C O P P E R A RC h it E C t u R E F O R u M - Copper Concept
C O P P E R A RC h it E C t u R E F O R u M - Copper Concept
C O P P E R A RC h it E C t u R E F O R u M - Copper Concept
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LEDARE<br />
Diversifiering av koppar<br />
I det här numret presenterar vi en eklektisk samling nya byggnader där<br />
huvudrollen i det ark<strong>it</strong>ektoniska uttrycket spelas av koppar och dess<br />
legeringar. Det kan ses som en typologisk rundtur där vi lyfter fram<br />
det diversifierade bruket av koppar. Designer använder materialet i allt<br />
högre utsträckning för alla typer av byggnader och på helt nya sätt.<br />
Synen på koppar har förändrats i takt med dess ökade betydelse inom<br />
modern ark<strong>it</strong>ektur. Och det bara fortsätter. Givetvis används koppar<br />
fortfarande på de byggnader som vi historiskt brukar associera den med.<br />
Men numera ser vi ofta nya grepp. Ett bra exempel är kapellet som vi<br />
avslutar det här numret med (s. 36–38) – en konisk cylinder som bryter<br />
fram m<strong>it</strong>t i dess huserande skolbyggnad och för tankarna till kyrkliga<br />
kupoler och spiror. Koppartak är också hjärtat i vårt första projekt, ett<br />
atrium i ett större konferenshotell (s. 47), men i form av en dekonstruerad<br />
stjärna i guldfärgad legering, vilket demonstrerar materialets möjligheter<br />
för innovativa moderna former hela vägen inifrån och ut.<br />
Materialets formbara egenskaper tas ännu längre i de dramatiska kurvorna<br />
på ett klubbhus vid havet (s. 8–9). De kunde skapas genom datamodellering,<br />
en teknik som erbjuder svindlande möjligheter av designmässig<br />
frihet. Som kontrast till detta har vi tag<strong>it</strong> med en livbåtsstation<br />
där formen följer funktionen (s. 12–15). Stationen har utformats runt<br />
fartyget som den huserar och koppar har används som skydd mot den<br />
kärva miljön – en nu beprövad design som är redo att reproduceras på<br />
andra platser. Ytterligare ett exempel på miljöskydd är en inhägnad i<br />
brons och glas för två antika runstenar (s. 28–29) med enkla formkval<strong>it</strong>eter.<br />
• Om du vill få dina egna nummer av <strong>Copper</strong> Arch<strong>it</strong>ecture<br />
Forum framöver registrerar du dig på www.copperconcept.org<br />
Där kan du även hämta tidigare nummer.<br />
<strong>Copper</strong> Arch<strong>it</strong>ecture Forum 33, november 2012<br />
<strong>Copper</strong> Arch<strong>it</strong>ecture Forum ingår som en del i den pågående ”European<br />
<strong>Copper</strong> In Arch<strong>it</strong>ecture Campaigne”. Tidningen utkommer med två nummer<br />
per år i en upplaga av 25.200 exemplar.<br />
<strong>Copper</strong> Arch<strong>it</strong>ecture Forum distribueras till ark<strong>it</strong>ekter och professionella<br />
inom byggbranschen över hela Europa – och världen – på engelska, tjeckiska,<br />
danska, finska, franska, tyska, ungerska, <strong>it</strong>alienska, norska, polska, ryska,<br />
spanska och svenska.<br />
Omslag: Tillfällig paviljong,<br />
Münster, Tyskland (s 10–11)<br />
Foto: Christian Richters<br />
www.copperconcept.org<br />
Även Marlowe Theatre utmärks av skarpt definierade former (s. 16–19),<br />
en typologi som trad<strong>it</strong>ionellt associeras med koppar. Detsamma kan<br />
sägas om allmänna bibliotek. Men i Seinäjoki (s. 32–35) förtjänar tillbyggnationen<br />
av Alvar Aalto-centret sin ikoniska kontext samtidigt som<br />
den, klädd i koppar, håller sig på distans. Ett annat bibliotek – Deptford<br />
Lounge (s. 24–27) – utvecklas till en byggnad för gemenskap som välkomnar<br />
genom transparensen av dess gyllene fasader.<br />
Kopparens typologiska mångfald tas ännu längre där olika former av materialet<br />
används med en abstrakt estetik och livar upp fasaderna på en annars<br />
typisk bilparkering i flera plan (s. 20–23). Och en modern byggnad<br />
(s. 10–11) – ytterligare en typ som vanligen inte associeras med koppar<br />
– med särskild betydelse då den är helt täckt i guldfärgad legering. Slutligen<br />
kommer vi till en anspråkslös husutbyggnad (s. 30–31) som påminner<br />
om hur kopparen också kan tillföra specifika kval<strong>it</strong>eter tillsammans<br />
med andra material.<br />
Kopparark<strong>it</strong>ekturen är under ständig utveckling tack vare ark<strong>it</strong>ekterna<br />
och deras entusiasm över möjligheterna med materialet. Och vi kommer,<br />
med din hjälp, fortsätta att lyfta fram de främsta exemplen här och på<br />
www.copperconcept.org.<br />
Redaktionsteamet<br />
• Om du vill skicka in ett projekt, föreslå ett ämne för en<br />
artikel eller berätta vad du tycker, kontaktar du oss via<br />
e-post på: ed<strong>it</strong>orialteam@copperconcept.org<br />
Redaktionsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell,<br />
Hermann Kersting, Robert Pinter, Irina Dum<strong>it</strong>rescu, Herbert Mock<br />
E-post: ed<strong>it</strong>orialteam@copperconcept.org<br />
Adress: CAF, European <strong>Copper</strong> Inst<strong>it</strong>ute,<br />
Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium<br />
Utgivare: Nigel Cotton, ECI<br />
Grafisk formgivning och original: Naula Grafisk Design, Sverige<br />
Tryck: Strålins Grafiska AB 2012, Sverige<br />
Redaktionspanel:<br />
Birg<strong>it</strong> Schm<strong>it</strong>z, De birg<strong>it</strong>.schm<strong>it</strong>z@copperalliance.de<br />
Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@copperalliance.pl<br />
Marco Crespi, It marco.crespi@copperalliance.<strong>it</strong><br />
Nicholas Hay, UK nick.hay@copperalliance.org.uk<br />
Nikolaos Vergopoulos, Gr nick.vergopoulos@copperalliance.gr<br />
Nuno Diaz, Es nuno.diaz@copperalliance.es<br />
Olivier Tissot, Fr olivier.tissot@copperalliance.fr<br />
Paul Becquevort, Benelux paul.becquevort@copperalliance.be<br />
Pia Voutilainen, Se, No, Fi, Dk pia.voutilainen@copperalliance.se<br />
Robert Pintér, Hu, Cz, SVK robert.pinter@copperalliance.hu<br />
Vadim Ionov, Ru vadim.ionov@copperalliance.ru<br />
© <strong>Copper</strong> Arch<strong>it</strong>ecture Forum 2012
2 Diversifiering av koppar<br />
– kommentar från redaktionen<br />
4-7 Omdefiniering av atriumet<br />
– ett djärvt tilltag på det gamla hotellatriumet på nytt konferenscenter i Norge<br />
8-9 Koppar i fri form – dig<strong>it</strong>alt<br />
– design med skulptural frihet för klubbhus vid havet i Australien<br />
innehåll<br />
10-11 Flyktig stjärna<br />
– en tillfällig paviljong i Münster, Tyskland, klädd i gyllene kopparlegering<br />
12–15 <strong>Copper</strong> Wave<br />
– copper protects this new lifeboat station on England’s most southerly point<br />
16–19 Canterbury Tales<br />
– the new Marlowe Theatre makes a bold statement on Canterbury’s skyline<br />
20–23 Animating the Util<strong>it</strong>arian<br />
– copper brings to life the facades of a multi-storey car park in Nottingham, UK<br />
24–27 <strong>Copper</strong> at the Heart of the Commun<strong>it</strong>y<br />
– a new typology of school and commun<strong>it</strong>y building for Deptford, London<br />
28–29 Sheltering Bronze Hands<br />
– ancient runic stones in Denmark are protected by bronze and glass<br />
30–31 <strong>Copper</strong> over Time<br />
– a contemporary copper and oak house extension anticipates change<br />
32–35 Famous Neighbours<br />
– the challenge of designing a new library close to five Alvar Aalto buildings<br />
36–38 Conical <strong>Copper</strong><br />
– a copper clad chapel at the heart of this new school in Cheltenham, UK<br />
39 <strong>Copper</strong> Arch<strong>it</strong>ecture News<br />
– updates, including our arch<strong>it</strong>ectural awards launch and a new App for arch<strong>it</strong>ects<br />
33<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
3
Omdefiniering av atriumet<br />
Ett hotellkomplex i Norge strävar efter att förändra konferensupplevelsen<br />
dramatiskt med ett helt nytt grepp om det<br />
moderna atriumet, som Chris Hodson uttrycker det.<br />
Clarion Hotel i Trondheim är ett av Skandinaviens mest betydande<br />
konventhotell och det största i Norge. Ark<strong>it</strong>ekterna i Space Group<br />
använde en strategi där tjocka blockliknande flyglar med privata rum<br />
placerades så att gästerna skulle kunna njuta av de bästa vyerna<br />
över havet, landskapet och staden. Genom denna vridning av byggnationen<br />
öppnas det centrala atriumet upp i en imponerande tredimensionell<br />
yta där det komplexa, nedåtsluttande taket tar formen av<br />
en mångfasetterad, dekonstruerad gyllene stjärna. Byggnaden ger<br />
dramatiska effekter ur alla vinklar men i synnerhet ovanifrån vilket<br />
är den vinkel de flesta besökare ser stjärnan ifrån för första gången,<br />
när de anländer med flyget.<br />
4<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
”Den gyllene stjärnans delar bryter fram<br />
mellan byggnaderna och binder dem samman”<br />
Utvalda material<br />
Designen uppvisar en ytterst genomtänkt<br />
materialanvändning för de olika<br />
elementen. Den massiva, strukturerade<br />
mörka lådan som rymmer den huvudsakliga<br />
konferenshallen, står i skarp<br />
kontrast till de inglasade sovrumsblocken<br />
vars v<strong>it</strong>a silkesintryck löses upp i en<br />
molnliknande effekt runt fönstren. Delarna<br />
av den dekonstruerade guldstjärnan,<br />
formad med en legering av koppar,<br />
aluminium och zink, bryter fram mellan<br />
alla block och håller dem samman.<br />
Ark<strong>it</strong>ekten för projektet, Jens Niehues,<br />
kommenterar: ”Vi fann att kopparlegering<br />
var ett material som gav oss möjlighet<br />
att utforma en vibrerande yta som<br />
reflekterar de inneboende egenskaper i<br />
en stjärna men samtidigt har en fyllig,<br />
gyllene färg. Utöver våra konceptuella<br />
intentioner var det givetvis nödvändigt<br />
att materialet kunde tåla det krävande<br />
klimatet på Norges västkust.<br />
”Kopparlegeringen kommer inte att utveckla<br />
någon blå eller grön patina ens<br />
i det här hårda klimatet, utan kommer<br />
att behålla samma guldton över tid.<br />
Materialets egenskaper tillåter vertikala,<br />
horisontella och lutande skarvar<br />
vilket framhäver stjärnans triangulära<br />
form. Dessutom gick det att arbeta fram<br />
skarpa kanter och tydliga detaljer vid<br />
takrännorna. Valet av guldfärgad kopparlegering<br />
betalade sig verkligen i slutresultatet.”<br />
Ark<strong>it</strong>ekter: Space Group – www.spacegroup.no<br />
(Fullständig information om designteamet och<br />
övriga konsulter finns på www.copperconcept.org)<br />
Kopparmontör: Mäster Blikk Trondheim<br />
Kobberprodukter: Nordic Royal<br />
Foto: Joern Adde, Peter Hebeisen<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
5
Strävan efter att fånga den perfekta utsikten<br />
skapade den centrala guldstjärnan<br />
Dekonstruktion av det konventionella hotellatriumet.<br />
6<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
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Dramatiken stegras<br />
Dramatiken stegras när man kommer in och<br />
det externa formuttrycket löses upp i interiörens<br />
stora, öppna utrymmen. I hjärtat av det<br />
här uppfattas det vertikala m<strong>it</strong>tområdet som<br />
en omvandling av det typiska, endimensionella<br />
atriumet till en dynamisk, tredimensionell sfär.<br />
Här skiftar stämning och skala mellan intim<br />
och spektakulär, på samma sätt som panoramautsikten<br />
kontrasterar med interiörens<br />
kristalliska gestaltningar som för tankarna<br />
till dramatiska isformationer, flak och klippor.<br />
Ovanför allt breder den gyllene kopparstjärnans<br />
långa band ut sig.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
7
Koppar i fri form – dig<strong>it</strong>alt<br />
8<br />
De dramatiska takformationerna<br />
på detta klubbhus vid havet visar<br />
de möjligheter för fri design som<br />
koppar erbjuder, i synnerhet när<br />
BIM-teknik används (Building Information<br />
Modelling).<br />
Ark<strong>it</strong>ekt: Walter Barda Design • Kopparprodukt: TECU ® Classic • Kopparmontör: <strong>Copper</strong> & Zinc Link • Foton: med tillstånd av Trend Magazine<br />
Text: baserat på en artikel i Trend Magazine www.trendsideas.com och med hjälp av Morten Pedersen på <strong>Copper</strong> & Zinc Link.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
Klubbhuset för Hamilton Island Yacht Club and Villas<br />
på Wh<strong>it</strong>sundayöarna är en del av Stora Barriärrevet i<br />
Australien och utformades för att göra visuellt intryck<br />
– inte bara från land och hav utan även ovanifrån då många<br />
gäster anländer med flyg. Ark<strong>it</strong>ekterna föreställde sig en byggnad<br />
som skulle breda ut sig över piren och lyfta fram marina<br />
element, sjöfart och segling. Designprocessen mynnade ut i<br />
en skulptural samling av kopparklädda former som för tankarna<br />
till vindfyllda segel, spinnakrar, skepp och de virvlande<br />
krafterna av blåst, tidvatten och strömmar.<br />
Yachtklubbens hjärta utgörs av en inbyggd veranda, eller piazza,<br />
som leder in till de olika privata och offentliga rummen.<br />
Innertakets gradvisa höjdskillnader och ramper leder till en<br />
dramatisk upphöjd plattform som skjuter ut över vattnet.<br />
Klubbhuset rymmer flera olika inrättningar – restauranger,<br />
barer, ett aud<strong>it</strong>orium, konferenssv<strong>it</strong>er, gym, simbassäng, läsrum<br />
och utställningshall. Det integrerade byggnadskomplexet<br />
erbjuder även 35 fristående villor.<br />
Komplexa kopparklädda former<br />
De komplexa kronbladsformade taken bärs upp av stålpelare i<br />
form av trädstammar, med grenar som möter det bågformade<br />
taket i en rad olika vinklar. Ett byggnadsgaller i stål med en<br />
räckvidd på 16 meter och en konsol på 11 meter fick utvecklas<br />
för att överföra belastningen från sidorna till de centrala<br />
väggarna. Avståndet mellan takbeklädnad och innertak kunde<br />
därmed minimeras, vilket ark<strong>it</strong>ekturen krävde. Det förenklade<br />
även tillverkning och konstruktion av taket. Koppar valdes för<br />
dess tålighet och visuella egenskaper samt, naturligtvis, dess<br />
unika egenskaper som möjliggör beklädnad av komplexa tredimensionella<br />
former.<br />
BIM-teknik – Building Information Modelling<br />
BIM-teknik visade sig vara avgörande för den detaljerade utformningen<br />
och konstruktionsprocessen för Hamilton Club – i<br />
synnerhet dess koppartak. Till följd av formernas komplex<strong>it</strong>et<br />
krävdes många sektioner och detaljerade r<strong>it</strong>ningar för att visa<br />
hur komponenterna skulle passas ihop. Informationen exporterades<br />
till övriga involverade – exempelvis till tillverkaren av<br />
byggnadsstål som arbetade direkt utifrån den dig<strong>it</strong>ala modellen.<br />
Tillgången till en fullständig dig<strong>it</strong>al modell av byggnaden på<br />
plats innebar också att konstruktionsteamet kunde visa tredimensionella<br />
r<strong>it</strong>ningar under processens gång. De olika<br />
komponenterna kunde även visas i genomskärning, vilket gjorde<br />
det enklare för alla att förstå exakt hur byggnaden skulle<br />
konstrueras. BIM går mycket längre än CAD och tredimensionell<br />
modellering, genom att komponenter och material även<br />
visas med tillhörande ”attribut”, till exempel kostnader, miljöegenskaper<br />
och underhållsintervall.<br />
BIM strävar efter att erbjuda en fullständig dig<strong>it</strong>al modell för<br />
design, tillverkning, konstruktion och användning av byggnader,<br />
där alla intressenter är helt och hållet involverade. Det<br />
skulle hjälpa ark<strong>it</strong>ekter att skapa mer hållbar och exakt design<br />
med färre fel och mindre spill. Eftersom det går att simulera<br />
utförande i den verkliga världen är det också lättare att förstå<br />
kostnader, schemaläggning och miljöpåverkan.<br />
BIM förväntas växa snabbt inom design av alla typer av byggnader.<br />
Det öppnar dörren för utforskande av nya uttrycksformer<br />
– och koppar är idealiskt för att realisera innovativ design.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
9
Flyktig stjärna<br />
En allt igenom modern konstruktion klädd i guldfärgad<br />
kopparlegering med det träffande namnet ”Gyllene<br />
prakt: Medeltida konstskatter i Westfalen”, en<br />
utställning som hålls i Münster, Tyskland, i sommar.<br />
M<strong>it</strong>t på Domplatz (katedraltorget) utgör paviljongen<br />
en modern kontrast till den historiska stadskärnan<br />
och sammanför utställningshallarna i museet med<br />
katedralens konstkammare. Paviljongen är ett resultat av<br />
samarbetet mellan Münster School of Arch<strong>it</strong>ecture och ark<strong>it</strong>ektfirman<br />
Modulorbeat. Under ledning av ark<strong>it</strong>ekterna Marc<br />
Günnewig och Jan Kampshoff, utvecklade ett team med ursprungligen<br />
33 studenter olika designförslag.<br />
10<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
Den gyllene lösningen<br />
Slutligen valde en jury den ”gyllene lösningen”, en stjärnformad<br />
byggnad i stiliserad korsform som karakteriseras av de<br />
guldfärgade fasaderna i kopparlegering. Att upprätta en tillfällig<br />
paviljong inför en konsthändelse är inte alldeles nytt för<br />
Münster. För fem år sedan skapade Modulorbeat en liknande<br />
byggnad, även den i kopparlegering.<br />
Paviljongen fungerade som en ”levande verkstad” och flera<br />
utbildningssessioner hölls parallellt med utställningen. Om<br />
man t<strong>it</strong>tar genom de inglasade ytterväggarna ser man hur den<br />
enkla osmyckade interiören går igen i hela byggnaden. Den<br />
bärande strukturen, som är tillverkad i massivt eller korslaminerat<br />
trä, är alldeles kal vilket ger golv, tak och väggar en<br />
enhetlig lyster – liksom de 8 arbetsborden som deltagarna<br />
själva monterat.
Modulerade fasader<br />
Kopparfasaderna modulerades vertikalt med unika, oregelbundna<br />
våglika profiler som för tankarna till en blåsbälg. De<br />
producerades snabbt, billigt och utan krångel av ett specialiserat<br />
företag som använder sig av dedikerade profilteknik.<br />
Paviljongen Gyllene prakt presenterar en kompromisslös, homogen<br />
gyllene enhet som endast bryts av vid korsets ändväggar,<br />
i dörröppningar och hela inglasade sektioner.<br />
workshop<br />
83,5 m2<br />
sliding door<br />
information<br />
12,9 m2<br />
Golvplan<br />
entrance<br />
4,0 m2<br />
ramp<br />
S/W<br />
S/W<br />
N/E<br />
N/E<br />
När du läser det här har paviljongen redan monterats ned. Men<br />
den kommer att byggas upp igen med alla sina originaldelar vid<br />
en lokal skola där den ska användas för undervisning i konst<br />
och andra ämnen – ett lämpligt och varaktigt resultat.<br />
elevations 1:100<br />
Sydvästra upphöjningen med inglasad yttervägg<br />
Ark<strong>it</strong>ekt: Modulorbeat och Münster School of Arch<strong>it</strong>ecture<br />
Kopparmontör: Schabos GmbH<br />
Förhandstillverkare: MN Metallverarbe<strong>it</strong>ung Neustadt<br />
Kopparprodukter: TECU ® Guld<br />
Foto: Christian Richters<br />
Nordöstra upphöjningen med skyddad ingång<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 11
The new RNLI lifeboat station at The Lizard is protected by a curved copper skin<br />
to w<strong>it</strong>hstand the extremely aggressive coastal environment of <strong>it</strong>s unique location<br />
on England’s most southerly point. The RNLI char<strong>it</strong>y saves lives at sea. Its volunteers<br />
provide a 24-hour search and rescue service around the Un<strong>it</strong>ed Kingdom and<br />
Republic of Ireland coasts. The building’s design was developed from a previous<br />
project, also by PBWC Arch<strong>it</strong>ects, in Padstow, Cornwall. It is a direct response to<br />
the specific technical demands of the new RNLI ‘fast slipway’ type lifeboat housed<br />
there and is an exemplar for future buildings of the type in other locations.<br />
The new structure s<strong>it</strong>s on the footprint<br />
of the original building: well-pos<strong>it</strong>ioned<br />
for lifeboat launching in bad weather<br />
but also reducing the environmental<br />
impact of the scheme. At first sight,<br />
the wave profile of The Lizard lifeboat<br />
station appears symbolic of <strong>it</strong>s coastal<br />
pos<strong>it</strong>ion - but form really does follow<br />
function and reflects the arrangement<br />
of internal accommodation, focused on<br />
12<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
the lifeboat <strong>it</strong>self. Essentially, the vessel<br />
is mounted on a tipping cradle, which<br />
tilts to align w<strong>it</strong>h the slipway, enabling <strong>it</strong><br />
to be launched and recovered – allowing<br />
volunteer crews to reach those in trouble<br />
as quickly as possible. The outward<br />
raking wall to the side of the building<br />
reflects the demand for accommodation<br />
at the main floor level w<strong>it</strong>h fast access<br />
straight onto the lifeboat.<br />
Photo: PBWC Arch<strong>it</strong>ects<br />
Weather-tight Design<br />
by Chris Hodson<br />
All accommodation is located on one<br />
side of the building, which allows the<br />
heated and serviced zones to be efficiently<br />
grouped together and all ventilation<br />
and lighting needs to be met w<strong>it</strong>h a<br />
strip of ribbon glazing or punched windows<br />
w<strong>it</strong>hin the raked wall. The curve<br />
of the roof then encloses the minimum<br />
volume required for the lifeboat and creates<br />
a simple form that lends <strong>it</strong>self to<br />
a single flexible roof finish. The design<br />
aims to maximise roof area while minimising<br />
penetrations to ensure a robust,<br />
weather-tight finish.
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
13
14<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
<strong>Copper</strong> Choice<br />
The selection of metal roofing was a logical<br />
progression from the development of the distinctive,<br />
wave-like, curved form. PBWC project<br />
arch<strong>it</strong>ect Cian Spowart commented: “After the<br />
Padstow project, we reviewed the roofing material<br />
and system for The Lizard lifeboat station.<br />
Here, copper was selected for <strong>it</strong>s durabil<strong>it</strong>y<br />
and capabil<strong>it</strong>y of w<strong>it</strong>hstanding the aggressive<br />
coastal environment, including the possibil<strong>it</strong>y<br />
of debris being thrown up from the sea. In add<strong>it</strong>ion,<br />
the aesthetic choice of copper over other<br />
metal roofing was driven by <strong>it</strong>s characteristic<br />
weathering over time to give a rich green patina<br />
complementing the aqua blue hues of the local<br />
coastline.”<br />
Arch<strong>it</strong>ects: PBWC Arch<strong>it</strong>ects<br />
<strong>Copper</strong> Installer: Full Metal Jacket<br />
<strong>Copper</strong> product: Nordic Standard<br />
Photos (where indicated) and drawings: PBWC Arch<strong>it</strong>ects<br />
All other photos: Geoff Squibb (Cornish Pixels Photography)
Challenging Construction<br />
Unsurprisingly, the building’s s<strong>it</strong>e at the<br />
bottom of a tight, steep slope presented<br />
special challenges w<strong>it</strong>h construction. The<br />
building is predominately timber frame<br />
w<strong>it</strong>h glulam-curved members providing the<br />
iconic shape. Dry construction and prefabrication<br />
techniques are maximised for fast,<br />
safe assembly and efficient deliveries to<br />
s<strong>it</strong>e.<br />
The double skin roof is finished in copper<br />
trays w<strong>it</strong>h standing seam joints and was<br />
installed by copper specialists Full Metal<br />
Jacket, who recently won an Award for their<br />
work on the project from the National Federation<br />
of Roofing Contractors. The long-<br />
A R D L I F E B O A T S T A T I O N!<br />
strip, copper trays were craned down onto<br />
S<br />
the building and installed by hand, displaying<br />
a particularly high standard of craftsmanship<br />
under challenging cond<strong>it</strong>ions.<br />
C-C D-D<br />
F1 F2 F3<br />
F4<br />
F5 F6<br />
Section A-A<br />
Boathouse<br />
Public Viewing<br />
Boat Well<br />
C-C D-D E-E<br />
F1 F1 F2 F2 F3 F3<br />
F4 F4<br />
F5 F5 F6 F6<br />
Dis. W.C.<br />
Winch!<br />
Motor Room<br />
Section B-B<br />
C-C D-D<br />
fuel tank<br />
!<br />
Changing Room Workshop<br />
Public Viewing<br />
Galley<br />
Area<br />
1.5 Training room<br />
w.c.<br />
fuel cabinet<br />
I Z A R D L I F E B O A T S T A T I O N!<br />
N S<br />
Photo: PBWC Arch<strong>it</strong>ects<br />
Section A-A<br />
C-C D-D<br />
Boathouse<br />
fuel cabinet<br />
fuel tank<br />
Slipway !<br />
Crew Store LOM Office<br />
Training Room<br />
Boat Well<br />
C-C D-D E-E<br />
F1 F2 F3<br />
F4<br />
F5 F6<br />
Main Floor<br />
F.F.L - 13.35<br />
!<br />
Lower Floor<br />
F.F.L - 10.25 (MAX)<br />
!<br />
Boatwell Floor<br />
F.F.L - 7.55<br />
Main Main Floor Floor<br />
F.F.L F.F.L - 13.35 - 13.35<br />
! !<br />
Lower Lower Floor Floor<br />
F.F.L F.F.L - 10.25 - 10.25 (MAX) (MAX)<br />
! !<br />
Boatwell Boatwell Floor Floor<br />
F.F.L F.F.L - 7.55 - 7.55<br />
WCs and<br />
Showers<br />
COPPeR COnSTRUCTiOn<br />
FA FB FC<br />
FD<br />
FE FF<br />
Section C-C<br />
Public Viewing<br />
Winch Motor Room Boathouse<br />
Stairwell<br />
B-B<br />
Dis !<br />
WCs<br />
B-B<br />
Section Section D-DC-C<br />
Boat Well<br />
FA FA FB FBFC FC FD FD FE FE FF FF<br />
WCs and<br />
Showers<br />
B-B<br />
Dis !<br />
WCs<br />
Public Viewing<br />
A-A<br />
A-A<br />
Boathouse<br />
Winch Motor Room Boathouse<br />
B-B B-B<br />
0 4 8<br />
0 4 8<br />
Public Viewing<br />
Boat Well<br />
A-A A-A<br />
fuel<br />
cabinet<br />
FA FB FC<br />
FD<br />
FE FF<br />
A-A<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 15
16<br />
“<strong>Copper</strong> plays a distinct role in the compos<strong>it</strong>ion of the theatre overall”<br />
Canterbury Tales<br />
Standing on the banks of the River Stour and close to Canterbury Cathedral’s<br />
UNESCO World Her<strong>it</strong>age S<strong>it</strong>e, the new Marlowe Theatre makes a bold<br />
statement on the Canterbury skyline. Arch<strong>it</strong>ect Ke<strong>it</strong>h Williams discusses his<br />
practice’s compet<strong>it</strong>ion-winning design and <strong>it</strong>s use of materials.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
The Marlowe is, in formal terms, a complex<br />
pavilion. It sets up a dynamic relationship<br />
w<strong>it</strong>h <strong>it</strong>s viewers, giving different arch<strong>it</strong>ectural<br />
and urban emphasis depending from<br />
where in the c<strong>it</strong>y <strong>it</strong> is viewed. At street<br />
level, <strong>it</strong>s arch<strong>it</strong>ecture is ordered by an<br />
8m high colonnaded loggia in wh<strong>it</strong>e cast<br />
Dolom<strong>it</strong>e stone, which forms a portal to<br />
the multi-level glazed foyer and sets up a<br />
civic elevation to the Friars, an important<br />
historic street w<strong>it</strong>hin the c<strong>it</strong>y. The foyer<br />
connects all the major internal spaces to<br />
the riverside terraces and pathways and is<br />
seen as a crystal ribbon by day transforming<br />
into a blade of light by night. New views<br />
of the rooftops of the historic c<strong>it</strong>y and <strong>it</strong>s<br />
cathedral open up from the main stairs<br />
and upper levels.<br />
The colonnaded loggia mediates between<br />
the street scale of the Friars (the<br />
street which the Marlowe faces) and the<br />
necessarily larger forms of the two theatres<br />
and the fly tower. The colonnaded
overhang also provides shelter to the<br />
south-facing foyer from high angle solar<br />
gain and provides an arch<strong>it</strong>ectural un<strong>it</strong>y to<br />
the compos<strong>it</strong>ion. A new public square has<br />
been created by setting the Marlowe back<br />
from the existing street edge.<br />
The fly tower of the old theatre, widely<br />
regarded as an eyesore, was the second<br />
tallest structure in the c<strong>it</strong>y after Bell<br />
Harry, the medieval Cathedral‘s principal<br />
tower. The new Marlowe’s fly tower is 9m<br />
taller than <strong>it</strong>s predecessor, allowing <strong>it</strong> to<br />
be sculpted to create a pinnacle form facing<br />
toward the Cathedral, adding accent<br />
and silhouette to the c<strong>it</strong>y’s skyline. Its<br />
form can be seen as a prominent symbol<br />
of secular arch<strong>it</strong>ecture w<strong>it</strong>hin the historic<br />
c<strong>it</strong>y whilst ensuring that Bell Harry retains<br />
<strong>it</strong>s predominance. From the east, the<br />
fly tower dominates the street scene announcing<br />
this major new cultural project<br />
w<strong>it</strong>hin the c<strong>it</strong>y.<br />
Material<strong>it</strong>y and Contextual<strong>it</strong>y<br />
The compos<strong>it</strong>ion and massing of the new<br />
Marlowe is rooted in <strong>it</strong>s context. The building<br />
is seen to step up in scale gradually<br />
from a lower-rise street scale along the<br />
Friars, up to the larger volumes of the<br />
main aud<strong>it</strong>orium and fly tower beyond.<br />
Material<strong>it</strong>y is also determined to a large<br />
degree contextually, in that <strong>it</strong> borrows<br />
the hues and tones of the Canterbury<br />
townscape. The reconst<strong>it</strong>uted stone colonnade<br />
takes <strong>it</strong>’s cue from the wh<strong>it</strong>es and<br />
creams of buildings in the c<strong>it</strong>y, whilst the<br />
pre-oxidised brown copper cladding echoes<br />
the colour and hues of the nearby tiled<br />
rooftops. Materials are used to create<br />
something highly contemporary, whilst at<br />
the same time complimentary to the context<br />
in terms of texture and colour.<br />
<strong>Copper</strong> plays a distinct role in the compos<strong>it</strong>ion<br />
of the theatre overall, surrounding<br />
the volume of the studio space, which mediates<br />
between the entrance scale and the<br />
larger volumes beyond. The studio theatre<br />
is raised 4 metres above the ground; a volume<br />
wrapped entirely in copper. As such <strong>it</strong><br />
is almost at roof level of the surrounding<br />
buildings hence the relationship between<br />
the reddish brown copper cladding w<strong>it</strong>h<br />
the colouration of Canterbury’s roofscape.<br />
The underside of this volume forms the<br />
internal soff<strong>it</strong> to the restaurant space created<br />
beneath. The raising of the volume<br />
allows the restaurant to be slid beneath<br />
at foyer level, giving views to an adjacent<br />
external terrace and the banks of the River<br />
Stour.<br />
Arch<strong>it</strong>ects: Ke<strong>it</strong>h Williams Arch<strong>it</strong>ects<br />
<strong>Copper</strong> Installer: TR Freeman<br />
<strong>Copper</strong> product: TECU ® Oxid<br />
Photos: Hélène Binet (unless indicated otherwise)<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 17
18<br />
Photo: Ke<strong>it</strong>h Williams Arch<strong>it</strong>ects<br />
11<br />
Level 2 Level 3<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
11 12<br />
10<br />
8<br />
8<br />
4<br />
9<br />
KEY:<br />
Level 2<br />
1. Paved Forecourt<br />
2. Foyer<br />
3. Box Office<br />
4. Bar<br />
5. Cafe<br />
6. Aud<strong>it</strong>orium<br />
7. Stage<br />
8. Dressing Rooms<br />
8<br />
11<br />
Counter Weight Area<br />
4<br />
2<br />
7<br />
6<br />
2<br />
1<br />
2<br />
3<br />
8<br />
Level 1<br />
1. Paved Forecourt<br />
2. Foyer<br />
3. Box Office<br />
4. Bar<br />
5. Cafe<br />
6. Aud<strong>it</strong>orium<br />
7. Stage<br />
8. Dressing Rooms<br />
9. Second Space<br />
10. Creative Space<br />
11. Administration Offices<br />
12. Meeting Room<br />
4<br />
9<br />
5<br />
2<br />
Level 1<br />
0 1 2 3 4 5<br />
KEY:<br />
1. Paved Forecourt<br />
2. Foyer<br />
3. Box Office<br />
4. Bar<br />
5. Cafe<br />
6. Aud<strong>it</strong>orium<br />
7. Stage<br />
8. Dressing Rooms<br />
Level 3<br />
N<br />
10m
orting<br />
details<br />
copper 15<br />
etween<br />
r<br />
t:<br />
k line of<br />
5<br />
copper rainscreen<br />
panels on underlay<br />
10<br />
18mm plywood<br />
back to back cladding<br />
angles - details and layout<br />
to be confirmed by copper<br />
sub-contractor<br />
80mm insulation<br />
on vapour barrier<br />
Metal angle by glazing<br />
subcontractors to support EPDM<br />
and provide backing for copper to<br />
seal against at a later stage<br />
Sealant type to be confirmed<br />
by copper sub-contractor -<br />
sealant to be compatible w<strong>it</strong>h<br />
both copper and aluminium<br />
FW60+SG Level 3 curtain wall<br />
Opaque glazing to high panels<br />
to conceal structure<br />
Mullion tied back to structural steel<br />
to glazing subcontractors details<br />
80<br />
1<br />
Section AA<br />
Section AA<br />
2 no. layers of plasterboard sheets fixed<br />
staggered w<strong>it</strong>h joints taped and filled<br />
EPDM sealed to blockwork.<br />
Sealant type to be confirmed<br />
by glazing sub-contractor<br />
Metal channels to support glazing at<br />
corner junction and provide a backing<br />
to support the EPDM<br />
125<br />
corner aluminium<br />
flashing cover piece<br />
FW60+SG<br />
110 160 140<br />
2<br />
2<br />
2<br />
77 92<br />
210<br />
vapour barrier<br />
80mm insulation<br />
EPDM sealed to blockwork<br />
Spec and fixing to be confirmed<br />
by glazing subcontractor<br />
6<br />
TOS +22.935<br />
130 50<br />
Sealant type to be confirmed<br />
by copper sub-contractor<br />
15<br />
7<br />
<strong>Copper</strong> Studio<br />
COPPeR in deTail<br />
Horizontal standing seam bands of varying<br />
widths (using trays of 230 mm, 430 mm<br />
and 600 mm) wrap continuously around the<br />
studio volume, w<strong>it</strong>h folded ‘birds mouth’<br />
corner details enabling the horizontal<strong>it</strong>y<br />
to flow continuously around all sides. At<br />
the junction w<strong>it</strong>h the main glazed curtain<br />
walling, the copper runs cleanly through<br />
from outside to inside, w<strong>it</strong>h internal<br />
openings formed to create a connection<br />
between the studio theatre bar areas and<br />
the main entrance foyer.<br />
Though the rationale in each case is<br />
different, the use of copper at the Marlowe<br />
echoes our previous work at the Unicorn<br />
Theatre in London, completed in 2005 (UK<br />
Award Winner of the <strong>Copper</strong> in Arch<strong>it</strong>ecture<br />
Awards 13 in 2007).<br />
11<br />
18mm plywood<br />
copper rainscreen<br />
panels on underlay<br />
50<br />
140<br />
80<br />
80<br />
110<br />
copper setting out<br />
110mm off Gridline E<br />
0 1 2 3 4 5<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 19<br />
10<br />
Rev Date
ANIMATING<br />
THE UTILITARIAN<br />
by Chris Hodson<br />
An abstract design using vertical panels of copper w<strong>it</strong>h<br />
different surfaces animates long, straight facades of an<br />
otherwise typical multi-storey car park, adding a sense of<br />
movement which reflects <strong>it</strong>s transport interchange setting.<br />
Forming part of the ‘Hub’ development at Nottingham Railway<br />
Station, this 6-storey structure accommodates 950 car spaces.<br />
The 112 m long building is sandwiched between the railway to<br />
the north and the busy Queens Road to the south w<strong>it</strong>h older<br />
buildings beyond. Arch<strong>it</strong>ects Leeds Studio developed an original<br />
design by another practice, BDP, (following a successful bid by<br />
VINCI Construction UK) adding an array of horizontally banded<br />
vertical copper panels to transform this typical parking building.<br />
The panels create an arch<strong>it</strong>ectural language and are continuous<br />
over curtain walling as well as conventional open car parking<br />
decks, only being broken by the concrete lift core on the West<br />
Elevation.<br />
The palette of copper surfaces at Nottingham includes solid<br />
green pre-patinated copper and a variant w<strong>it</strong>h less intense<br />
patination, revealing some background material. Standard ‘mill<br />
finish’ and light brown pre-oxidised copper were also used, together<br />
w<strong>it</strong>h an alloy of copper and aluminium w<strong>it</strong>h a long-lasting<br />
golden colour which provides distinctive highlights around the<br />
building.<br />
Although creating a random, abstract feel, arrangement of the<br />
panels is based on a lim<strong>it</strong>ed modular language w<strong>it</strong>h three panel<br />
widths: 210 mm, 420 mm and 840 mm, and spacing between of:<br />
105 mm, 210 mm and 420 mm. Panels are generally 2870 mm<br />
high w<strong>it</strong>h some reduced to 1470 mm crowning the top of the<br />
building and where the base of the cladding is raised up.<br />
Arch<strong>it</strong>ects: Leeds Studio<br />
<strong>Copper</strong> Installer: CA Group<br />
Main Contractor: VINCI Construction UK<br />
<strong>Copper</strong> products: Nordic GreenTM Trad<strong>it</strong>ional, Nordic GreenTM Living 1<br />
Nordic Standard, Nordic BrownTM Light, Nordic RoyalTM Photos: Chris Hodson<br />
Drawings: Leeds Studio<br />
20<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
21
22<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
“There is a designed progression<br />
of copper colours running<br />
around the whole building”
A Mosaic of Colour<br />
The compos<strong>it</strong>ion gives a mosaic of colour that s<strong>it</strong>s in clearly de-<br />
fined horizontal bands along the length of the building, breaking<br />
up the subservient concrete frame - typical of multi-storey car<br />
park buildings - and curtain walling. The effect is particularly<br />
animated on the two long elevations, especially when viewed<br />
from moving trains or cars. In add<strong>it</strong>ion to the layering of materials,<br />
the colour choices are carried through in the design to<br />
represent differing aspects of the location.<br />
Project arch<strong>it</strong>ect Antony Hall explained: “The copper panels<br />
to the North are predominantly in green shades and refer to the<br />
modern aspect of the adjacent railway. The panels on the South<br />
are predominantly in trad<strong>it</strong>ional brown copper shades to reference<br />
the brick her<strong>it</strong>age warehouses and other structures lining<br />
the conservation area oppos<strong>it</strong>e across the busy road. Key viewpoints<br />
formed in locations around the building are highlighted<br />
w<strong>it</strong>h the golden coloured copper alloy. Vertical circulation elements<br />
are also highlighted in the same manner. There is a designed<br />
progression of copper colours running around the whole<br />
building, beginning and ending at the West Elevation lift shaft.<br />
We have also anticipated the natural changes to copper in the<br />
environment.”<br />
Multi-storey car park arch<strong>it</strong>ecture is generally constrained by<br />
vehicle circulation and other technical demands, reducing <strong>it</strong> to<br />
a util<strong>it</strong>arian level. But the numerous permutations of surfaces<br />
and forms available w<strong>it</strong>h arch<strong>it</strong>ectural copper today offer designers<br />
exc<strong>it</strong>ing possibil<strong>it</strong>ies to treat bare facades as a blank<br />
canvas. The Nottingham project is an inspiring example of this<br />
approach.<br />
The previous station car park typifies the conventional open concrete deck<br />
design approach, contrasting w<strong>it</strong>h that of the new building.<br />
South Elevation.<br />
North Elevation showing the dispos<strong>it</strong>ion of green, gold and brown copper shades.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 23
24<br />
COPPER AT THE HEART<br />
OF THE COMMUNITY<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
“Deptford Lounge is the jewel in<br />
the crown of the regeneration of<br />
Deptford. This is a fantastic<br />
public space w<strong>it</strong>h first-class<br />
facil<strong>it</strong>ies, which is already<br />
proving popular w<strong>it</strong>h<br />
the commun<strong>it</strong>y. ”<br />
- Sir Steve Bullock, Mayor of Lewisham<br />
Photo: Chris Hodson<br />
This landmark building makes symbolic as well as functional use of <strong>it</strong>s<br />
perforated golden copper alloy facades to generate a new civic focus.<br />
Pollard Thomas Edwards arch<strong>it</strong>ects describe how the programme and<br />
design developed a new typology of school and commun<strong>it</strong>y building.<br />
The brief from the London Borough of Lewisham was to create the centrepiece<br />
of their regeneration of Deptford Town Centre – a new civic focus for Deptford.<br />
This was to include a state-of-the-art public library, including a resource centre<br />
and council services centre – called the Deptford Lounge – w<strong>it</strong>h a new building<br />
for Tidemill Primary School, relocated from <strong>it</strong>s existing s<strong>it</strong>e.<br />
Our scheme, completed in December 2011, created from the bare bones of this<br />
brief, a highly innovative mix of co-located uses on a single s<strong>it</strong>e: the completed<br />
complex houses facil<strong>it</strong>ies shared between the new primary school and the whole<br />
commun<strong>it</strong>y via the Deptford Lounge. To this mix we also added apartments over<br />
artists’ studios and exhib<strong>it</strong>ion space – Resolution Studios.<br />
The design was also driven by the aspiration to restore to Deptford something<br />
of the grandeur of <strong>it</strong>s past, first as a hub of shipbuilding and later as the location<br />
of the first railway station south of the River Thames. Now the golden Lounge<br />
building sails galleon-like above Giffin Square, a new public space for Deptford.<br />
Tidemill Academy lies w<strong>it</strong>hin an urban oasis, sheltered on one side by the Deptford<br />
Lounge and on the other by Resolution studios, w<strong>it</strong>h classrooms grouped<br />
around a green and leafy central play space. And new homes look out over the<br />
historic St Paul’s Church and the railway line leading over the river.<br />
Overall complex w<strong>it</strong>h Deptford Lounge on the right.<br />
Resolution Way Resolution Studios School School Play School Deptford Lounge Griffin Street Deptford Lounge School School Play School Resolution<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 25<br />
Resolution Way
The rooftop sports p<strong>it</strong>ch enclosed by pierced copper alloy panels.<br />
School and Commun<strong>it</strong>y Use<br />
Shared facil<strong>it</strong>ies of Deptford Lounge include a rooftop sports<br />
p<strong>it</strong>ch, a flexible su<strong>it</strong>e of assembly spaces and a dining hall and<br />
k<strong>it</strong>chen, which are available for hire. All these facil<strong>it</strong>ies are located<br />
on the upper floors of the Lounge building and all elements<br />
have separate access points both from w<strong>it</strong>hin the school and<br />
from the public realm. This enables the school to have sole use<br />
of the shared facil<strong>it</strong>ies during the school day. Then, out of school<br />
hours, the shared facil<strong>it</strong>ies form an integral part of the Deptford<br />
Lounge and are open to the whole commun<strong>it</strong>y.<br />
Arch<strong>it</strong>ects: Pollard Thomas Edwards arch<strong>it</strong>ects – www.ptea.co.uk<br />
<strong>Copper</strong> installer: English Arch<strong>it</strong>ectural Glass (EAG)<br />
<strong>Copper</strong> Products: Nordic Royal<br />
Photos: Chris Hodson, Robert Greshoff (ArcEye Images Ltd)<br />
School playground w<strong>it</strong>h steps to the Deptford Lounge beyond.<br />
26<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
Photo: © ArcEye Images Ltd / Robert Greshoff 2012 Photo: © ArcEye Images Ltd / Robert Greshoff 2012<br />
Photo: © ArcEye Images Ltd / Robert Greshoff 2012 Photo: Chris Hodson<br />
Photo: Chris Hodson
INTERVIEW<br />
CH: How did your selection of the golden copper<br />
alloy come about and did you look at other<br />
materials?<br />
HK-B: We wanted a material that related<br />
strongly to the conceptual meaning of the<br />
Deptford Lounge on a series of levels. It was<br />
to be seen as a landmark – a civic focus for<br />
all ages and cultures. In<strong>it</strong>ially timber cladding<br />
was considered, relating to Deptford’s nautical<br />
past – but timber requires maintenance. We<br />
also sought an inspiring material, w<strong>it</strong>h reflective<br />
properties that would give the building a<br />
jewel-like qual<strong>it</strong>y set against <strong>it</strong>s main street<br />
context. This meant considering various metals<br />
including copper. It also led to the idea of<br />
expanded metal meshes or perforated sheets.<br />
We felt that the perforated golden copper alloy<br />
cladding offered multiple meanings on a<br />
conceptual level. The gold surface symbolises<br />
‘wealth’ across all cultures, welcoming and<br />
bringing together a diverse commun<strong>it</strong>y into<br />
a building that offers a wealth of knowledge<br />
and services.<br />
CH: What about sustainabil<strong>it</strong>y and environmental<br />
considerations when choosing the façade<br />
material?<br />
HK-B: <strong>Copper</strong> and <strong>it</strong>s alloys have sound sustainable<br />
credentials w<strong>it</strong>h exceptional durabil<strong>it</strong>y<br />
and lifespan. The weathering characteristics<br />
of this copper alloy are important: the material<br />
is virtually maintenance free and provides<br />
a surface that will change very l<strong>it</strong>tle over time,<br />
which means <strong>it</strong> will retain <strong>it</strong>s crisp jewel like<br />
qual<strong>it</strong>y.<br />
Photos: Chris Hodson<br />
Chris Hodson discusses the transparency and material<strong>it</strong>y of the Deptford Lounge facades<br />
w<strong>it</strong>h Hamish Kilford-Brown, Project Arch<strong>it</strong>ect at Pollard Thomas Edwards arch<strong>it</strong>ects.<br />
CH: What were the design intentions behind this<br />
dramatic statement of a transparent golden skin?<br />
HK-B: The wrapping of the gold cladding<br />
aims to unify the building’s complex range of<br />
functions, binding them together.<br />
Contextually, <strong>it</strong> relates to various points of<br />
Deptford’s rich history, including <strong>it</strong>s growth<br />
from a small fishing village into the Royal Naval<br />
Dockyard w<strong>it</strong>h links to HMS Discovery,<br />
Sir Francis Drake and Captain James Cook.<br />
So, the wrapping has multiple functions and<br />
references. From a distance the golden form<br />
appears solid but close-up reveals <strong>it</strong>self as<br />
transparent and light-weight, floating above<br />
<strong>it</strong>s glazed base. On a functional level, the<br />
wrapping provides solar shading to the large<br />
areas of glazing, while also allowing su<strong>it</strong>able<br />
levels of light in.<br />
CH: How were these intentions realised on the<br />
building w<strong>it</strong>h the pierced copper alloy panels and<br />
how did the detailed design develop?<br />
HK-B: The panels are rigid folded cassettes<br />
that provide sharp and clean joints between<br />
panels, rather than something that would<br />
buckle and distort. The nautical references<br />
continue w<strong>it</strong>h the setting-out of the panels<br />
in a stretcher bond pattern like historic timber<br />
hull construction in ship-building. The<br />
perforations are kept back from the edges to<br />
help express each panel individually while<br />
retaining rigid<strong>it</strong>y. We explored various perforation<br />
shapes, from square to raised diamond<br />
patterned w<strong>it</strong>h a cheese grater appearance,<br />
and settled on simple circular holes, again arranged<br />
in a stretcher bond pattern. Different<br />
levels of perforation were also considered, as<br />
the transparency of the wrapping adds another<br />
dimension w<strong>it</strong>h the play of light. The building<br />
responds to <strong>it</strong>s uses and environment,<br />
continually changing w<strong>it</strong>h light cond<strong>it</strong>ions<br />
throughout the day and into the evening, becoming<br />
more or less revealing – suggesting<br />
discovery. The level of transparency increases<br />
w<strong>it</strong>h distance away from the solid ‘ship’s bow’<br />
corner, w<strong>it</strong>h <strong>it</strong>s large symbolic window, gradually<br />
blurring solid and void.<br />
CH: How was the light, floating feel of the pierced<br />
copper alloy skin achieved in structural terms?<br />
HK-B: In<strong>it</strong>ially, the cladding was to be suspended<br />
on rods from a ring beam. But due to<br />
the building’s subtle shifts of form – both in<br />
the vertical and horizontal planes – add<strong>it</strong>ional<br />
support was required, depending on location<br />
around the building. The solution was to fix<br />
steel brackets back to the main building structure<br />
at the top and bottom of the wall. These<br />
then support a frame and suspension rods, to<br />
which the copper alloy panels were fixed. Add<strong>it</strong>ional<br />
structure and stays were incorporated<br />
where the golden wrapping pulled further<br />
away from the building, reducing movement<br />
from wind loading. The transparency of the<br />
panels also offered further opportun<strong>it</strong>ies to<br />
express the structure behind w<strong>it</strong>h honesty.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 27
y Chris Hodson<br />
Sheltering Bronze Hands<br />
Deceptively simple bronze and glass structures provide a safe<br />
environment for preserving two unique 10th century runic<br />
stones – designated a UNESCO World Her<strong>it</strong>age s<strong>it</strong>e - at Jelling<br />
Church, Denmark. But these interventions go well beyond<br />
conservation, seeking to transform the vis<strong>it</strong>or experience, as<br />
arch<strong>it</strong>ect Erik Nobel explains.<br />
The Jelling runic stones mark Denmark’s trans<strong>it</strong>ion to Christian<strong>it</strong>y<br />
in the year 965 and the monument is also known as Denmark’s<br />
‘birth certificate’. Inaugurated in December 2011, the<br />
project is based on the winning compet<strong>it</strong>ion design by NOBEL<br />
ark<strong>it</strong>ekter. Our principal aims were to protect the runic stones<br />
for the future and, at the same time, provide an arch<strong>it</strong>ectural<br />
compos<strong>it</strong>ion allowing spectators to get very close to them.<br />
28<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
Plan arrangement<br />
Photo: NOBEL<br />
Elevation<br />
The design forms a stylised dialogue between the two stones,<br />
which represent the first two kings of Denmark – Gorm and<br />
Harald Bluetooth. The bronze angles form one gable and the<br />
roof for each structure, while the other faces are fully glazed. Our<br />
objective was to accentuate the runic stones’ curved forms by<br />
contrasting them w<strong>it</strong>h the straight lines of the coverings which,<br />
in a metaphorical sense, ‘hold protective hands’ over them. The<br />
cast bronze contrasts w<strong>it</strong>h the texture of the ancient stones and<br />
highlights their grey and reddish gran<strong>it</strong>e surfaces.<br />
The requirement for creating a controlled climate around the<br />
stones was a central consideration in the development of the project.<br />
Our consulting engineers from Rambøll designed a special<br />
heating and ventilation system which ensures a frost-free climate<br />
around the runic stones. Artificial lighting has been discreetly<br />
added using specially designed fibre-optic light sources, which<br />
are integrated in the roof structure.<br />
The lighting emphasises the stones’ runic scriptures and visual<br />
motifs, and accentuates their shapes. Juxtaposed w<strong>it</strong>h the angular<br />
bronze forms, the artificial lighting creates a completely new<br />
way of viewing the rune stones, enhancing the experience of one<br />
of Denmark’s most valuable monuments.<br />
Arch<strong>it</strong>ect: NOBEL ark<strong>it</strong>ekter a/s<br />
Photos: Jens Lindhe (unless indicated otherwise)<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 29
<strong>Copper</strong> over time<br />
This thoroughly modern add<strong>it</strong>ion to an existing home in<br />
Cardiff, South Wales – discussed by Kristian Hyde of Hyde<br />
+ Hyde Arch<strong>it</strong>ects – combines copper w<strong>it</strong>h oak and glass in<br />
<strong>it</strong>s carefully conceived design to anticipate change.<br />
We were appointed to carefully restore elements of the existing<br />
arch<strong>it</strong>ecture creating a contemporary yet sens<strong>it</strong>ive add<strong>it</strong>ion to<br />
the rear. To the front of the property the new add<strong>it</strong>ion appears as<br />
a simple copper box ‘peeping’ above the layers of existing green<br />
glazed tiles of the existing home.<br />
In the refurbishment, living and entertaining space is provided<br />
at ground floor through the introduction of a predominantly single<br />
storey glazed element. At first floor, a layered copper and oak<br />
form appears to delicately hover. Set on a shifted geometry to<br />
acknowledge the existing building form, this creates a series of<br />
overhangs, cantilevers and canopies to shelter <strong>it</strong>s occupants from<br />
the persistent Welsh rain.<br />
30<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
The original house is quirky but beautiful. The unknown arch<strong>it</strong>ect<br />
has put a great deal of effort into the detailing, some<br />
of which is very playful. There is a certain humour about some<br />
of the spaces that continue to make our clients smile. The new<br />
add<strong>it</strong>ion responds w<strong>it</strong>h a singular oak clad curve at first floor<br />
which ‘mimics’ the geometry of the existing curved glazing of<br />
the main house. This is introduced to ‘turn’ the new add<strong>it</strong>ion<br />
into the main private garden at the rear.<br />
<strong>Copper</strong> was chosen as a su<strong>it</strong>able material for facades and other<br />
details to converse w<strong>it</strong>h the existing ‘green glazed’ roof tiles of<br />
the existing dwelling. After a decade <strong>it</strong> will begin to relate in<br />
colour and tone to the existing tiles nearby, <strong>it</strong>s salmon pink and<br />
russet brown tones will be gone forever. That’s the beauty of<br />
copper, <strong>it</strong>’s timeless and forces us to think about buildings in<br />
time. <strong>Copper</strong>’s material character helps buildings feel as if they<br />
have always been there.
“That’s the beauty of copper,<br />
<strong>it</strong>’s timeless and forces us<br />
to think about buildings in time”<br />
UPPER LEVEL PLAN<br />
New Add<strong>it</strong>ion<br />
<strong>Copper</strong> standing<br />
seam to match<br />
existing vocabulary<br />
of green roof<br />
Terrace<br />
Hardwood concealed glazing<br />
Bedroom<br />
Original House<br />
Timber cladding referencing<br />
material<strong>it</strong>y of tree canopies<br />
Internal openable window<br />
for natural ventilation<br />
Arch<strong>it</strong>ects: Hyde + Hyde Arch<strong>it</strong>ects<br />
Photos: Kristian Alexander Hyde, Warren Orchard.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 31
32<br />
“ copper has been used comprehensively across facades,<br />
plinth and roofs – creating a single-material skin”<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
Photo: Martti Kapanen
Photo: Tuomas Uusheimo<br />
Famous<br />
Neighbours<br />
The Finnish town of Seinäjoki hosts the most<br />
extensive cluster of buildings designed by Alvar<br />
Aalto in the world. Asmo Jaaksi of arch<strong>it</strong>ects<br />
JKMM explains his practice’s approach to designing<br />
a new add<strong>it</strong>ion to this hallowed Aalto Centre.<br />
The Centre displays Aalto’s masterful touch, ranging<br />
from the area’s town planning to the smallest door<br />
detail and is an invaluable cultural asset which gives<br />
the whole town <strong>it</strong>s ident<strong>it</strong>y. Five Aalto buildings make<br />
up the Centre: the C<strong>it</strong>y Hall, State Office Building,<br />
Theatre, the Cross of the Plains Church and the Old<br />
Library.<br />
DIALOGUE BETWEEN OLD AND NEW<br />
Built in 1965, the Library needed a modern extension<br />
to meet today’s demands and JKMM’s design, called<br />
‘Clover’, won the compet<strong>it</strong>ion for the project. The aim<br />
was to create dialogue between old and new. The new<br />
library respects the protected cultural environment<br />
but, at the same time, takes pride in contemporary<br />
arch<strong>it</strong>ecture. One of the objectives of the design was<br />
to find an interface w<strong>it</strong>h the typical characteristics of<br />
Alvar Aalto’s arch<strong>it</strong>ecture w<strong>it</strong>hout im<strong>it</strong>ating <strong>it</strong>.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 33<br />
Photo: Martti Kapanen
34<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
Photo: Tuomas Uusheimo<br />
Photo: Tuomas Uusheimo<br />
Photo: Martti Kapanen<br />
VARIED INTERESTING SHAPES<br />
The new library stands separate from Alto’s<br />
original, although connected by an underground<br />
link. Division of the building into<br />
three sculptural un<strong>it</strong>s was an important decision<br />
to be able to blend the large building<br />
volume w<strong>it</strong>h the surrounding townscape.<br />
This generates varied, interesting shapes<br />
when viewed from different directions. The<br />
exposed boarded-formwork concrete interiors<br />
are punctuated by carefully placed<br />
windows and larger glazing offering controlled<br />
views of the Centre. The view from<br />
the glazed wall in the main library hall is<br />
dominated by the highlights of the area: the<br />
bell tower or the Cross of the Plains Church<br />
and the fan-shaped facade of the original<br />
Aalto Library. The heart of the building is<br />
the wide staircase, intended for different<br />
events and as an informal meeting place,<br />
which leads to the collection departments<br />
on the ground floor and through the connecting<br />
underground corridor to the Aalto<br />
Library.<br />
LIVELY AND VIVID SURFACE<br />
The external skin of the new library is<br />
dominated by copper. The darkening preoxidised<br />
copper sets the new library apart<br />
from the wh<strong>it</strong>eness of the surrounding<br />
buildings. <strong>Copper</strong> is not a new material to<br />
the area but in the Aalto Centre <strong>it</strong> is mainly<br />
the roofs that feature the material’s beautifully<br />
patinated green surfaces. In the new<br />
library, copper has been used comprehensively<br />
across facades, plinth and roofs –<br />
creating a single-material skin.<br />
A special shape of copper shingle was specifically<br />
designed for the facades to give the<br />
building a highly individual, lively and vivid<br />
surface. In some s<strong>it</strong>uations, the shingle<br />
surface is formed into ventilation slots to<br />
accommodate air handling. <strong>Copper</strong> is also<br />
used to form vertical grilles and as a door<br />
facing to maintain the material continu<strong>it</strong>y.
'S LIBRARY<br />
S<br />
TO AALTO'S LIBRARY<br />
GAMES<br />
MUSIC<br />
GAMES<br />
MUSIC<br />
YOUTH, LISTENING YOUTH, LISTENING YOUTH,<br />
MUSIC,<br />
MUSIC,<br />
MUSIC,<br />
MOVIES<br />
MOVIES<br />
MOVIES<br />
OPEN STACK<br />
SOCIAL<br />
SPACES<br />
READING<br />
STEPS<br />
YOUTH<br />
EXHIBITION INFO EXHIBITION<br />
OPEN STACK<br />
SOCIAL<br />
SPACES<br />
READING<br />
STEPS<br />
YOUTH<br />
INFO<br />
OPEN STACK<br />
MUSIC<br />
LISTENING<br />
EXHIBITION<br />
READING<br />
STEPS<br />
YOUTH<br />
INFO<br />
JAAKSI HALL<br />
A A<br />
ENTRANCE HALL<br />
NEWS AREA<br />
CAFE<br />
ENTRANCE HALL<br />
CUSTOMER EXHIBITIONCUSTOMER<br />
SERVICE<br />
SERVICE<br />
DISTRIBUTION DISTRIBUTION<br />
JAAKSI HALL<br />
OFFICES<br />
CELLAR 1:500 CELLAR 1:500 GROUND LEVEL 1:500 GROUND LEVEL 1:500 GROUND LEVEL 1:500 1ST FLOOR 1:5001ST<br />
FLOOR 1:500 1ST FLOOR 1:500<br />
NEWS AREA<br />
BOOKMOBILE<br />
STACK<br />
OFFICES<br />
CAFE<br />
READING<br />
STEPS BOOK HALL<br />
B B<br />
A A<br />
JAAKSI HALL<br />
OFFICES<br />
READING<br />
BOOK STEPSHALL<br />
CUSTOMER<br />
SERVICE<br />
DISTRIBUTION<br />
SILENT<br />
READING<br />
ROOM<br />
CHILDREN<br />
BOOKMOBILE<br />
STACK<br />
B B<br />
A A<br />
ENTRANCE HALL<br />
EXHIBITION<br />
NEWS AREA<br />
OFFICES<br />
CAFE<br />
EXHIBITION<br />
READING<br />
STEPS<br />
BOOKMOBILE<br />
STACK<br />
B B<br />
PLAY<br />
OFFICES<br />
PLAY<br />
CHILDREN<br />
NORTHWEST<br />
NORTHEAST<br />
SOUTHWEST<br />
SOUTHEAST<br />
SECTION A 1:500 SECTION B 1:500<br />
SECTION A 1:1000<br />
SECTION B 1:1000<br />
PLAY<br />
OFFICES<br />
SILENT<br />
READING<br />
ROOM<br />
BOOK HALL<br />
CHILDREN<br />
SILENT<br />
READING<br />
ROOM<br />
OFFICES<br />
OFFICES<br />
MEETING<br />
ROOM STAFF<br />
CAFE<br />
OFFICES<br />
OFFICES<br />
MEETING<br />
ROOM STAFF<br />
CAFE<br />
OFFICES<br />
OFFICES<br />
Facade northwest<br />
Facade northeast<br />
Facade southwest<br />
Facade southeast<br />
NORTHWEST NORTHEAST SOUTHWEST<br />
Section A<br />
SECTION A 1:500 SECTION B 1:500<br />
SECTION A 1:1000<br />
SEINÄJOKI CITY LIBRARY<br />
SECTION B 1:1000<br />
Section B<br />
SECTIONS 1:500, 1:1000 2.10.2012<br />
J K M M A R C H I T E C T S L A P I N R I N N E 3 0 0 1 0 0 H E L S I N K I F I N L A N D TEL. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 0 0 F. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 1 0 W W W . J K M M . F I<br />
Cellar Ground level 1st Floor<br />
Photo: Martti Kapanen<br />
Arch<strong>it</strong>ects: JKMM<br />
<strong>Copper</strong> Installer: Pohjanmaan Pelti<br />
<strong>Copper</strong> Product: Nordic Brown ® Light<br />
Photos: Tuomas Uusheimo, Martti Kapanen<br />
OFFICES<br />
OFFICES<br />
MEETING<br />
ROOM STAFF<br />
CAFE<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 35<br />
OFFICES
36 COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012
CONICAL COPPER<br />
A chapel in the distinctive form of a copper-clad cone is at the heart of the glazed<br />
atrium welcoming vis<strong>it</strong>ors to this new school. Russel Hayden of Nicholas Hare<br />
Arch<strong>it</strong>ects discusses the design concept and how <strong>it</strong> was realised.<br />
Learning wings<br />
Dining and k<strong>it</strong>chen<br />
Main hall and drama<br />
Chapel above reception<br />
Library<br />
Primary circulation<br />
WCs and changing areas<br />
All Saints’ Academy is a church school<br />
for the commun<strong>it</strong>y in Cheltenham,<br />
UK. It provides secondary education for<br />
900 pupils and 250 sixth-form students.<br />
The building’s striking form curves around<br />
an impressive external plaza w<strong>it</strong>h an elegant<br />
canopy and three-storey high glazed<br />
atrium at <strong>it</strong>s centre. The design developed<br />
around the concept of a hand, the atrium<br />
acting as a unifying device from which key<br />
internal and external areas are accessed.<br />
Curved open galleries w<strong>it</strong>hin lead to three<br />
radiating learning wings providing most of<br />
the classroom accommodation.<br />
A Visible Beacon<br />
The entrance atrium forms the heart of the<br />
building and the public face of the Academy.<br />
Above the reception area rises the<br />
distinctive conical form of the copper-clad<br />
chapel. It acts as a visible beacon reflecting<br />
the Christian ethos of the Academy. The<br />
building is clad w<strong>it</strong>h a lim<strong>it</strong>ed palette of<br />
materials. The ground floor is brickwork<br />
to provide a human scale to the Academy<br />
as well as being durable. Upper levels are<br />
clad w<strong>it</strong>h an insulated render system. The<br />
copper shingles to the chapel and the confident<br />
use of colour offer a lively counterpoint<br />
to the refined facades.<br />
Sculpting of the chapel brings light pouring<br />
into the space from above. A single<br />
slot window w<strong>it</strong>h a coloured glass design<br />
provides a focus w<strong>it</strong>hin the contemplative<br />
space. At roof level, the cone is truncated<br />
and a large opening formed in the vertical<br />
face, infilled w<strong>it</strong>h glazing. A separate, lower<br />
copper clad form completes the compos<strong>it</strong>ion<br />
and encloses mechanical plant servicing<br />
the chapel.<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 37
Covering the Cone w<strong>it</strong>h <strong>Copper</strong><br />
A key element of the concept was for the<br />
chapel to appear monol<strong>it</strong>hic – both w<strong>it</strong>hin<br />
the space and externally as <strong>it</strong> reached<br />
through the atrium roof. The original<br />
proposal was for timber cladding, but the<br />
design team recognised the difficulty of<br />
ensuring the internal and external elements<br />
would weather consistently. Bright copper<br />
was selected w<strong>it</strong>h a special, anti-weathering<br />
coating to minimise any change as the surface<br />
aged.<br />
Shingles were chosen to deal w<strong>it</strong>h the complex<br />
form that curves in both plan and<br />
section. The cladding of the chapel was<br />
undertaken – w<strong>it</strong>h real craftsmanship – by<br />
NDM, the copper shingles gradually reducing<br />
in size to accommodate the conical<br />
shape. The form was computer modelled,<br />
as the size of each row of shingles had to<br />
be calculated to su<strong>it</strong> the diminishing diameter.<br />
Arch<strong>it</strong>ects: Nicholas Hare Arch<strong>it</strong>ects<br />
www.nicholashare.co.uk<br />
<strong>Copper</strong> Installer: NDM Metal Roofing & Cladding<br />
<strong>Copper</strong> Product: TECU ® Classic (coated)<br />
Photos: © Hufton+Crow<br />
38<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012<br />
COPPeR ClOSe-UP
COPPER A<strong>RC</strong>HITECTURE NEWS<br />
<strong>Copper</strong> Arch<strong>it</strong>ecture on-line<br />
Experience copper arch<strong>it</strong>ecture online- a defin<strong>it</strong>ive resource for arch<strong>it</strong>ectural inspiration,<br />
including electronic versions of <strong>Copper</strong> Arch<strong>it</strong>ecture Forum, the European<br />
<strong>Copper</strong> in Arch<strong>it</strong>ecture Awards and many other helpful publications available at<br />
www.copperconcept.org<br />
<strong>Copper</strong>concept.org is organised into 17 separate language sections, each ed<strong>it</strong>ed<br />
locally. The webs<strong>it</strong>e features an extensive selection of regularly updated project<br />
references, demonstrating different uses of copper and highlighting some of the<br />
best examples of copper arch<strong>it</strong>ecture from around Europe and beyond. Of course,<br />
information on the European <strong>Copper</strong> in Arch<strong>it</strong>ecture Awards can be found there,<br />
alongside articles on topical issues, such as the antimicrobial capabil<strong>it</strong>ies of copper.<br />
As well as design inspiration, <strong>Copper</strong>concept.org gives access to a range of arch<strong>it</strong>ectural<br />
and technical publications, and links to other organisations including copper<br />
fabricators. Journalists and ed<strong>it</strong>ors can also access press releases, articles and<br />
images for publication. Finally – and most importantly – the webs<strong>it</strong>e hosts <strong>Copper</strong><br />
Arch<strong>it</strong>ecture Forum and you can register for your free subscription there, as well as<br />
download the latest, and previous, issues of the magazine.<br />
Explore the world of copper arch<strong>it</strong>ecture now at – http://www.copperconcept.org<br />
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Free & available for iPhone and iPad.<br />
Inspiration and information combined in one app.<br />
• Reference projects<br />
• Arch<strong>it</strong>ectural c<strong>it</strong>y maps<br />
• Design Awards<br />
• <strong>Copper</strong> Arch<strong>it</strong>ecture Forum<br />
• Articles<br />
<strong>Copper</strong>concept_App_hirdetes_01.indd 1 10/18/12 11:33 AM<br />
COPPER A<strong>RC</strong>HITECTURE FORUM 33/2012 39
A<strong>RC</strong>HITECTURAL<br />
AWARDS LAUNCH<br />
Entries are inv<strong>it</strong>ed for the 2013 European <strong>Copper</strong> in Arch<strong>it</strong>ecture Awards<br />
– a showcase for arch<strong>it</strong>ects designing w<strong>it</strong>h copper and <strong>it</strong>s alloys to promote<br />
their work to an international audience.<br />
All entries must incorporate facades, roofing or other arch<strong>it</strong>ectural<br />
elements of copper or copper alloys. Any scale or type of project<br />
can be entered – from major landmark buildings to modest schemes.<br />
Arch<strong>it</strong>ects and cr<strong>it</strong>ics, drawn from a panel including some of the<br />
most influential designers in Europe, will judge all the entries on<br />
their arch<strong>it</strong>ectural qual<strong>it</strong>ies from graphic submissions.<br />
Final deadline for receipt of entries: 31st May 2013<br />
For more information on entering the 2013 Awards-16 and on previous<br />
awards entries and results, vis<strong>it</strong>: www.copperconcept.org/awards