.69 D12 D3.70 D13 D3.71 D14 D15 D16 D17 D18 K3 S8 K1.17 A3.14 A8 C3 A3.15 A9 X3.01 Bw Cx C3.01 C4 C5 K4 Aw A3.17 Bx By A10 B3.01 Ax Ay Az B3.21 B3.20 B3.23 B3.25 B3.22 B2 B3.27 B3.24 B3 B3.29 B3.26 B4 X3.02 Bz B1 C3.05 C6 C3.50 C7 C3.51 C3.52 C3.53 C3.54 C3.55 C8 C9 C10 C3.08 C3.56 C3.57 C11 C12 C13 C14 K5 B3.31 B3.28 B5 C3.58 B3.33 B3.30 B6 C3.59 B3.35 B3.32 B7 B3.37 B3.34 B8 B3.39 B3.36 B9 B3.41 B10 Kw Kx Uy Ky Kz B3.38 B11 B3.40 B12 B13 6

7 Dramaet fortsætter Indvendigt fortsætter dramaet, da hotellets udvendige form forsvinder for at skabe åbne offentlige områder. I hjertet af det hele er det lodrette centrale rum udtænkt som en forvandling af atriumtypologien fra endimensionelt til et dynamisk, tredimensionelt rum. Her skifter stemningen og målestokken mellem intim og spektakulær på samme måde som panoramaudsigten udenfor og det krystalklare interiør, der ligner dramatiske isformationer, klipper og isflager. Og som prikken over i et ses de lange striber fra den gyldne kobberlegerede stjerne. 7

8 DIGITAL KOBBER I FRI FORM Den dramatiske tagform på dette klubhus beliggende ved havet demonstrerer den designfrihed, der kan realiseres ved brug af kobber, især hvis der anvendes BIMteknikker (Building Information Modelling). Arkitekt: Walter Barda Design Kobberprodukt: TECU Classic Kobbermontering: Copper & Zinc Link Billeder: tak til Trend Magazine Tekst: baseret på en artikle i Trend Magazine og med hjælp fra Morten Pedersen fra Copper & Zinc Link. 8

9 Hamilton Island Yacht Club and Villas på Whitsunday Islands, som er en del af Australiens Great Barrier Reef, er designet til at skabe en visuel effekt ikke blot når den ses fra land- eller vandsiden, men også fra luften, hvorfra mange af gæsterne ankommer. Arkitekterne forestillede sig en bygning, der kunne forbinde molen og afspejle de maritime elementer og yachtkulturen. Designprocessen førte til en kunstnerisk sammensmeltning af kobberbelagte former, der leder tankerne hen på vindblæste sejl, spilere, køle og på vindenes, tidevandets og havstrømmenes hvirvlende kræfter. Yachtklubbens centrale kerne er et overdækket vindfang, eller piazza, der fører ind til de forskellige private og offentlige rum. Med en gradvis ændring af loftniveauet og en processionsrampe føres bygningen videre ud i en løftet platform, der hænger frit over vandet. Klubhuset indeholder faciliteter som bl.a. restauranter, barer, et auditorium, konferencelokaler, træningscenter, banebassin, læserum og showroom. Den integrerede bebyggelse byder også på 35 særskilte villaer. Komplekse kobberbelagte former Det komplekse kronbladsformede tag på yachtklubben understøttes af træ -søjler af stål, hvor grenene møder det kurvede tag i flere vinkler. Der blev udviklet et slyngværk af stål, som kunne strække sig over 16 meter og hænge frit i 11 meters højde og dermed overføre sidebelastningen til midtervæggene. Dette minimerede den strukturmæssige dybde mellem tagbelægningen og lofterne som krævet af arkitekturen. Det simplificerede desuden opbygningen og tagkonstruktionen. Kobber blev valgt på grund af sin slidstyrke, sine visuelle karakteristika og selvfølgelig også sin unikke evne til at belægge komplekse tredimensionelle former. BIM (Building Information Modelling) BIM viste sig at være afgørende for det detaljerede design og selve konstruktionen af Hamilton Club især kobbertagene. På grund af de komplekse former var der behov for utallige sektions- og detailtegninger for at vise, hvordan komponenterne passede sammen. Der blev eksporteret data til andre involverede f.eks. til den stålproducent, der arbejdede ud fra den digitale model. Tilstedeværelsen af den komplette digitale model af bygningen på stedet betød, at byggeriarbejderne kunne se tredimensionelle tegninger, mens bygningen tog form. Der var også tilgængelige snitbilleder af de forskellige komponenter, hvilket hjalp alle med at få en forståelse af, hvordan bygningen var konstrueret. Men BIM består af mere end blot CAD og tredimensionelle modeltegninger, da det indeholder komponenter og materieler med model- attributter som f.eks. omkostninger, miljøbevarende egenskaber og vedligeholdelsesintervaller. Formålet med BIM er at skabe en komplet digital model til design, fremstilling, udførelse og bygningsformål med hjælp fra alle interessenter. Dette hjælper arkitekterne med at skabe et mere bæredygtigt, præcist design med færre fejl og mindre spild. Hvis man kan se en simuleret udgave af resultatet, får man også en bedre forståelse af omkostningerne, planlægningen og miljøpåvirkningen. Brugen af BIM formodes at stige markant ved design af alle bygningstyper. Det åbner op for nye udtryksformer blandt arkitekter og kobber er ideelt til at realisere innovativt design. 9

10 STJERNESKUD Et hypermoderne indgreb beklædt med gylden kobberlegering bekendtgjorde meget passende Golden Splendour: Mediaeval Treasure Art in Westphalia, en udstilling, som afholdes i den tyske by Münster til sommer. Placeret på den centrale Domplatz skaber denne midlertidige pavillion en moderne kontrast til det historiske bycentrum ved at forbinde udstillingsområder i museet med Cathedral Art Chamber. Pavillionen er et resultat af samarbejdet mellem Münster School of Architecture og arkitektfirmaet modulorbeat. Under ledelse af arkitekterne Marc Günnewig og Jan Kampshoff udviklede et team på oprindeligt 33 studerende forskellige designudkast. Den gyldne løsning Til slut valgte en komité den gyldne løsning en stjerneformet bygning med et stilfuldt korsdesign, der er karakteriseret ved de gyldne kobberlegerede facader. En midlertidig pavillion, der skal kommunikere en kunstudstilling, er ikke noget nyt i Münster. For fem år siden designede modulorbeat en lignende bygning, som også anvendte kobberlegering. Med funktion som et levende værksted var pavillionen vært for kunstundervisning i forbindelse med udstillingen. Set gennem glasendevæggene fortsætter dette enkle og minimalistiske design i interiøret. Den bærende struktur, som består af massivt eller krydslamineret træ, er helt nøgen, hvilket giver overfladerne på gulv, loft og vægge et ensartet, lyst skær af træ sammen med de otte arbejdsborde, der er samlet af projektdeltagerne selv. 10

11 Modulerede facader De kobberlegerede facader blev efter arkitekternes ønske moduleret lodret med unikke, ujævne bølgelignende profiler, der minder om en blæsebælg. De blev produceret hurtigt, billigt og uden problemer af en specialistvirksomhed, som brugte sin dedikerede profilteknologi. Golden Splendour-pavillionen præsenterede en kompromisløs, homogen gylden enhed, som kun blev brudt af endevæggene i korset med afskærmede, tilbagetrukne indgange eller glatte glasoverflader. Når du læser denne artikel, er pavillionen allerede afmonteret. Men den bygges op igen med alle de oprindelige materialer på en lokal skole, hvor den anvendes til kunstundervisning og andre fag: et passende og bæredygtigt resultat. S/W S/W Elevation mod sydvest med glasendevæg workshop 83,5 m2 sliding door information 12,9 m2 entrance 4,0 m2 ramp N/E Elevation mod nordøst med afskærmet indgang Plantegning N/E Arkitekt: Modulorbeat og Münster School of Architecture Kobbermontering: Schabos GmbH Kobberpræfabrikering: MN Metallverarbeitung Neustadt Kobberprodukter:TECU Gold Billeder: Christian Richters 11 elevations 1:100

12 Photo: PBWC Architects by Chris Hodson The new RNLI lifeboat station at The Lizard is protected by a curved copper skin to withstand the extremely aggressive coastal environment of its unique location on England s most southerly point. The RNLI charity saves lives at sea. Its volunteers provide a 24-hour search and rescue service around the United Kingdom and Republic of Ireland coasts. The building s design was developed from a previous project, also by PBWC Architects, in Padstow, Cornwall. It is a direct response to the specific technical demands of the new RNLI fast slipway type lifeboat housed there and is an exemplar for future buildings of the type in other locations. The new structure sits on the footprint of the original building: well-positioned for lifeboat launching in bad weather but also reducing the environmental impact of the scheme. At first sight, the wave profile of The Lizard lifeboat station appears symbolic of its coastal position - but form really does follow function and reflects the arrangement of internal accommodation, focused on the lifeboat itself. Essentially, the vessel 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 trouble as quickly as possible. The outward raking wall to the side of the building reflects the demand for accommodation at the main floor level with fast access straight onto the lifeboat. Weather-tight Design All accommodation is located on one side of the building, which allows the heated and serviced zones to be efficiently grouped together and all ventilation and lighting needs to be met with a strip of ribbon glazing or punched windows within the raked wall. The curve of the roof then encloses the minimum volume required for the lifeboat and creates a simple form that lends itself to a single flexible roof finish. The design aims to maximise roof area while minimising penetrations to ensure a robust, weather-tight finish. 12

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14 Copper Choice The selection of metal roofing was a logical progression from the development of the distinctive, wave-like, curved form. PBWC project architect Cian Spowart commented: After the Padstow project, we reviewed the roofing material and system for The Lizard lifeboat station. Here, copper was selected for its durability and capability of withstanding the aggressive coastal environment, including the possibility of debris being thrown up from the sea. In addition, the aesthetic choice of copper over other metal roofing was driven by its characteristic weathering over time to give a rich green patina complementing the aqua blue hues of 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: Geoff Squibb (Cornish Pixels Photography) 14

15 COPPER ConSTRUCTION Challenging Construction Unsurprisingly, the building s site at the bottom of a tight, steep slope presented special challenges with construction. The building is predominately timber frame with glulam-curved members providing the iconic shape. Dry construction and prefabrication techniques are maximised for fast, safe assembly and efficient deliveries to site. The double skin roof is finished in copper trays with standing seam joints and was installed by copper specialists Full Metal Jacket, who recently won an Award for their work on the project from the National Federation of Roofing Contractors. The longstrip, copper trays were craned down onto A R D L I F E B O A T S T A T I O N! S the building and installed by hand, displaying a particularly high standard of craftsmanship under challenging conditions. C-C D-D B-B A-A F1 F2 F3 F4 F5 F6 FA FB FC FD FE FF Public Viewing Main Floor F.F.L WCs and Showers Dis! WCs Public Viewing Section A-A Boathouse fuel cabinet fuel tank I Z A R D L I F E B O A T S T A T I O N! N S Photo: PBWC Architects Boat Well C-C D-D E-E! Lower Floor F.F.L (MAX)! Boatwell Floor F.F.L Winch Motor Room Section C-C B-B Boathouse Boat Well A-A C-C D-D B-B A-A F1 F1 F2 F2 F3 F3 F4 F4 F5 F5 F6 F6 FA FA FB FBFC FC FD FD FE FE FF FF Dis. W.C. Changing Room Workshop! Public Viewing Galley 1.5 Training room Area Public Viewing Main Main Floor Floor F.F.L F.F.L Stairwell WCs and Showers Dis! WCs Public Viewing Winch! Motor Room w.c. Boathouse fuel cabinet fuel tank Slipway! Crew Store Training Room LOM Office!! Lower Lower Floor Floor F.F.L F.F.L (MAX) (MAX) Winch Motor Room Boathouse Boathouse fuel cabinet Section B-B Boat Well!! Boatwell Boatwell Floor Floor F.F.L F.F.L Section Section D-DC-C Boat Well Section A-A C-C D-D C-C D-D E-E B-B B-B A-A A-A F1 F2 F3 F4 F5 F6 FA FB FC FD FE FF 15

16 Copper plays a distinct role in the composition of the theatre overall Canterbury Tales Standing on the banks of the River Stour and close to Canterbury Cathedral s UNESCO World Heritage Site, the new Marlowe Theatre makes a bold statement on the Canterbury skyline. Architect Keith Williams discusses his practice s competition-winning design and its use of materials. The Marlowe is, in formal terms, a complex pavilion. It sets up a dynamic relationship with its viewers, giving different architectural and urban emphasis depending from 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 forms a portal to the multi-level glazed foyer and sets up a civic elevation to the Friars, an important historic street within the city. The foyer connects all the major internal spaces to the riverside terraces and pathways and is seen as a crystal ribbon by day transforming into a blade of light by night. New views of the rooftops of the historic city and its cathedral open up from the main stairs and upper levels. The colonnaded loggia mediates between the street scale of the Friars (the street which the Marlowe faces) and the necessarily larger forms of the two theatres and the fly tower. The colonnaded 16

17 overhang also provides shelter to the south-facing foyer from high angle solar gain and provides an architectural unity to the composition. A new public square has been created by setting the Marlowe back from the existing street edge. The fly tower of the old theatre, widely regarded as an eyesore, was the second tallest structure in the city after Bell Harry, the medieval Cathedral s principal tower. The new Marlowe s fly tower is 9m taller than its predecessor, allowing it to be sculpted to create a pinnacle form facing toward the Cathedral, adding accent and silhouette to the city s skyline. Its form can be seen as a prominent symbol of secular architecture within the historic city whilst ensuring that Bell Harry retains its predominance. From the east, the fly tower dominates the street scene announcing this major new cultural project within the city. Materiality and Contextuality The composition and massing of the new Marlowe is rooted in its context. The building is seen to step up in scale gradually from a lower-rise street scale along the Friars, up to the larger volumes of the main auditorium and fly tower beyond. Materiality is also determined to a large degree contextually, in that it borrows the hues and tones of the Canterbury townscape. The reconstituted stone colonnade takes it s cue from the whites and creams of buildings in the city, whilst the pre-oxidised brown copper cladding echoes the colour and hues of the nearby tiled rooftops. Materials are used to create something highly contemporary, whilst at the same time complimentary to the context in terms of texture and colour. Copper plays a distinct role in the composition of the theatre overall, surrounding the volume of the studio space, which mediates between the entrance scale and the larger volumes beyond. The studio theatre is raised 4 metres above the ground; a volume wrapped entirely in copper. As such it is almost at roof level of the surrounding buildings hence the relationship between the reddish brown copper cladding with the colouration of Canterbury s roofscape. The underside of this volume forms the internal soffit to the restaurant space created beneath. The raising of the volume allows the restaurant to be slid beneath at foyer level, giving views to an adjacent external terrace and the banks of the River Stour. Architects: Keith Williams Architects Copper Installer: TR Freeman Copper product: TECU Oxid Photos: Hélène Binet (unless indicated otherwise) 17

18 Level Level 1 1. Paved Forecourt 2. Foyer 3. Box Office 4. Bar 5. Cafe 6. Auditorium 7. Stage 8. Dressing Rooms 9. Second Space 10. Creative Space 11. Administration Offices 12. Meeting Room Photo: Keith Williams Architects Level 2 Level 2 Level Level 3 10m N Counter Weight Area KEY: KEY: Paved Forecourt Foyer Box Office Bar Cafe Auditorium Stage Dressing Rooms Paved Forecourt Foyer Box Office Bar Cafe Auditorium Stage Dressing Rooms

19 COPPER in detail copper rainscreen panels on underlay mm plywood back to back cladding angles - details and layout to be confirmed by copper sub-contractor 80mm insulation on vapour barrier Metal angle by glazing subcontractors to support EPDM and provide backing for copper to seal against at a later stage Sealant type to be confirmed by copper sub-contractor - sealant to be compatible with both copper and aluminium FW60+SG Level 3 curtain wall Opaque glazing to high panels to conceal structure 210 TOS Copper Studio Horizontal standing seam bands of varying widths (using trays of 230 mm, 430 mm and 600 mm) wrap continuously around the studio volume, with folded birds mouth corner details enabling the horizontality to flow continuously around all sides. At the junction with the main glazed curtain walling, the copper runs cleanly through from outside to inside, with internal openings formed to create a connection between the studio theatre bar areas and the main entrance foyer. Though the rationale in each case is different, the use of copper at the Marlowe echoes our previous work at the Unicorn Theatre in London, completed in 2005 (UK Award Winner of the Copper in Architecture Awards 13 in 2007). Rev Date Mullion tied back to structural steel to glazing subcontractors details 2 no. layers of plasterboard sheets fixed staggered with joints taped and filled 50 EPDM sealed to blockwork. Sealant type to be confirmed by glazing sub-contractor vapour barrier 140 orting details copper etween r Metal channels to support glazing at corner junction and provide a backing to support the EPDM corner aluminium flashing cover piece mm insulation EPDM sealed to blockwork Spec and fixing to be confirmed by glazing subcontractor 6 Sealant type to be confirmed by copper sub-contractor mm plywood copper rainscreen panels on underlay copper setting out 110mm off Gridline E t: k line of 5 Section AA Section AA FW60+SG

20 ANIMATING THE UTILITARIAN by Chris Hodson An abstract design using vertical panels of copper with different surfaces animates long, straight facades of an otherwise typical multi-storey car park, adding a sense of movement which reflects its transport interchange setting. Forming part of the Hub development at Nottingham Railway Station, 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, (following a successful bid by VINCI Construction UK) adding an array of horizontally banded vertical copper panels to transform 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 lift core on the West Elevation. The palette of copper surfaces at Nottingham includes solid green pre-patinated copper and a variant with less intense patination, revealing some background material. Standard mill finish and light brown pre-oxidised copper were also used, together with an alloy of copper and aluminium with a long-lasting golden colour which provides distinctive highlights around the building. Although creating a random, abstract feel, arrangement of the panels is based on a limited modular language with three panel widths: 210 mm, 420 mm and 840 mm, and spacing between of: 105 mm, 210 mm and 420 mm. Panels are generally 2870 mm high with some reduced to 1470 mm crowning the top of the building and where the base of the cladding is raised up. Architects: Leeds Studio Copper Installer: CA Group Main Contractor: VINCI Construction UK Copper products: Nordic Green TM Traditional, Nordic Green TM Living 1 Nordic Standard, Nordic Brown TM Light, Nordic Royal TM Photos: Chris Hodson Drawings: Leeds Studio 20

21 21

22 There is a designed progression of copper colours running around the whole building 22

23 A Mosaic of Colour The composition gives a mosaic of colour that sits in clearly defined horizontal bands along the length of the building, breaking up the subservient concrete frame - typical of multi-storey car park buildings - and curtain walling. The effect is particularly animated on the two long elevations, especially when viewed from moving trains or cars. In addition to the layering of materials, the colour choices are carried through in the design to represent differing aspects of the location. Project architect Antony Hall explained: The copper panels to the North are predominantly in green shades and refer to the modern aspect of the adjacent railway. The panels on the South are predominantly in traditional brown copper shades to reference the brick heritage warehouses and other structures lining the conservation area opposite across the busy road. Key viewpoints formed in locations around the building are highlighted with the golden coloured copper alloy. Vertical circulation elements are also highlighted in the same manner. There is a designed progression of copper colours running around the whole building, beginning and ending at the West Elevation lift shaft. 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 designers exciting possibilities to treat bare facades as a blank canvas. The Nottingham project is an inspiring example of this approach. The previous station car park typifies the conventional open concrete deck design approach, contrasting with that of the new building. South Elevation. North Elevation showing the disposition of green, gold and brown copper shades. 23

24 COPPER AT THE HEART OF THE COMMUNITY 24

25 Deptford Lounge is the jewel in the crown of the regeneration of Deptford. This is a fantastic public space with first-class facilities, which is already proving popular with the community. - Sir Steve Bullock, Mayor of Lewisham This landmark building makes symbolic as well as functional use of its perforated golden copper alloy facades to generate a new civic focus. Pollard Thomas Edwards architects describe how the programme and design developed a new typology of school and community building. The brief from the London Borough of Lewisham was to create the centrepiece of their regeneration of Deptford Town Centre a new civic focus for Deptford. This was to include a state-of-the-art public library, including a resource centre and council services centre called the Deptford Lounge with a new building for Tidemill Primary School, relocated from its existing site. Our scheme, completed in December 2011, created from the bare bones of this brief, a highly innovative mix of co-located uses on a single site: the completed complex houses facilities shared between the new primary school and the whole community via the Deptford 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 Deptford something of the grandeur of its past, first as a hub of shipbuilding and later as the location of the first railway station south of the River Thames. Now the golden Lounge building sails galleon-like above Giffin Square, a new public space for Deptford. Tidemill Academy lies within an urban oasis, sheltered on one side by the Deptford Lounge and on the other by Resolution studios, with classrooms grouped around a green and leafy central play space. And new homes look out over the historic St Paul s Church and the railway line leading over the river. Photo: Chris Hodson Overall complex with Deptford Lounge on the right. Resolution Way Resolution Way Resolution Studios School School Play School Deptford Lounge Griffin Street Deptford Lounge School School Play School Resolution 25

26 The rooftop sports pitch enclosed by pierced copper alloy panels. School and Community Use Shared facilities of Deptford Lounge include a rooftop sports pitch, a flexible suite of assembly spaces and a dining hall and kitchen, which are available for hire. All these facilities are located on the upper floors of the Lounge building and all elements have separate access points both from within the school and from the public realm. This enables the school to have sole use of the shared facilities during the school day. Then, out of school hours, the shared facilities form an integral part of the Deptford Lounge and are open to the whole community. Architects: Pollard Thomas Edwards architects Copper installer: English Architectural Glass (EAG) Copper Products: Nordic Royal Photos: Chris Hodson, Robert Greshoff (ArcEye Images Ltd) School playground with steps to the Deptford Lounge beyond. Photo: ArcEye Images Ltd / Robert Greshoff 2012 Photo: ArcEye Images Ltd / Robert Greshoff 2012 Photo: ArcEye Images Ltd / Robert Greshoff 2012 Photo: Chris Hodson Photo: Chris Hodson 26

27 Photos: Chris Hodson INTERVIEW Chris Hodson discusses the transparency and materiality of the Deptford Lounge facades with Hamish Kilford-Brown, Project Architect at Pollard Thomas Edwards architects. CH: How did your selection of the golden copper alloy come about and did you look at other materials? HK-B: We wanted a material that related strongly to the conceptual meaning of the Deptford Lounge on a series of levels. It was to be seen as a landmark a civic focus for all ages and cultures. Initially timber cladding was considered, relating to Deptford s nautical past but timber requires maintenance. We also sought an inspiring material, with reflective properties that would give the building a jewel-like quality set against its main street context. This meant considering various metals including copper. It also led to the idea of expanded metal meshes or perforated sheets. We felt that the perforated golden copper alloy cladding offered multiple meanings on a conceptual level. The gold surface symbolises wealth across all cultures, welcoming and bringing together a diverse community into a building that offers a wealth of knowledge and services. CH: What about sustainability and environmental considerations when choosing the façade material? HK-B: Copper and its alloys have sound sustainable credentials with exceptional durability and lifespan. The weathering characteristics of this copper alloy are important: the material is virtually maintenance free and provides a surface that will change very little over time, which means it will retain its crisp jewel like quality. CH: What were the design intentions behind this dramatic statement of a transparent golden skin? HK-B: The wrapping of the gold cladding aims to unify the building s complex range of functions, binding them together. Contextually, it relates to various points of Deptford s rich history, including its growth from a small fishing village into the Royal Naval Dockyard with links to HMS Discovery, Sir Francis Drake and Captain James Cook. So, the wrapping has multiple functions and references. From a distance the golden form appears solid but close-up reveals itself as transparent and light-weight, floating above its glazed base. On a functional level, the wrapping provides solar shading to the large areas of glazing, while also allowing suitable levels of 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: The panels are rigid folded cassettes that provide sharp and clean joints between panels, rather than something that would buckle and distort. The nautical references continue with the setting-out of the panels in a stretcher bond pattern like historic timber hull construction in ship-building. The perforations are kept back from the edges to help express each panel individually while retaining rigidity. We explored various perforation shapes, from square to raised diamond patterned with a cheese grater appearance, and settled on simple circular holes, again arranged in a stretcher bond pattern. Different levels of perforation were also considered, as the transparency of the wrapping adds another dimension with the play of light. The building responds to its uses and environment, continually changing with light conditions throughout the day and into the evening, becoming more or less revealing suggesting discovery. The level of transparency increases with distance away from the solid ship s bow corner, with its large symbolic window, gradually blurring solid and void. CH: How was the light, floating feel of the pierced copper alloy skin achieved in structural terms? HK-B: Initially, the cladding was to be suspended on rods from a ring beam. But due to the building s subtle shifts of form both in the vertical and horizontal planes additional support was required, depending on location around the building. The solution was to fix steel brackets back to the main building structure at the top and bottom of the wall. These then support a frame and suspension rods, to which the copper alloy panels were fixed. Additional structure and stays were incorporated where the golden wrapping pulled further away from the building, reducing movement from wind loading. The transparency of the panels also offered further opportunities to express the structure behind with honesty. 27

28 by Chris Hodson 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 Jelling Church, Denmark. But these interventions go well beyond conservation, seeking to transform the visitor experience, as architect Erik Nobel explains. The Jelling runic stones mark Denmark s transition to Christianity in the year 965 and the monument is also known as Denmark s birth certificate. 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 for the future and, at the same time, provide an architectural composition allowing spectators to get very close to them. 28

29 Photo: NOBEL Elevation Plan arrangement The design forms a stylised dialogue between the two stones, which represent the first two kings of Denmark Gorm and Harald Bluetooth. The bronze angles form one gable and the roof for each structure, while the other faces are fully glazed. Our objective was to accentuate the runic stones curved forms by contrasting them with the straight lines of the coverings which, in a metaphorical sense, hold protective hands over them. The cast bronze contrasts with the texture of the ancient stones and highlights their grey and reddish granite surfaces. The requirement for creating a controlled climate around the stones was a central consideration in the development of the project. Our consulting engineers from Rambøll designed a special heating and ventilation system which ensures a frost-free climate around the runic stones. Artificial lighting has been discreetly added using specially designed fibre-optic light sources, which are integrated in the roof structure. The lighting emphasises the stones runic scriptures and visual motifs, and accentuates their shapes. Juxtaposed with the angular bronze forms, the artificial lighting creates a completely new way of viewing the rune stones, enhancing the experience of one of Denmark s most valuable monuments. Architect: NOBEL arkitekter a/s Photos: Jens Lindhe (unless indicated otherwise) 29

30 Copper over time This thoroughly modern addition to an existing home in Cardiff, South Wales discussed by Kristian Hyde of Hyde + Hyde Architects combines copper with oak and glass in its carefully conceived design to anticipate change. We were appointed to carefully restore elements of the existing architecture creating a contemporary yet sensitive addition to the rear. To the front of the property the new addition appears as a simple copper box peeping above the layers of existing green glazed tiles of the existing home. In the refurbishment, living and entertaining space is provided at ground floor through the introduction of a predominantly single storey glazed element. At first floor, a layered copper and oak form appears to delicately hover. Set on a shifted geometry to acknowledge the existing building form, this creates a series of overhangs, cantilevers and canopies to shelter its occupants from the persistent Welsh rain. The original house is quirky but beautiful. The unknown architect has put a great deal of effort into the detailing, some of which is very playful. There is a certain humour about some of the spaces that continue to make our clients smile. The new addition responds with a singular oak clad curve at first floor which mimics the geometry of the existing curved glazing of the main house. This is introduced to turn the new addition into the main private garden at the rear. Copper was chosen as a suitable material for facades and other details to converse with the existing green glazed roof tiles of the existing dwelling. After 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 forever. That s the beauty of copper, it s timeless and forces us to think about buildings in time. Copper s material character helps buildings feel as if they have always been there. 30

31 That s the beauty of copper, it s timeless and forces us to think about buildings in time UPPER LEVEL PLAN Hardwood concealed glazing New Addition Timber cladding referencing materiality of tree canopies Bedroom Internal openable window for natural ventilation Copper standing seam to match existing vocabulary of green roof Terrace Original House Architects: Hyde + Hyde Architects Photos: Kristian Alexander Hyde, Warren Orchard. 31

32 copper has been used comprehensively across facades, plinth and roofs creating a single-material skin Photo: Martti Kapanen 32

33 Famous Neighbours The Finnish town of Seinäjoki hosts the most extensive cluster of buildings designed by Alvar Aalto in the world. Asmo Jaaksi of architects JKMM explains his practice s approach to designing a new addition to this hallowed Aalto Centre. The Centre displays Aalto s masterful touch, ranging from the area s 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 Office Building, Theatre, the Cross of the Plains Church and the Old Library. Photo: Tuomas Uusheimo DIALOGUE BETWEEN OLD AND NEW Built in 1965, the Library needed a modern extension to meet today s demands and JKMM s design, called Clover, won the competition for 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 of the objectives of the design was to find an interface with the typical characteristics of Alvar Aalto s architecture without imitating it. Photo: Martti Kapanen 33

34 Photo: Tuomas Uusheimo Photo: Tuomas Uusheimo VARIED INTERESTING SHAPES The new library stands separate from Alto s original, although connected by an underground link. Division of the building into three sculptural units was an important decision to be able to blend the large building volume with the surrounding townscape. This generates varied, interesting shapes when viewed from different directions. The exposed boarded-formwork concrete interiors are punctuated by carefully placed windows and larger glazing offering controlled views of the Centre. The view from the glazed wall in the main library hall is dominated by the highlights of the area: the bell tower or the Cross of the Plains Church and the fan-shaped facade of the original Aalto Library. The heart of the building is the wide staircase, intended for different events and as an informal meeting place, which leads to the collection departments on the ground floor and through the connecting underground corridor to the Aalto Library. LIVELY AND VIVID SURFACE The external skin of the new library is dominated by copper. The darkening preoxidised copper sets the new library apart from the whiteness of the surrounding buildings. Copper is not a new material to the area but in the Aalto Centre it is mainly the roofs that feature the material s beautifully patinated green surfaces. In the new library, copper has been used comprehensively across facades, plinth and roofs creating a single-material skin. Photo: Martti Kapanen A special shape of copper shingle was specifically designed for the facades to give the building a highly individual, lively and vivid surface. In some situations, the shingle surface is formed into ventilation slots to accommodate air handling. Copper is also used to form vertical grilles and as a door facing to maintain the material continuity. 34

35 NORTHWEST Facade northwest NORTHEAST Facade northeast SOUTHWEST Facade southwest SOUTHEAST Facade southeast Photo: Martti Kapanen NORTHWEST NORTHEAST SOUTHWEST Section A SECTION A 1:500 SECTION B 1:500 SECTION A 1:500 SECTION B 1:500 Section B 'S LIBRARY TO AALTO'S LIBRARY SECTION A 1:1000 Architects: JKMM SECTION B 1:1000 Copper Installer: Pohjanmaan Pelti Copper Product: Nordic Brown Light Photos: Tuomas Uusheimo, Martti Kapanen S GAMES YOUTH, MUSIC, MOVIES MUSIC LISTENING YOUTH, MUSIC, MOVIES GAMES MUSIC LISTENING YOUTH, MUSIC, MOVIES MUSIC LISTENING CAFE CAFE CAFE NEWS AREA READING STEPS READING BOOK STEPSHALL BOOK HALL EXHIBITION YOUTH INFO ENTRANCE HALL EXHIBITIONCUSTOMER SERVICE CUSTOMER SERVICE MEETING ROOM STAFF CAFE OPEN STACK A A DISTRIBUTION JAAKSI HALL DISTRIBUTION SILENT READING ROOM SILENT READING ROOM PLAY OFFICES CHILDREN CHILDREN OFFICES SOCIAL SPACES BOOKMOBILE STACK OFFICES BOOKMOBILE STACK B B NEWS AREA READING STEPS READING STEPS BOOK HALL YOUTH INFO EXHIBITION YOUTH INFO ENTRANCE HALL EXHIBITION MEETING STAFF ROOM CAFE STAFF CAFE OPEN STACK JAAKSI HALL A A DISTRIBUTION SILENT READING ROOM PLAY OFFICES CHILDREN OFFICES SOCIAL SPACES OFFICES B B NEWS AREA READING STEPS READING STEPS EXHIBITION ENTRANCE HALL EXHIBITION CUSTOMER SERVICE MEETING ROOM OPEN STACK JAAKSI HALL A A PLAY OFFICES OFFICES OFFICES BOOKMOBILE STACK B B SECTION A 1:1000 SECTION B 1:1000 SEINÄJOKI CITY LIBRARY SECTIONS 1:500, 1: J K M M A R C H I T E C T S L A P I N R I N N E H E L S I N K I F I N L A N D TEL ( 0 ) F ( 0 ) W W W. J K M M. F I OFFICES OFFICES OFFICES OFFICES OFFICES OFFICES CELLAR 1:500 CELLAR 1:500 GROUND LEVEL 1:500 GROUND LEVEL 1:500 GROUND LEVEL 1:500 1ST FLOOR 1:5001ST FLOOR 1:500 1ST FLOOR 1:500 Cellar Ground level 1st Floor 35

36 36

37 CONICAL COPPER 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. Learning wings Dining and kitchen Main hall and drama Chapel above reception Library Primary circulation WCs and changing areas All Saints Academy is a church school for the community in Cheltenham, UK. It provides secondary education for 900 pupils and 250 sixth-form students. The building s striking form curves around an impressive external plaza with an elegant canopy and three-storey high glazed atrium at its centre. The design developed around the concept of a hand, the atrium acting as a unifying device from which key internal and external areas are accessed. Curved open galleries within lead to three radiating learning wings providing most of the classroom accommodation. A Visible Beacon The entrance atrium forms the heart of the building and the public face of the Academy. Above the reception area rises the distinctive conical form of the copper-clad chapel. It acts as a visible beacon reflecting the Christian ethos of the Academy. The building is clad with a limited palette of materials. The ground floor is brickwork to provide a human scale to the Academy as well as being durable. Upper levels are clad with an insulated render system. The copper shingles to the chapel and the confident use of colour offer a lively counterpoint to the refined facades. Sculpting of the chapel brings light pouring into the space from above. A single slot window with a coloured glass design provides a focus within the contemplative space. At roof level, the cone is truncated and a large opening formed in the vertical face, infilled with glazing. A separate, lower copper clad form completes the composition and encloses mechanical plant servicing the chapel. 37

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