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EDITORIALE

Registrati per Copper Architecture For um copperconcept.org

Leggi i numeri arretrati copperconcept.org

Contatta la redazione copperconcept.org

Carica il tuo progetto sul sito web copperconcept.org

Partecipa al concorso europeo Copper in A rchitecture copperconcept.org

In copertina: Piattaforma per Arte& Creativit, Guimares, Portogallo(pagina 14).Foto: Joo Morgado

Copper Architecture Forum n.34, maggio 2013

Copper architecture Forum parte della Campagna Europea sul Rame inArchitettura. pubblicato due volte lanno e ha una tiratura di 25.000 copie.

La rivista distribuita agli architetti e ai professionisti del settore edile

in tutta Europa - e non solo in lingua italiana, ceca, danese, finlandese,francese, inglese, norvegese, polacca, russa, spagnola, svedese, tedesca eungherese.

Capo redattore: Robert Pinter

Direttore: Chris Hodson RIBA

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

E-mail: [email protected]

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

Editore: Nigel Cotton, ECI

Layout e produzione tecnica: Jorma Naula Grafisk Design, Svezia

Stampa: Strlins Grafiska AB 2013, Svezia

Collaboratori:

Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Becquevort, Benelux [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintr, Hu, Cz, SVK [email protected] Ionov, Ru [email protected]

Copper Architecture Forum 2 013

Nel 1995 il primo numero di KopparForum era di sole quattro pagine.

Iniziamo questa pubblicazione con un saluto affettuoso a Lennart Engstrm che si con-geder dalla nostra Redazione. Egli ha promosso la rivista Copper Forum 18 anni fa e hasvolto un ruolo chiave nel suo sviluppo, dalle quattro pagine del primo numero rivoltosolo ad architetti scandinavi a quella che oggi: quaranta pagine, pan europea, 25.000 co-pie, pubblicata in 13 lingue. utti noi della redazione abbiamo apprezzato la sua saggezza,

la passione per il rame in architettura e la natura gentile ma persuasiva e lavorare conLennart era sempre un divertimento.Naturalmente, ci sono stati dei cambiamenti nel corso degli ultimi 33 numeri, con

miglioramenti continui sia nel design della rivista e sia nel suo contenuto, in modo dariflettere gli interessi correnti degli architetti. Oggi, tuttavia, i valori iniziali di Copper

Architecture Forum rimangono: presentare larchitettura di ispirazione contemporanea,accanto a temi dattualit che riguardano la progettazione con il rame e le sue leghe.

Cogliamo loccasione per presentare il nuovo Capo Redattore, Robert Pinter, e il nuo-vo Direttore, larchitetto Chris Hodson. Entrambi fanno parte della redazione da qualchetempo e hanno una vasta esperienza in rame per architettura e l edilizia. Con un architet-to come direttore, la rivista rispecchier da vicino gli interessi dei nostri lettori architetti esvilupper un maggiore coinvolgimento con loro in particolare attraverso il nostro sito

web copperconcept.org .

Durante lediting di Copper Architecture Forum, guardiamo le tendenze emergentie gli elementi comuni tra progetti. In questa rivista, una serie di temi diventano evidenti.In primo luogo, in diversi edifici sono esemplificate le numerose possibilit di utilizzodi elementi di facciata in rame per unire schermatura solare e trasmissione della luce. Lesoluzioni spaziano dagli schermi e maglie di rame forato, alle griglie di ottone profilato escultoree alette curve. A lcuni schemi evidenziano anche il rame impiegato come materialeassolutamente moderno, che caratterizza gli interventi contemporanei per rigenerare vec-chi edifici spesso storici e sotto vincolo architettonico. Infine, il rame assume un ruolocivico in grandi progetti che contribuiscono a modellare un pi ampio ambiente urbano.Ci auguriamo che apprezziate la diversificazione e leccellenzadella progettazione architettonica dimostrata in questo numero.

La Redazione

CAMBIAMENTO E CONTINUIT

Lennart Engstrm, fondatoree direttore emerito di CopperArchitecture Forum

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3COPPER ARCHITECTURE FORUM 34/2013

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49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

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and Android devices.

Inspiration and information combined in one app.

Reference projects

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Design Awards

Copper Architecture Forum

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Copper Architecture Forum 2013

INDICE

2 Cambiamento e continuit editoriale

49 Rame Iconico Goteborg, la trasformazione di uno storico ufficio postale inun hotel, punto di riferimento con un ruolo civico.

1011 Architettura Automobilistica celebrare lautomobile con la riqualificazione di un edificio a Mosca

1213 Reinventando il Vernacolare una nuova visione sullarchitettura rurale in Normandia, velata in rame.

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

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

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

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

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

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

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

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4 COPPER ARCHITECTURE FORUM 34/2013

RAMEICONICODopo 20 anni di inutilizzo, ledificio dellUfficio Posta-le della centrale piazza Drottningtorget a Goteborg(Svezia) stato trasformato nel Clarion Hotel Post da500 camere, con aggiunte moderne che riflettono leaspirazioni di questa vibrante citt.

Ledificio originale stato progettato tra il 1918 e il 1925dallarchitetto Ernst Torulf di Goteborg in stile manieristaclassico usando mattoni con abbellimenti in pietra e tetti diardesia mansardati con dettagli in rame, che nel tempo si patinato in verde. Lufficio postale ora un monumento na-zionale. La strategia apparentemente semplice di Semrn &Mnsson Architects stata quella di chiudere lo spazio dellapianta originale a ferro di cavallo con una nuova aggiunta,andando verso linterno per occupare il vecchio cortile dovesi caricava la posta. Ledificio esistente stato ristrutturato eadattato per soddisfare la sua nuova destinazione duso marispettando il suo carattere originale, i dettagli e lo status

di edificio protetto. Il cambio di destinazione ha interessatoanche il resto del cortile, con una nuova struttura ai livelli in-feriori e un tetto di vetro che inonda di luce le aree pubbliche.

Un nuovo simbolo per la citt

Lintervento di chiusura del cortile crea un nuovo fronte,aperto al pubblico sul lato or ientale delledificio che si affac-cia su kareplatsen e Odinsgatan. Il cambio duso proseguesu entrambi i lati unala rivestita di rame, laltra di ardesia,gli stessi materiali utilizzati nel vecchio ufficio postale esi allinea con il livello originale del cornicione. Dove le ali siincontrano, si sollevano insieme come una coppia di formemonolitiche separate da un frammento verticale di vetro. Latorre risultante, di 13 piani, crea un nuovo simbolo per la citte segnala anche un ingresso secondario per l hotel: lingres-so principale, annunciato dal suo opulento mosaico doro,viene mantenuto sulla facciata ovest delledificio esistenteche serve la Drottningtorget, una piazza pubblica.

Le nuove aggiunte rispettano e riflettono la griglia oriz-zontale della vecchia finestratura ma rompono il semplice

di Chris Hodson

allineamento verticale delle aperture. Le nuove facciatesono concepite come pannelli quadrati ciascuno con ban-de orizzontali di rame o di ardesia, con i vetri montati a filodella facciata, apparentemente disposti a caso. Secondo gliarchitetti, questa frizzante e striata superficie piana stata inparte ispirata dalla chiesa a Lajasalo (Helsinki) in Finlandia,con le sue strisce orizzontali di rame pre-patinato.

Ma qui, la verticalit viene reintrodotta dalle giunzioni deipannelli, evidenziate dai cambiamenti di colore delle fasceorizzontali accostate di rame. Gli angoli sono espressi conuna versione moderna delle tradizionali immorsature ver-ticali (viste sulledificio originale) espresse come una sottilestriscia lo spessore dei pannelli a volte incorporanti lefinestre a filo in mezzo al rame. La griglia della facciata rima-ne ininterrotta in ogni punto, nonostante il tetto con terrazzapanoramica e piscina allaperto che si affacciano su Goteborg.

Foto: Lennart Hyse

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La facciata delledificio originale e lingresso dellhotel si affacciano sulla piazza pubblica.

Foto: Krister Engstrm

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Pianta 13 piano

Pianta 9 piano

Pianta 3 piano

Pianta 2 piano

Pianta 1 piano

Livello strada

Immagine:Semrn&

Mnsson


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Superfici di rame ricche e vitali

Fin dallinizio, gli architetti prevedevano le nuove

facciate come una costruzione sottile, con rivesti-mento di lastre. La soluzione ha coinvolto pannelldistinti, ciascuno prefabbricato e poi installato finin cantiere per formare un muro non portante cfungesse da pelle esterna, indipendente dalla strutura dei piani. Questo consente uno stretto controdelle complessit progettuali dei singoli pannelliallinterno del complessivo layout di facciata, condiverse dimensioni delle finestre e una superficiedi rame varia e striata. Questa stata ottenuta corame in strisce di tre diverse altezze 200, 250e 300 mm e tre diverse intensit di patinatura,

variando la quantit di verde sullo sfondo marronscuro. La combinazione di questi elementi ha permesso la creazione di ricche e vive superficidi rame.

Architetti: Semrn & Mnsson

Installatore del rame: Skandinaviska Glassystem AB

Prodotto di rame: Nordic Green Living

Foto: Lennart Hyse

Foto: Chris

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Ruolo Civico

Il sito del Clarion Hotel Post gode di una posizione di rilievo nel centro diGteborg, vicino alla stazione centrale e al principale centro commercialedel quartiere Nordstaden. La nuova torre assume un ruolo civico come uniconico punto focale urbano, legando insieme assi della citt che sono stati alungo sconnessi. Il pi ev idente, si allinea con Odinsgatan, chiudendo visualiverso questo lungo viale diritto. Si erge anche sopra il vecchio ufficio postale,se visto dalla piazza ed altri luoghi strategici nel centro.

Sezione

Foto: Chris Hodso

Il rame era molto importanteper il nostro progetto

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Lintera intervista con il professor Mnssopu essere letta su copperconcept.org

INTERVISTAChris Hodson discute del Clarion Post

Hotel con il Professor Magnus Mnsson,

di Architects Semrn & Mnsson.

CH: Come stato coinvolto nel progetto delPost Hotel?

MM: Sono stato invitato da uno immobiliarista

a localizzare un posto per un grosso hotel qui a

Goteborg, vicino alla stazione centrale. Stavo

gi progettando un altro hotel ed ero preoccu-

pato per la struttura della tipologia delledificio.

Ledificio della Posta era stato convertito ad uso

ufficio alla fine degli anni 80, ma quando lho

guardato, ho pensato: questo non un ufficio,

questo un hotel solo per la disposizione del-

le finestre. Limmobiliarista fu daccordo con la

mia proposta per un progetto spettacolare che

abbinasse vecchio e nuovo e fu 8 anni fa.

CH: Quali erano le sfide per un edificio del ge-

nere, prominente e sotto vincolo?

MM: Ovviamente, c stata una battaglia con

le diverse autorit. Ledificio era classificato con

il pi alto grado di protezione in Svezia ed era-

vamo coinvolti non solo con le autorit locali,

ma anche con lente statale a Stoccolma: una

vera lotta. In realt tu non avresti potuto cam-

biare niente allesterno, e questo era il punto di

partenza.

CH: Sebbene lei abbia tre altri uffici, la suasede proprio a Goteborg: un progetto sottoca-sa approcciato in maniera differente da uno

lontano?

MM: Spero di no. Ma, naturalmente, passo da-

vanti a questo edificio ogni giorno, quindi lo

sento particolarmente vicino.

CH: Dal punto di vista urbanistico, pensa cheil Post hotel abbia una funzione civica impor-

tante?

MM: Certamente ce lha. Quando il governo

svedese costru lUfficio della Posta, copr in re-alt due isolati, sebbene ci passasse una strada

attraverso. Questo blocc la naturale espansio-

ne della citt verso est, lasciando giusto una via

stretta trafficata, con i tram costretti a passare

vicino alledificio. Cos, la torre in rame e pietra

indica la nuova citt ad est se vista dal centro

storico. Ma funge anche da punto focale che

chiude il viale ad est e la nuova piazza sul fron-

te, attualmente in fase di progetto.

CH: Ci sono simbolismi tra le torri in rame ed

in pietra appaiate?

MM: Non proprio. Loriginale concept de-

sign immaginava una torre pi alta, limitata

per dalle autorit locali. Le cose stavano cos,

quando mi venuta lidea di farla in due ma-

teriali per conferire proporzioni migliori. E ci

sono differenze nel nostro approccio a questi

due materiali, con meno finestre e pi piccole

nella torre di ardesia, che da un senso di mono-

liticit. La torre in rame ha un senso materiale

pi sottile. Ci sono molti piccoli segnali che t i

dicono di interpretare le differenze.

CH: Cerano altre ragioni per usare rame e lapietra, olt re che semplicemente riferir si al tet-

to delledificio originale?

MM: Nel 1920 tutto era di origine locale, ma

era davvero naturale e noi siamo stati orgoglio-

si di aver avuto un materiale come il rame. Noi

volevamo sviluppare questa tradizione con un

linguaggio dei materiali che rendesse peculiare

la nuova parte, ma nella continuit. Io vedo il

nuovo edificio come un familiare giovane, con

lo stesso DNA. Il rame era molto importante

per il nostro progetto.

CH: E lei ha impiegato il rame in bande

diversa altezza e intensit di patinazionQuali erano le sue intenzioni dietro ques

approccio?

MM: Sono molto felice del risultato raggiu

to, era meraviglioso realizzarlo con le supe

fici in rame. In realt le dimensioni dei ta

in pietra suggerivano un simile approccio p

strutturare il rame con una simile finitu

inoltre lorizzontalit rispecchia le tradizion

opere in muratura che si trovano in citt.

CH: Oltre a condurre con successo il suo studdi architettura con quattro uffici, lei insegn

Quando ne ha lopportunit, come si rilassaMM : Sono sempre in movimento, e non

mane molto tempo libero. Ma quando pos

disegno.

Una nuova piazza prevista sul lato est dellhotel; la torre funger da punto focale per il viale che confluisce nella piazza stes

Se vista dal centro storico, la torre in rame e pietindica la nuova citt ad est.


Foto:Semrn&

Mnsson

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Euromotors ci ha chiesto di creare una nuova immagineper il centro di assistenza auto, in maniera da riflettere leprincipali caratteristiche del marchio aziendale: coerenza, affi-dabilit e servizio di alta qualit. Ledificio sorge su una stradatrafficata e questo ha ispirato il nostro concetto architettonico.La dinamica delle macchine che passavano il loro movimento,le luci, la carrozzeria metallizzata lucida tutte queste imma-gini vengono proiettate sulla facciata delledificio. Scorrendoaderente al marciapiede pubblico, la facciata doveva evolversicome superficie bidimensionale ma, al tempo stesso, suggerirela terza dimensione e il movimento orizzontale.

ARCHITETTURAAUTOMOBILISTICA

Come materiale stato scelto il rame pre-ossidato marrone scuro.Questo metallo nobile e affidabile ha sottolineato lo status di Eu-romotors e la sua filosofia nel servizio e lattenzione per le auto dialta qualit. Lutilizzo di pannelli perforati di rame ha arricchito ildesign delledificio, dando lillusione di una superficie che cambiaa seconda di come ci si sposta lungo lesterno. Durante il gior -no, le perforazioni danno una profondit particolare alla facciatagrazie al gioco di luci ed ombre. Di notte leffetto dinamico sullasuperficie aumentato dal riflesso delle luci delle auto e anchecon lampade speciali che, disposte in file orizzontali come fanali diautomobili, si illuminano attraverso i pannelli.

La trasformazione di un brutto edificio sovietico, eretto a

met del XX secolo, riscopre una tipologia architettonica

che celebra lautomobile, per mezzo di una nuova facciata

in rame perforato. Per iniziare, Pavel Khegay e Amir Idia-

tulin di IND Architects spiegano il loro concetto di design.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Foto:AndreyMarshal

La facciata bianca senza vita della costruzioneoriginale stata sostituita con una vibrante eviva pelle esterna di rame perforato.

Foto: Andrey Marshal

Architetto: Architetti INDProgettisti ed Installatori del rivestimento in rame: PacificStroy (KrovExpo )Prodotto di rame: Nordic Brown

Foto: Evgeniy Golytki

Qui, Andrey Kulagin di Technical Designers and Instal-lers PacificStroy discute la realizzazione del progetto.

Questo stato il primo progetto in Russia in cui stata usatauna facciata sospesa costituita da pannelli di rame perforati,con retro-illuminazione. La progettazione tecnica ci ha pre-sentato una serie di sfide, dovendo interpretare i disegni deglarchitetti e le visualizzazioni in 3-D, in particolare nascondendo luci, supporti e altri elementi allinterno dello spazio vuoto

della facciata. Lavorare con materiali naturali come il rameti fa sempre sentire una responsabilit ed una ispirazioneparticolare. Ma durante il processo di installazione i problemsono stati evitati, perch ogni dettaglio stato preso in consi-derazione e descritto nella documentazione tecnica.

La perforazione di pannelli metallici influisce sulla rigidit:abbiamo provveduto a questo facendo buchi secondo unoschema a scacchiera e regolando lo spessore di rame. I borddel pannello sono stati lasciati non forati per fissarli al sup-porto in acciaio inox con rivetti in rame. La facciata risultanterappresenta lapproccio di Euromotors al lavoro e crea asso-ciazioni con automobili e di ingegneria di qualit. Lo schema

di perforazione come il radiatore di alcune auto depoca e lerivettature suggeriscono la pelle di un aeromobile.

In Russia e in altri paesi, di solito i centri di assistenza autosono blandi edifici industriali ma Euromotors si distingueper la sua architettura unica interpretata col rame.

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Questo nuovo centro culturale e multimediale, nella cittrurale di Gournay en Bray in Normandia (Francia del nord)prende spunto dalle forme degli edifici locali trasformati inmoderni interventi, caratterizzati da superfici di ardesia evetrature velate da lastre di rame espanso.

Il progetto si compone di due ali distinte, collegate da una re-ception centrale. Lala est, lunga 65 m, contiene le bibliotechemultimediali per adulti e bambini, lala ovest invece pi lunga 75 metri e ospita sia una scuola di musica sia una scuola di

danza. Gli architetti hanno cercato un edificio moderno nel cuoredel terreno, che ridefinisse il rapporto con la natura circostan-te (giardini, vicoli, muri in pietra) e lambiente costruito (edificitradizionali e rifugi). Hanno concepito il progetto dei diversi spaziculturali come un rizoma che cresce collegato alla reception.Qui, una vetrata intera immerge il visitatore nella zona verde trale due ali, evidenziata dal prato di fiori selvatici.

Il profilo ripido del tetto a falda degli edifici esistenti si riflettenel nuovo, ma con una continuit moderna di superfici in ardesiaviola, interrotte da aree con maglie trasparenti di rame espansopre-ossidato davanti alle ampie super fici vetrate. Lingresso al

complesso dalla strada annunciato da un estrusione demateria-lizzata di edifici vernacolari, anche velati con una maglia di rame.

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

Prodotto di Rame: TECU Oxid

Foto: Luc Boegly

di Chris Hodson

REINVENTANDO

IL VERNACOLARE

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A Platformfor Arts & Creativity

A thoroughly contemporary intervention is at the heart

of the regeneration of the ancient centre of Guimares,

one of Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profile facades in its realisation.

The buildings that make up the municipal market and thespace contained by them commonly referred to as thesquare together form the urban character of the city ofGuimares. Before being relocated, the old municipal marketenjoyed a privileged and very central location with excel-lent access, very close to the Toural Square and the historiccentre.

MULTIFUNCTIONAL SPACENow, the transformation of the marketplace into a multi-functional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital ofCulture 2012 status, has reintegrated the area into the urbanfabric, so recovering a key area of the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration of the interior space of the block previously acharacterless area used for marble processing.

The program provided a clear concept and defined theobjectives to be achieved, listing a series of activ ities andspaces which defined the functions of both new and existingbuildings, as well as the adjacent plots of land. Three majorprogram areas were identified:

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

Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

VcYh]dlh!VcYXdbeaZbZciVgnhZgk^XZh#

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Architects: Pitgoras

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

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

Photos: Joo Morgado - Architecture Photography

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

and installation of activities related to creative industries,

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

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

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

YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

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

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

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

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

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The new building takes a radically different approach to itssurroundings, both from the standpoint of architecturallanguage and image: discrete, repetitive, as well as by thesuccession of volumes, with full and empty, marked by the

juxtaposition of contrasting sur faces. The external coverings

a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from denseand opaque on the majority of surfaces, to transparent whenpartially concealing the buildings few openings.

This series of dissonant elements resulted from the need tocreate a variety of different spaces in the exhibition area.It creates a tension manifested in the volumes of the buildingand the relationship with the space of the square, making itthe main feature of its design.

For the square, we formulated a design significantly moreclinical, using large concrete slabs which act as a counterpart

to the surrounding buildings. It is conceived as a large mul-tifunctional meeting area and obviously a public space byits very nature. It will remain intentionally sparsely equipped,with large trees to the east preserved and planting introducedalong the north building, but leaving most of the space freefor spontaneous or organised activities on the Plat form.

RADICALLY DIFFERENT APPROACH

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COPPER ARCHITECTURE FORUM 34/2013 17

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A TRANQUILBACKDROPIN BRASSThe architects choice of brass for the facadesof the new building was informed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-effective solution tothe complexities of the program. Brass profiles,in conjunction with exposed glazed areas, ef-fectively dematerialise the massive geometricforms of the new building which is 150 m longand stands 8 m high sof tening its relationshipto the public square.

The consistent grid, made up of 20 x 10 mmrectangular brass profiled sections, matchesthe scale and proportions of the surroundingbuildings without overwhelming them. Despitethe regularity of the brass grid, it provides atranquil backdrop to the square, constantlychanging with the light then transformingfrom opaque to transparent at night.

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P4

P2

P3

P1

Brass section detail

1. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

2. IRON BAR 70 x 6 mm, TO BE METALLIZED AND PAINTED

3. BRASS BAR 25 x 4 mm

4. TOOTHED BRASS BAR 4 mm, FOR FITTING THE TUBULAR

BRASS, WELDED TO THE VERTICAL BARS5. FACADE COVERING IN BRASS PANELS

6. BRASS BAR 20 x 2 mm

7. ROUNDED BRASS SHEET 2 mm

8. ROUNDED IRON SHEET 5 mm, TO BE METALLIZED AND PAINTED

9. NEOPRENE WEDGE

10. THRE ADED ROD OF IRON 8 mm IN DIAMETER, W ELDED TO

THE IRON BAR, TO BE METALLIZED AND PAINTED

Assembley and fixation of the facade panels

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In the summer of 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transformits services and facilities for visitors. The East Wingproject forms the second phase of the Museums re-development programme, following the renovation of

the West Wing in 2003. The Museums core is a Tudormanor house dating from 1561. It was acquired byMaidstone Borough Council in 1855 and opened asa Museum in 1858. The Museum is a Grade II* listedbuilding protected by law.

More Public InvolvementThe collections of over 600,000 ar tefacts and speci-mens are outstanding in their diversity and quality,forming the largest mixed collections in Kent and oneof the largest in the South-East of England. Someelements such as the Japanese Art Collection are ofinternational significance. The East Wing projectskey aims were the long-term preservation of the col-lections, more public involvement and increased useof the Museum and its collections.

The new interventions allow greater public visibilityof the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian founders, and better views of theMuseum from the town centre. Public facilities, easeof visitor flow through the building and accessibilityfor all have also been substantially improved.

Hugh Broughton Architects explain the project forthe upgrade of Maidstone Museum, a protectedhistoric building in the South-East of England,

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

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal roofing & Cladding)

Copper Product: TECU Gold

Photos: Hufton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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

The Japanese Art Collection

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Winning DesignOur competition-winning design is a direct response tothese key objectives. At the lower levels of the revitalisedEast Wing, a new entrance and orientation area faceMaidstones High Street and welcome visitors. A gallerycreated between an improved shop and the refurbishedstores provides a home for a Solomon Islands War Canoe the only example of its kind outside the Islands. V iewsfrom this gallery reveal a public courtyard and Tudorfaades unseen by the public for over 40 years.

A young learners education room is complementedat first floor level by a glazed meeting room, creatingdramatic views of St. Faiths Church and visually re-con-necting the museum with Brenchley Gardens. A dynamicnew gallery space above the reception, lit by curvaceous,north facing rooflights, provides a permanent homefor the collection of Japanese Art. The extensions werecomplemented by refurbishment and reorganisation ofthe existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagridof golden copper alloy shingles, creating a contemporarycounterpoise to the existing brick faades. Over time theshingles may loose their shine but not their beauty.

1

1

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Gold copper alloy cladding systemSkylights to Japanese GalleryGlass room

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Bearsted WingSt. Faith's StreetBrenchley Gardens

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

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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1

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45

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Extension

Refurbished Areas

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COPPER

CONTEXT

CH: How did you come to design the newuniversity building and what are the contex-tual impacts of its surroundings?

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

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

ter and home to the University of Warsaw

and the Academy of Fine Arts. Te area sits

at a lower level than the main University and

Academy buildings and the Old own: this

picturesque topography played an important

part in our design strategy. Immediately

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

new building particularly its materiality.

CH: What was the strategy behind yourdesign and the different faade treatments in

particular?

EK: Our project was considered as a sort of

a promenade, linking the higher University

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

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

to connect the two new buildings we used a

glass wall along Dobra Street which reflects

the rich copper facade of the Library with its

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

Street aims to give readers the impression of

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

despite gloomy weather outside.

Tis is achieved using yellow, green and lime

foils on the double- skin glazed southern

facade.

CH: What are the reasons for the variety oftreatments and materials on the facades?

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

a third of the whole complex. So the impres-

sion given by some facades is temporary.

When complete, the whole building wil l read

as having two wall finishes essentially, glass

and copper.

CH: Why did you choose pre-patinated copper?

EK:. We selected copper for a number of

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

reasons. Firstly, to accentuate the character of

the district which is full of parks and close to

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

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

different finish for the copper pre-patinated

with a living surface colour to differentiate

our building from the Library. But we also

wanted to show the variety of copper finishes

which are possible.

Copper is a living material, like nature. Its

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

different lighting conditions. Tis is demon-

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

Also on this facade, the idea of introducing

yellow patches amongst the copper was to

enliven it with artificial sun-beams. Tere

is also a timber patch on this elevation,

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

will become clear when the whole complex is

finished.

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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

Copper Installer: ME Wielkopolska CoCopper Product: Nordic Green LivingPhotos: Artur Biakowski (Grande)

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATIONThe Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-ing, it is a key part of Worcesters river frontage, highly visiblefrom the rising ground to the south and west. The articulationof its unique external form resonates with the scale and grainof the setting: the roofline echoes the profile of the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic funnels are as fundamental to the interior of thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart of the floor plates.

The Hive evolved from a groundbreaking partnership to create

a fully integrated public and university library, which is com-pletely new to the UK and highly innovative internationally.The building also includes the county archives and recordoffice, a local history centre, the countys archaeology serviceand a multi-agency customer service centre. The Hive is acultural, learning and information centre of excellence promoting lifelong learning, engendering social inclusionand raising aspirations in the broadest sense for the wholecommunity, regardless of age, background, or ability.

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The cladding of golden copper alloy shingles reflects the richpalette of colours and materials which characterise the citycentre - the red and gold of brick, terracotta and stone embel-lished with gilded filigree and finely decorated encaustic tiles.The elevational language of solid walls and punched openingsalso draws on the local vernacular: solid and void are balancedto optimise light, air and view, with care to avoid overheatingand glare, and the need for excessive mechanical systems tomaintain a comfortable environment.

The articulation of the roof form as a ser ies of irregular conesis designed to reduce the scale of this significant new publicbuilding to better relate to the fine grain of the historic city.

The distinctive roof cones are formed in solid laminated timberpanels that span between the eaves beam and a timber ringbeam at the top of each cone. The plinth, which varies in heightaround the perimeter, is clad in Forest of Dean Pennant stoneto match the paving to the public realm: the ochre streaks echothe golden cladding.

by Nick Hodges, Envelope Package Architect for Feilden Clegg Bradley Studios

Golden CloakThe copper alloy cladding was chosen to allow the use ofa single material to roof and elevations a golden cloakdraped over the form. The scale of the 600 x 600 mm tilesand the slight offset with which they are laid gives the im-pression of carapace of scales. As an architectural language,the copper shingles are articulated as thin expressedat the window reveals and soffits as 25 mm deep, with theremaining depth to the glazing finished with dark anodisedaluminium to match the curtain walling.

The shingles are intentionally overlapped rather than tightly

coursed to provide a natural element of variation thatallowed openings in the copper alloy to be more freely po-sitioned. It was felt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the dif ference in additionalmaterial was around 1 % and this was considered acceptablein terms of ease of working on site. More critically it was feltthat the coursing of the copper should align from the walls tothe roof cones, so that there was a feeling of continuity.

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Articulation of the metal fabric was developed in the

detailing of the material at corners, eaves and windowcills. A critical part of the material expression was toensure that it appeared seamless and that cover piecesor horizontal elements of gold that might break up theshingle pattern were avoided. The design team wereaided by the excellent copper installers who mocked-up a number of the key detail junctions (some shownhere) for discussion and exploration ahead of the startof their site works.

As the installations progressed to site, the installersidentified potential difficulties with particular gutter

junctions early enough for the design team to discusspractical solutions on site. These conversations weresupported by sketches and formal drawings, and test-ing where necessary. The quality of the copper alloyskin, as part of the overall finished building, is evidenceof how well the design and installation team workedtogether.

At nearly 12,000 m2 it would be easy for the sheervolume of such a striking material to be the definingcharacteristic but, by developing the details togetherwith a dedicated and skilled installer, the claddingbecomes more than simply distinctive. Instead, the

prominence of the material is embellished and refined:the subtleties of the golden cloak demonstrated in itscareful stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

Photos: Hufton+Crow; Feilden Clegg Bradley Studios; Martin Quest

ArchitectonicDetailing

of Copper

Alloy Shingles

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

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All horizontal changes of direction for both elevations and

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fully setting out the shingle pattern to key points on the

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Plan detail showingcopper alloy corner atoblique wall junction

Plan detail showing foldedcopper alloy corner tooblique wall junction

Section detail showing eaves gutter

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30 COPPER ARCHITECTURE FORUM 34/20130 COP ER ARCHITECTUR F RU 34/201

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

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From the outset, the roof intended to have a horizontal

break that gave a datum against the various pitches and

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SOLAR WAVESOne of Londons best-known public sector schools has been completely redeveloped witha single, state of the art building replacing a sprawling campus. The competition-winningdesign takes an innovative, highly architectural approach to controlling and optimisingsunlight with its brise soleil arrangement of copper, brass and bronze fins.

Opened in 1958, Holland Park School became the flagship forcomprehensive education in England, known as the social-ist Eton due to its impressive reputation. But by 2004, whenan architectural competition for redevelopment was insti-gated, the schools existing buildings were beyond economicrepair and failed to meet modern demands, with inflexibleaccommodation and tortuous circulation. The greatest chal-lenge for architects Aedas was to design a new building to bebuilt on the original site while the existing school remained inoperation and that allowed part of the site to be sold to fundthe construction but also left more usable external spacethan before.

Two Halves UnitedThe result is a new block, approximately 100 m long and30 m wide. A large, 7 m deep basement extends across theentire building footprint to a depth of 7 m, accommodating thesports hall and swimming pool as well as kitchen and dining

areas. The above-ground, five storey parts are conceivedas two distinct halves united by a central atrium stretchingits full length and linked by a series of walkways. The easthalf contains the more conventional teaching spaces andis constructed using in-situ concrete columns and flat slabconstruction. The west half is a more dramatic, steel A-framestructure enabling the larger teaching and assembly rooms.This structure then straddles the larger spaces within thebasement to create clear-span spaces.

Maximising natural lighting deep into the building with exten-sive glazing, while controlling glare and solar gain, provedcentral to the architects strategy for design of the facades.But reducing visual impact of the long block on its sensitivesurroundings close to Holland Park and with mature treeson site was also impor tant. The east elevation is finishedwith a gently undulating stainless steel mesh, passing overa central copper canopy signalling the main entrance.

by Chris Hodson

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Dynamic Three-dimensional Character

In contrast, the west facade is defined by a series of verticalfins in pre-oxidised copper, brass and bronze which take on astrong, dynamic three-dimensional character. The architectfor the project, Peter Runacres, explains the development oftheir design: Due to the buildings orientation, this eleva-tion receives more solar gain than the east side and vertical

fins are more effective in controlling glare while maximising

daylight. The initial design had an arrangement of broken up,

smaller fins but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and found that

this arrangement created too much visual mass so, instead,

A copper canopy announces the main entrance on the east faade.

We selected the mix of copper and its alloys to give a natural richness, with timeless yetcontemporary qualities, as well as to deliver longevity and minimal maintenance.

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Viewed obliquely, the curved copper and alloy fins generate sinuous wave forms.

settled on full-height fins set at three - apparently random

spacings, continuing over the roof. A soft, sine curve was

developed for the fin profiles, which gives an organic feel

reflecting the mature trees both on the site and facing this fa-ade from the adjacent Holland Park. We selected the mix of

copper and its alloys to give a natural richness, with timeless

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad fins are thin in section,minimising the impact on views from inside the building. Buttheir depth acts as an effective barrier to glare and unwantedsolar gain from afternoon sunshine. Viewed from an angle,the fins come together to generate a stunning effect of dy-namic sinuous forms across the faade.

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The brise soleil fins appear randomly spaced and continue over the roof.

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

Photos: Aedas/Daniel Hopkinson (except where stated otherwise)

The thin external fins have minimal impact on views towards Holland Park.

Section

Site Plan

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Improving the environmentalperformance of products forconsumers and the buildingconstruction sector is importantto the copper industry. EU initi-atives, such as the SustainableConsumption and Productionaction plan, emphasise greaterresource efficiency and thecommercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-front of industries committedto reducing the environmentalimpact of its operations. Today,one third of the energy consump-tion of modern European coppermanufacturing is used to operate envi-ronmental protection measures.

Recently, the copper industry has de-veloped an environmental profile whichcovers around 90% of the EUs produc-tion of both copper metal and copper

products. A critical review by externalexperts has confirmed the high qual-ity, consistency and correctness of theresults. Based on ISO 14040/44, all as-pects of ore extraction, the productionof other raw materials, energy supplyand the production of the metal itselfare detailed. As such, it captures the fullimpact of the so-called cradle-to-gateapproach and shows where the greatestenvironmental impacts occur and whereimprovement actions would deliver themost benefits.

Whilst this profile is based on a cra-dle to-gate assessment, many of thebenefits to society derived from copperwill be found during the downstreamuse phase. The copper industry pro-vides support to those wishing to usethe LCI data in their own Life Cycle As-sessments including the use phase andend-of-life phases.

Only about 20% of the total impact aris-es from EU copper production sites,influenced mainly by technology, lo-cal authority permit requirements, thesource of energy supplying the produc-tion site and a companys own standards.Geologically, copper is associated with

other valuable metals, such as molybde-num, silver and gold. Since their naturalconcentrations are much lower, the oreneeds careful treatment. Modern miningtechniques require less energy than inthe past, making the recovery of smallamounts of metal possible.

Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-tecture has evolved from an add-on to anexpectation and societys understand-

ing of what a sustainable building is hasbecome more complex. Sustainablebuilding rating systems have respondedto this shift by expanding their focusfrom operational impacts towards amore holistic life cycle approach.

To date, various green building ratingschemes exist. They differ in their ap-proach to considering building product

sustainability in the context ofthe whole building. LCAs areprovided by the copper industryto represent the ecological per-formance of copper products(e.g. sheets, tubes and wire ofcopper) in a transparent way.Moreover, the copper industryhas developed EnvironmentalProduct Declarations (EPD)

based on LCAs for commu-nicating reliable quantitativeenvironmental data for prod-ucts based upon independentlyverified calculations.

Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification isa useful starting point for assessing thesustainability of architectural materialsand provides independent endorsementof the low environmental impact of both

copper roofing and cladding. It rates awide range of complete building elementsfrom A+ to E, using LCA techniques.Ratings form an important part of theCode for Sustainable Homes and otherassessment tools such as BREEAM.

Various complete wall or roof build-upsare considered, each including materialsfor structure, insulation, moisture con-trol and finishes. All the copper-finishedroofs and most copper wall claddingspecifications included achieved A+ orA summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,without affecting the copper skin itself.Coppers longevity is a major strength,resulting from its complex patinationprocess that ensures extreme durabil-ity with no maintenance and resistanceto corrosion in virtually any atmosphericconditions.

by Nigel Cotton and Irina DumitrescuCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performanceof multiple applications in energy, transportation and buildings.

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But despite these high summary ratings,coppers life-span is one aspect that theGreen Guide simply underestimates. Itincludes unexpectedly low replacementintervals for copper cladding and roof-ing generally just 45 years that arenot justified either by experience or byscience. Many historic copper roofs have

survived for hundreds of years and some

are known to have performed well forover 700 years.

Below are some examples of gainingcredits in green building rating schemes,but there are many more opportunitiesto use copper to gain credits in buildingrating schemes not least in plumbing, re-

newables, heating and cooling.

The UKs Environmental AssessmentMethod for Buildings (BREEAM 2011)Credits are available for using specifi-cations for key building elements (e.g.external walls and roofs) with low embod-ied environmental impact as measuredby the Green Guide to Specification.Copper product manufacturers provingthat their product is better than the aver-age in terms of embodied impact of the60 year study period, because of reduced

impact in manufacture, reduced mate-rial or increased durability can obtainproduct specific Green Guide ratings byundertaking certification to BRE GlobalsEnvironmental Profiles Scheme.

For the responsible sourcing of ma-terials, credits can be achieved whenconstruction materials at least 80 % ofmaterials used - are responsibly sourced.Points are awarded depending on the type

of certification available for the materialsused in each building element.

The USs Leadership in Energy andEnvironmental Design (LEED)This system developed by the US GreenBuilding Council addresses: Sustain-able Sites; Water Efficiency; Energy &

Atmosphere; Material & Resources; In-door Environmental Quality andInnovation & Design. Life-cycleis not part of the current version(LEED 2009) but it will be incor-porated into the next one (LEEDV4) that will assess the buildingslife cycle impact reduction. LEEDcategories where copper cancontribute include:

MR Credit 1 Building reuse:credits can be achieved if build-

ing products can be reusedduring renovations, which is usu-ally possible due to the durabilityof copper.

MR Credit 2 Diversion fromlandfill: credits apply to end of

life of the building and its materials. Sinceit encourages the recycling of productsinstead of their disposal, credits can beachieved if materials such as copper areused in buildings which have a high valueas secondary materials and high recy-cling rates.

MR Credit 4 Recycling content: creditsare given if the recycled content of usedmaterials in the construction is high. Usu-ally, this is the case for copper products.

MR Credit 5 Regional materials: i.e.extracted, processed and manufacturedregionally. If copper products from re-gional processing or manufacturing sitesare used in buildings, additional creditscan be achieved.

SS Credit 7 Heat island effect: creditsare awarded depending on the Solar Re-

flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roofor cladding, manufacturers can providean initial SRI and one 3 years after instal-lation.

The German Sustainable BuildingCouncil (DGNB)This rating scheme addresses the threepillars of sustainability. It doesnt as-sess individual measures, but the overall

performance of buildings and an LCA caculation are mandatory.

ECO1.1 Life cycle costs (LCC): the manufacturing costs of faade and roof havto be considered. No maintenance costduring use phase. Please note, the end olife scenario is not part of the LCC calculation.

SOC1.6 Exterior quality: this criterioevaluates the design of outdoor areas.The goal of the criterion is to maximizthe roof area by integration of technicastructures in the building and reductioof fascia/parapets. Special outdoor area

(balcony, loggia, terraces, etc.) gain morpoints in this criterion.

TEC1.6 Ease of dismantling and recyclingcopper is a non-toxic, recyclable material, which is a requirement for a gooevaluation of this criterion. The effort odismantling and sorting is low and thvalue is high, which helps ensure the reuse of copper metal at the end of its life.

To learn more about the copper Life Cyclevisit our dedicated website www.copperlife-cycle.org. The site provides importan

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

IN THE NEXT ISSUE:

The Building Sector Leads theWay in Copper Recycling.

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COPPER TAKES CONTROL

The Prfecture du Rhne building designedby architects GARBIT & BLONDEAU is theadministrative centre for the Rhne depart-ment, demanding a strong public presence. Itreplaces a previous building on a corner plotin the central Third Arrondissement of Lyon,the departments capital city. Its plan-form isstraightforward with six storeys plus a set-back penthouse and external roof areas, anda 2-storey basement.

Copper Clad Volumes

The two main facades are articulated asdistinct, copper-clad volumes aligning withthe typical Mansard-roofed blocks eitherside. The volumes are separated on the westfront by an inset cloak of suspended stainlesssteel mesh reaching up to the penthouse andsignaling the buildings entrance. Copper wasthe architects first choice and its sustainable

credentials a consideration. Opaque claddingis generally pre-oxidised copper, selected forits more regular brown shade than mill finishmaterial.

The defining external features of the newbuilding are vertical shutters clad in perfo-rated, pre-oxidised copper. In conjunction

This new, civic building in the southern French city of Lyon is characterisedby rotating copper brise soleil shutters within its deep facades, controllingsolar gain and optimising natural lighting.

with the suspended stainless steel meshscreens at street level, the perforated cop-per gives transparency but the motorised,pivoting shutter arrangement also animatesthe facades. This brise soleil arrangementallows direct response to external condi-tions, controlling solar gain and glare, whilstmaximizing potential for daylighting deepinto the building. This strategy is thoroughlysustainable in terms of both environmentalperformance and choice of materials.

West Elevation

by Chris Hodson

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SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

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Environmental Control with CopperThe external copper shutters each pivot centrally and areoperated in groups by electric motors, enabling local re-sponse to external conditions in combination with openingwindows for ventilation. Even when closed, the shutters allowfiltered natural light into the building and, at night, internal

lighting transforms the building when seen from outside.The purely architectural impact of the design can be judgedby comparison with the new facades before the brise soleilwere installed.

Vertical faade sectionshowing stainless steelmesh below perforatedcopper brise soleil.

Motorised pivoting coppershutter arrangement.

Vertical detail ofpivoting coppershutter.

Brise soleilbuild-up.

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ARCHITECTURALAWARDS LAUNCH

Entries are invited for the 2013 European Copper in Architecture Awards

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

their work to an international audience.

All entrJes mVst Jncorporate facaEes roomnH or otIer arcIJtectVral

elements of copper or copper alloys. Any scale or type of projectcan Ce entereEo from major lanEmarLCVJlEJnHs to moEest scIemes.

ArcIJtects anE crJtJcsEraXn from a panel JnclVEJnH some of tIe

most JnnVentJal EesJHners Jn &VropeXJll jVEHe all tIe entrJes on

tIeJr arcIJtectVral RValJtJes from HrapIJc sVCmJssJons.

Final deadline for receipt of entries: 31st May 2013

'or more JnformatJon on enterJnH tIe AXarEs anE on preWJoVs

aXarEs entrJes anE resVltsWJsJtwww.copperconcept.org/awards

Awards Ceremony

and Exhibition of all projects

will take place in partnership

withBATIMAT

on 04 08 November 2013

in Paris Nord Villepinte

Visit us at:

7/30/2019 Caf34 Ita Web

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caf34 ita web

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