adf ARCHITECTURE · project in 2012 and successfully obtained planning permission in September 2014. Construction is expected to complete in spring 2020. Construction begins on £130m

METAL INARCHITECTURE09.17

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Metal in Architecture supplement

4 Industry news

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Giant pebbles in BrusselsJames Parker visits Docks Bruxsel, a mixed-use project that creates a newurban mini-district and which was also a test bed for a new zinc panel

Rewarding copper architectureEight very different entries have been shortlisted for the 2017 EuropeanCopper in Architecture Awards. Chris Hodson reports

Breaking the fourth wallDesigned as a ‘city within a city,’ Vendsyssel Theatre in Denmark is a newcorten-clad cultural landmark. Stephen Cousins reports on the project

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Changeable weathering forecastIan Sutherland from Benchmark by Kingspan discusses how corten steelcan create a facade that provides visual interest for years to come

Rolling out the benefitsDarren Tutt of the Lead Sheet Association explains how architects can getthe best out of rolled lead sheet

The art of facadesSimon Gregory of Proteus Facades looks at how advances in facadematerials and finishes are allowing architects to ‘sell the dream’ to clients

Sustained support for aluminium glazing systemsMark Robinson of Sapa Group puts the case for aluminium as one of themost versatile as well as sustainable materials available to architects

The sky’s the limit for zincJonathan Lowy of VMZinc explains how zinc can now be specified farmore easily for a wide range of projects, whether it’s for a transformationof a tower block, or creating a vibrant interior 45

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PROJECTS

FEATURES

CONTENTS

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COMMENT: Metal gutters fit for the futureCarlton Jones on why a new standard for guttering was needed, thanks toclimate change

COMMENT: Get specification right first timeThe MCRMA on the dangers of switching specification

4 NEWS

WWW.ARCHITECTSDATAFILE.CO.UK ADF SEPTEMBER 2017

The primary job of a building’s facade is to protect the building it covers, and therefore the occupantsinside, but for many years, the aesthetic properties of functional metal facades such as curtain walling werearguably not universally appreciated. However building designers in recent decades have been keener toexploit and celebrate the charms of metal, from ABK’s late 1980s stainless steel-clad St Mary’s Hospital,Isle of Wight, to Tengbom’s district court clad entirely in zinc, in Alingsås, Sweden, which won thatcountry’s metal-focused Plåt prize in 2016. Such buildings move the stereotype away from ‘metal sheds’towards a materiality and purity that many can enjoy.

This supplement features a couple of great examples of architects using metals to provide a functional butlively counterpoint to other facade materials to give buildings a particular vitality of their own. TheVendsyssel Theatre in Hjørring, northern Denmark, combines boxy elements of bright rusty orange cortensteel with counterparts in translucent frosted glass over pastel cladding to impressive effect. Read ourreport on the building by Stephen Cousins on page 28.

And in Brussels some new giant zincpebbles have emerged, representing anew ‘gateway’ to the city as it begins itsjourney into a new era freed from theUK. Although ostensibly a shopping malland events venue, Docks Bruxsel feels alot more than that, with beautiful zincshingles forming futuristic shapes, theirsubtle sheen used to contrast withwarmer timber cladding, and othernatural materials such as brick. Visitingthis project was a real pleasure – and youcan’t say that about most shoppingmalls! (see page 14).

James ParkerEditor

ON THE COVER... MAERSK TOWER, COPENHAGENA major new research building designed by CF Møllerhas now been shortlisted for the European Copper inArchitecture Awards.For more information, go to page 20.

© Adam Mørk

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p u b l i s h i n g – v e r t i c a l s e a r c h

PRIZE-WINNING ZINCExtension to Alingsås District Court, Sweden (architects: Tengbom)

FROMTHE EDITOR

The annual Galvanizing Constructionawards, better known as the GAGAs, wereheld at the Royal Aeronautical Society inLondon on 29 June, with 100 industryprofessionals from across the UK andIreland in attendance. The organisers said: “The entrants

proved that a simple and robust technique– which is over 200 years old – can still beharnessed to produce visionary architectureand engineering that integrates innovativedesign with the benefits of sustainability.” Among the winners was the Greenwich

Low Carbon Energy Centre by CF MøllerArchitects, which received the Galvanizingin Architecture Award. The centre is thelargest new build residential heat networkin Europe and forms part of a major urbandevelopment initiative on the GreenwichPeninsula. It will save over 20,000 tonnesof carbon every year. “Cultural value wasadded to the accompanying visitor centreby the reimagining of a standard flue stackas a galvanized work of art.” Snug Architects took home the

Galvanizing in Detail Award for theirMilford-on-Sea beach huts design. The bestuse of a Duplex coating was awarded toIan Ritchie Architects for the SainsburyWellcome Centre at University CollegeLondon, where galvanizing and painting

were used to provide visual consistencyand a durable and robust fire protectivesystem plus a 60-year lifespan.The Galvanizing in Engineering Award

went to the £14.2m rebuild of HastingsPier, which saw the replacement of 90 percent of the historic structure. Galvanizedtrusses, cross beams and ties were all usedin an “ambitious” reconstruction of thepier, which had been neglected for decadesbefore being severely damaged by fire in2010. The galvanizing is particularly suitedto the coastal environment and has securedthe pier against future degradation.Another notable winner was Global Rail

Construction, who took home theSustainability Award for its developmentsin steel signal structures. The designdemonstrates significant cost efficienciesand promises new strategies for reuse andrecycling of galvanized steel structures.Speaking of the winning project, Iqbal

Johal, marketing manager of theGalvanizers Association said: “Judging wasexceptionally difficult this year due to thecalibre of entrants and it is unfortunatethat some excellent projects did not crossthe winning line. Our winners reinforce thefact that galvanizing is all around us andplays an important role within our builtenvironment.”

5NEWS

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“Visionary architecture and engineering” – the GAGAs reward excellence

AWARD

C.F. Møller – Greenwhich Peninsula Low CarbonEnergy Centre – Images © Mark Hadden

A sculpture by structural engineers StuartHoldsworth, Hooman Baghi and BrunoPostle has been shortlisted for this year’sStructural Awards, organised by TheInstitution of Structural Engineers. The sculpture comprises three swoop-

ing, entangled sculptural steel pieces andwas created for the 2016 GoodwoodFestival of Speed to celebrate BMW’scentenary. The hollow steel shell is“surprisingly lightweight and rigid,pushing the boundaries of form, curvature,

span and slenderness. Everything had tobe flawless and perfectly smooth, withoutso much as a single ripple in the steel.”Now in its 50th year, The Structural

Awards showcases the world’s bestengineering structures, highlighting theingenuity and creativity of structuralenginners. The shortlisted 43 projectswere selected from 119 projects across the world. The winners will be announced at a

ceremony on 17 November.

BMW sculpture shortlisted for Structural Awards 2017FLYING CARS

© David Barbour

Construction has begun on Circus Street, a£130m innovation quarter on the site of theold municipal market in Brighton.Architects ShedKM in collaboration withdevelopers U+I have created an ambitiousnew development masterplan. ShedKM’s masterplan is conceived as a

rich composition of distinctive buildingsand public spaces woven together to createa new destination. The design draws onthe “patchwork” of building styles withinthe Brighton cityscape and reinterpretsthem as part of a “progressive and sustain-able new quarter.”Situated on Circus Street at the edge of

Brighton’s academic district, the ambitiousnew 0.73 ha mixed-use developmentincludes plans for 142 new homes, 450student bedrooms, 30,000 ft2 of businessand start-up space and an internationalDance Space. ShedKM has conceived a “sensitive”

material palette that references the tonesand hues of neighbouring buildings toensure that Circus Street will harmonisewith its urban context. This includes the use of galvanised metal cladding (on The

Dance Space), plus black cladding ontownhouses, white brick on offices, and redbrick on student accommodatio. Thepalette in its entirety can be viewed fromCircus Square events space. Circus Street will be urban rather than

suburban in scale while avoiding a ‘mega-block’ approach to massing. Instead, mostof the individual buildings will rise tobetween six to eight storeys in height withthe exception of a number of taller ‘marker’buildings up to 13 storeys high. Pedestrianroutes through the site will refer back tohistoric street patterns prior to the develop-ment of the market. These will providepermeability and help break down theimpact of the dense new development.ShedKM’s design guardian and consult-

ant architect Helen Misselbrook said:“Circus Street will be a beautiful and inspir-ing place that keys into the creative life-blood of Brighton. We can now maketangible our design and realise our vision. Aplace for Brighton. A place to live, learn,dance, nurture and grow.”Hazel Rounding, director at ShedKM

commented on the development: “The start

on site is a major milestone in our journeyto create a new urban quarter in Brightonwhich, through the belief and dedication ofall stakeholders and individuals, hasbecome a significant placemaking venturein our portfolio.” ShedKM won a competition for the

project in 2012 and successfully obtainedplanning permission in September 2014.Construction is expected to complete inspring 2020.

Construction begins on £130m “innovation quarter”

BRIGHTON MIXED USE

6 NEWS


Mark Farmer – author of the ‘Moderniseor Die’ construction industry report – andFusion Building Systems, a national offsitelight gauge steel superstructure manufac-turer have met to discuss ways of develop-ing new training and career opportunitieswithin the offsite construction sector. Taking their lead from the Construction

Industry Training Board (CITB)’s report‘Faster, Smarter, More Efficient: BuildingSkills for Offsite Construction’, Farmerand Fusion reviewed the issues currentlyaffecting the UK construction industryand discussed the routes which could beopened up to develop a skilled offsiteworkforce.

Their discussions centred around keyfindings of the CITB report which notedthe low levels of industry awareness of theskills needed for offsite construction andhow future, nationally-recognised trainingshould deliver a diverse range of skill sets.The report also highlighted the need for

industry-wide education in so-called“softer skills”, such as an awareness ofbehaviours and attitudes in theworkplace.Mike Fairey, Fusion Building Systems

director said: “There are already ahandful of colleges and universities whoare offering courses in modern methods ofconstruction (MMC), but considering thestartling findings of Mark's report whichlooked at the desperate future of UKconstruction as a whole, there need to bemany more. The industry needs to turn tooffsite, but as the CITB report has shown,awareness, understanding and acceptanceof MMC needs to catch up.”

Farmer and Fusion collaborate on offsite futuresWORKING TOGETHER

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COMMENT

Extreme weather is now an all-year-round likely occurrence inthe UK, ranging from flash floods one day to heat waves thenext. Average wind speeds are rising faster than predicted

and, according to the latest reports from the Meteorological Office,the UK could soon see a repeat of the sort of flooding that has hitin recent years. Forecasters have said that there is a one-in-threechance that a new record will be set for monthly rainfall duringcoming winters.

Climate change is one of the key drivers for improving roofdrainage and water management; developing new standards,regulations and testing methods to ensure products and solutionsalign with worst-case climate model scenarios is essential.

Rainwater systems are integral to protecting our buildings, andchannelling water from roof to ground. Therefore gutters, outletsand downpipes must be able to demonstrate in situ strength andstructural capability when handling increasing volumes of rainfalland wind loadings.

The recently published BSi standard is BS 9101:2017 – ‘Steel andAluminium rainwater systems. Specification’. It specifies therequirements for the design and manufacture of metal gutters onindustrial, commercial and residential buildings. This includes thematerials, tolerances, mechanical properties and surface conditions,coatings, laminated surfaces, jointing methods and fixings for

rainwater systems, including fittings and accessories for assemblyor support.

BS 9101:2017 puts particular emphasis on the design strength ofthe metal gutter. This is determined by loading capabilities in theform of downward rain, wind uplift and snow. Products requireeither Finite Element Analysis (FEA) or physical testing to ensurethey meet the new standard. FEA is a computer based method ofanalysing the behaviour of engineering structures and componentsunder certain conditions. It is an advanced engineering tool that isused in design and to augment or replace experimental testing.

Before BS 9101:2017, standards such as BS 8530:2010 weredeveloped to establish the requirements of traditional cast systems.However, the standard for pressed and extruded gutters was stillopen to interpretation.

The industry had referenced BS 612 for pressed gutters, cover-ing ‘Eaves gutters and rainwater down-pipes of metal sheet’, as itwas the only standard that came close. In 2005 this was updatedand defined as ‘Eaves gutters with bead stiffened fronts andrainwater pipes with seamed joints made of metal sheet’. A bead-stiffened front is defined as a rolled section rather than a pressedsheet. As such, pressed sheet gutters are covered under the newstandard (BS 9101:2017).

With regards to extruded gutters, the industry used to reference

BOXAluminium box gutter and rainwater pipes – image courtesy of ARP

Carlton Jones of the Metal Gutter Manufacturers Association (MGMA) explains theimprovements brought by a new standard for metal guttering in the context of climate change

Metal gutters !t for the future

CASTCast aluminium rainwater hopper – image courtesy of Guttercrest

8 VIEWS


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BS 1474 – ‘Specification for wrought aluminium and aluminiumalloys for general engineering purposes: bars, extruded round tubesand sections’ – this standard was withdrawn in 1987 and replacedby EN Standards, which apply to the material and not in-situ structural strength. As a result, the new BS 9101:2017 standard isfar more comprehensive and detailed to meet specific metal sheetand extruded gutters, and has been developed to cover gutters thatare excluded from the previous BS 8530.

Setting new British Standards is a time consuming and detailedprocess. The BSi depends on expert advice from leading UKmanufacturers with regards to design parameters, loadings andspecifications. A diverse group, representing all parts of the metalgutter industry, as well as consultants, was drawn together by theMetal Gutter Manufacturers Association (MGMA) to work inpartnership with BSi to review current standards for rainwaterproducts, and advise on new developments and technologies for thebenefit of the industry. Developing new standards also helps eliminate bad practices among manufacturers producing inferior orunsafe products. The new BS 9101:2017 standard raises the bar for metal

rainwater specifications and will prove invaluable to metal guttermanufacturers. But often new standards are complex and the implications on project designs are not always clear. Many architects, specifiers, design engineers or installers may not

be aware of the latest developments or the significance to theirprojects. Members of the MGMA can offer the relevant support andtechnical advice to their specifier and installer customers so thatmetal rainwater gutter systems are correctly specified across allprojects. At a time when the demands put on our buildings by majorfactors such as climate change are increasing, it is essential that theybenefit from the best solutions to protect them for the future.

Carlton Jones is director at the Metal Gutter ManufacturersAssociation (MGMA). Detailed advice on the specification of metalrainwater systems from the MGMA can be found at its websitewww.mgma.co.uk

GALVANISEDGalvanised steel gutter systemImage courtesy of Lindab Building Products

10 VIEWS


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Metal cladding systems provide efficient, aestheticallypleasing and sustainable solutions for a wide variety ofexternal building envelopes. However, the success of

these systems can be compromised when specifications are changedunder the disguise of ‘value engineering’ by someone who islooking to achieve the cheapest price or maximise profit and sourcematerials and associated components from companies who may notoperate to the highest standards.It is imperative that specifiers have confidence in the capabilities

of their chosen suppliers, and it therefore makes sense to specify anMCRMA charter-compliant member company. However, the current economic climate can make it tempting to

cut business costs. In an effort to achieve the lowest price, lessreputable cladding contractors will source materials and associatedcomponents from different manufacturers and then assemble themas a cladding system when it is nothing of the sort. Unfortunately, this results in a system that has no approved

design, no U-value calculation confirmation and no tested fireboundary rating. This raises serious issues for the structuralintegrity, thermal performance, fire performance and lifespan of thematerials and has serious implications for the building owner; inthe event of a problem there is no recourse to a sole manufacturerand there is no system warranty.It is essential in each step of the materials selection process to

understand that any one choice of a material type or componentdoes not exist in isolation and has potentially far-reaching implica-tions for other aspects of the performance of the completedbuilding envelope. For example, the effect of thickness (gauge) on the performance

of metal systems in building applications cannot be underestimatedand the responsibility for not only ensuring that appropriatematerials are specified, but selected and used correctly, belongs toall parties within the supply chain. One of the issues associated with the specification/cost link is the

term ‘equal or approved’. For those downstream of the initialdesign process it usually provides a loophole to initiate change andperhaps remove an element of cost, remove a degree of quality orimprove margins. Such design changes should not be made in isolation and any

proposed change should involve the knowledge and agreement ofthose at the start of the design chain. Without their involvement orthat of the client, a simple and perhaps misunderstood change canlead to disappointment. Problems are likely to arise when components and materials are

sourced from various different manufacturers, assembled and thenpassed off as a complete cladding system. This is commonly knownas ‘pick-n-mix’ and is a conglomerate of incompatible products,

brought together to form an assembly, but not a system. This canhave serious consequences for the main contractor, claddingcontractor, building owner and those involved with subsequentoperation and maintenance. For example, the person sourcing theindividual items within this construction process will be regardedas the principal designer under the Construction (Design andManagement) Regulations 2015 and the ‘designer’ will need toprovide PI and/or PL insurance. These assemblies are put together without any consideration for

design constraints, compatibility, long term performance andsustainability, or health and safety issues. This has implicationsfor those who attempt to assemble the parts and those who ratifyor condone their use, as subsequent failures will without doubtresult in claims and may result in criminal proceedings if negli-gence is a factor. This approach can show up incompatibilities with guarantees and

warranties and also health and safety issues such as ‘fragility ratherthan non-fragility’ because the system may not have been tested.All these problems can easily be avoided by specifying a fully

designed and manufactured system from MCRMA members whounderstand the needs of the project and who can design a fullyengineered system for a specific application.By using an MCRMA charter-compliant company, specifiers

The Metal Cladding and Roofing Manufacturers Association explains the importanceof approved cladding systems and the dangers of changing specifications

COMMENT

Logistics North Business Park, Bolton – image courtesy of C A Group

Get speci"cation right "rst time

12 VIEWS


have the reassurance of knowing that all member companies arecarefully vetted to ensure that they have a good trading record,adequate levels of the relevant liability insurances, comply withhealth and safety legislation, and meet their responsibilities withregard to environmental issues. It also ensures that the member

company has the knowledge and technical expertise to deliver arobust and workable solution.

Detailed information on all MCRMA member companies can befound on the MCRMA web site at www.mcrma.co.uk

CUBRIC Centre, Cardiff – image courtesy of Eurobond Laminates

13VIEWS


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BUILDINGPROJECTS

Built on the site of former warehousesalongside the main Willebroeck canalin Brussels is a group of buildings

which form a fascinating new landmark forthe city. As well as being a new take on amajor retail and leisure development, farfrom the traditional covered ‘mall’approach, the €214m Docks Bruxsel is alsoa curvaceous showcase of various claddingmaterials and metal craftsmanship allied tohigh-tech design.

According to Brussels-based architecturalpractice Art & Build, the new commercial

development sitting at the north-eastgateway to the country’s capital is “by nomeans a conventional commercial centre.”

Looking around the finished scheme, thekey aims of creating a strong new entrypoint to the city, offering a varied array ofattractive buildings and routes in a newurban quarter, and blurring the linesbetween exterior and interior, have beenfully realised.

A strong heritageAs is typical, the ability to create somethingof this magnitude (61,000 m2 in total above ground, over up to five stories), has occurred in an area which as projectarchitect Lilia Poptcheva describes it, waspreviously a “no-man’s land”. Despite atram line and a major road catering forconnectivity, the neighbourhood had afairly bleak urban quality, which the newdevelopment helps to resolve by creating agreat new destination.

What the area does have is a rich indus-trial heritage, which the development alsoharnesses to its benefit. Late 19th century‘utopian’ industrialist Jean-Baptiste AndreGodin had his manufacturing base castinginnovative iron stoves here, but he also paidattention to workers’ needs, creatingcommunity-oriented housing on the site.

The Belgian client for the Docks projectis the Equilis Group, real estate subsidiaryof Belgian food company Mestdagh Group,which had a strong desire to achieveresource sustainability on the site. The architects also managed to preservetwo of the pre-existing buildings Godincreated, the ‘Familistere’ housing buildingwith its sociable internal gallery decks, now

Marking a bold new entrance for Brussels, Docks Bruxsel is a mixed-use project with adifference, creating an urban mini-district which also turned out to be a test bed for anew zinc panel. James Parker visited the project

Giant pebbles in Brussels

DOCKS BRUXSELBRUSSELS

CONTRASTSThe design plays with the contrast between materialssuch as openwork timber cladding and three ‘pebbles’clad in engraved zinc panels © Georges de Kinder

14


ALL THE TRIMMINGSThe curved geometry of the futuristic new eventsvenue meant zinc panels had to be trimmed on site© Georges de Kinder

turned into a museum. In addition the listed‘Cathedral’ building, a timber-framed, brickclad four-storey textile factory, now housesrestaurants and a function suite. Architect at Art & Build Luc Deleuzecomments that the ‘Cathedral’ building“sets the direction for the plans, and is areally important part of the composition.” The mix of old and new buildings is a keypart of what gives the project its architec-tural interest, further enhanced by the mixof materials, such as timber planks claddingground floor forms, and zinc and steel tointernal and external cladding.David Roulin, CEO of Art & Build, saysthe client’s ambition was to “revitalise” thisbrownfield site, although he admits it was“an improbable location from the start.”However, the architects “created a debatearound the urban restructuring of thislocation, with the additional wish expressedby the client to exploit the natural resourcesof the site.”This BREEAM Excellent developmentincludes a pipeline linking the nearby incinerator to the retail area of Docks,which supplies recovered heat that was

previously cooled and dumped into the canal. This means that all of the area’sheating is provided by recovered heat,which is impressive. There is also a substantial array of PV panels mounted ongreen roofs and rainwater harvesting, plus avoidance of air conditioning in favour ofnatural ventilation.

A new neighbourhoodAccording to Roulin, the overriding aim ofthe design response was to avoid a tradi-tional shopping centre and instead create a“neighbourhood, with squares and streets.”Lilia Poptcheva explains further: “It resem-bles a town, we have created unobstructedviews from the mall to the canal. You arenot just surrounded by buildings, you cansee the town, the tram as it goes past, andthe trees changing over the seasons.” Sheadds: “It’s a living place, much more aboutthe quality of perception and contact withthe exterior, light and shadows, the sunchanging over the course of the day.”The public walkways through the sitehave been carefully planned to resolve levelchanges across the development, and

The mix of old and newbuildings is a key part ofwhat gives the project itsarchitectural interest

15DOCKS BRUXSEL, BRUSSELS


reinforce the continuity of access throughthis new urban quarter. As Roulin explains,“The entire project revolved around solvingthe seven metre height difference betweenthe level of the quay and that of the road –we created a towpath.” Two routes havebeen created, one from the quay and onefrom the main road, and each connecting toone of the two floors of retail. These runbetween a varied mix of buildings, somecurved and organic and some more lineararound the pedestrian walkways. This mixwas key to the architects’ wish to create a“piece of the city, not a shopping centre,” asPoptcheva puts it. Marco Da Col, concept designer at thepractice, describes the materials mix: “Thereare very contemporary metal-clad buildings,and there are more monolithic, calm build-ings clad with terracotta. We wanted torecreate the effect you have when you walkthrough a town, so we designed differentbuildings, each with its own architecture.”

Pebbles & an ‘exterior interior’The first of three zinc-clad ovoid ‘pebbles’forms the left flank of the glorious mainentrance, housing shops and eateries.

Here, the enormous 10,000 m2 undulatingglazed roof that covers the spaciouswalkways between shops cantileversspectacularly out over the entrance and aterrace cafe, reaching fair distance overwhat is a decent-sized public square.Through the main entrance doors, the rich and unexpected variety of materialscontinues, echoing the industrial past bycontinuing the clay brick paving from the square into the building, forming anattractive and robust floor.This blending of interior and exterior ismost apparent in the internal walkways,which feel ‘outside’, to the extent that it’snot immediately obvious you have enteredan enclosed space at all. They are light andairy, helped by a smart natural ventilationsystem which operates skylights in responseto temperature changes. Materials such ascladding are continued from outside toinside to increase the feeling of separate,distinct buildings for distinct functions, allhowever still connected and protected by theglass roof floating above. The lightness ofthis unifying white-framed structure isenhanced by the minimal amount ofcolumns, Art & Build having maximised the

INTERIOR DESTINATIONOne of the zinc ‘pebbles’ houses a cinema© Georges de Kinder

16 DOCKS BRUXSEL, BRUSSELS


spans so that only three tree-shapedcolumns are needed for a walkway runningthe length of the site. The second ‘pebble’ houses an eight-screen cinema complex sitting at thecentre of the building, which offers acompletely “atypical” level of projectionquality for such a site, according to Roulin. The final zinc pebble is the main attention-grabber in the whole development, sitting at the corner of the sitenext to the canal, main road and tram line,and forming the new ‘entrance’ to the city.Housing a 2500-capacity events venue it sitsside-saddle on top of a larger second curvyform clad in orange-red openwork LauderPAREA timber panels, and containing majorretail brand outlets. This unusual butcharacterful composition, playing off thecontrast between timber and zinc, is the newfocal point for the north east of the city.

A testing installationThe installers of the zinc, which is a newpanel by VMZinc tested for the first time onthe project, were really put through theirpaces to make the cladding fit the pebbles’curved design, such as where it curves intowards the base of the events venue. Each panel had to be carefully attachedto the next using fixing clips, and nailed toa timber framework, but many also had tobe cut to size to fit the curved geometry. This meant that many panels near the more extreme curved sections had to beprecisely cut once on site to smaller sizes bythe roofing contractor Jacobs & Sohn asthey went, to match the architects’ 3Dmodelled design.This hand-finished aspect helps to add a certain organic quality to the otherwise fairly plain although attractivelight grey, gently reflective zinc forms. The four kilogram shingles appear likescales, due to being arranged diagonally,and their surface grain is only apparentwhen you inspect from fairly close range,but they are subtly effective. Given there are 19,360 zinc shingles on the three buildings, their malleable, easy-to-foldnature was crucial. However while it’s a fairly time-consuming process, zinc is claimed to be a cost-effective way to achieve complex roof designs such as this. Thanks to the efficient working of theinstallers to a predefined schedule, and theflexibility of VMZinc’s Bratislava factory,the whole zinc envelope was installed in 10months, with 30 installers working on thebuildings at the project’s peak.

This mix of buildings waskey to the architects’ wishto create a piece of the city,not a shopping centre

© J

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17DOCKS BRUXSEL, BRUSSELS


The fact that architect, manufacturerand client were willing to go ahead withthe new panel months before its officiallaunch speaks volumes for the close collab-oration and trust between the partiesinvolved on the project. “We had to workclosely together,” says Phillipe Gustin, areasales manager, Benelux and UK atVMZinc, “the product’s materiality wasright for the designers, but it was difficultto convince the developer it was the rightproduct for them.” Poptcheva adds: “It’snot very easy for someone investing somuch into such a big project to just say“we’re with you.” She adds: “We had toconvince the client to go with somethingthat did not yet exist.”

A subtler shineThe flat lock panels are made from naturalzinc that has undergone a physical andchemical treatment to provide a slightlyengraved look, softening some of the shine

that untreated zinc has (as seen on some ofthe downpipes on buildings on the develop-ment). The original choice of the architectswas aluminium however, with the ideabeing to reuse recycled aluminium fromaeroplanes, but this proved too costly in theevent according to Poptcheva. In addition, she says, “we wantedsomething that was brilliant, but not toomuch, something that was natural, andsomething that would reflect light.” Thearchitect says the client also had to bepersuaded a more subtle variant was a goodidea: “They wanted something much shinierbecause it’s a commercial development, butarchitecture makes people love the placebecause of the light, form and materials;you don’t have to have light and musiceverywhere.” Another thing in zinc’s favourwas that it is fully recyclable, and withroughly around 20 per cent recycledcontent typically.The choice of the new VMZinc panellargely came down to aesthetics in the end,says Poptcheva: “We were looking for atexture that was matte, heterogeneous and luminous. The bright and naturally pre-weathered aspect of this product isreminiscent of Parisian roofs.”There is 7000 m2 of office space withinthe development, including the Belgianheadquarters of French food brand Danoneoccupying the contrasting square buildingat the corner of the site, bookending themain pedestrian thoroughfare. This is another showcase for the aestheticpossibilities of metal, being clad in anfiligree white steel brise soleil structurewhich like the zinc extends inside toconnect inside and out.The new development has transformedwhat was a downtrodden and neglectedpart of the city and given it a new life andentrance point, its contrasting buildingforms central to this vitality. However, the former buildings on the sitehave not been forgotten. The ghosts ofGodin’s warehouses are present, withengraved metal strips running, often atunexpected angles, across the new externaland internal paving, marking their originalperimeters. Docks Bruxsel looks both backand forwards, with time-honoured claddingmaterials married to cutting-edge design. �

PROJECT FACTFILE

Client: EquilisArchitect: Art & BuildZinc installation: Jacobs & SohnSurface area (entire project):61,000 m2

Opened: October 2016Surface area of zinc installed:6,650 m2

Engineer: TPFContractors: BPC, BESIXProject manager: ABSSIS

We had to convince theclient to go with somethingthat did not yet exist

© Georges de Kinde

r

18 DOCKS BRUXSEL, BRUSSELS


19


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ørk,

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Shortlisted entry Maersk Tower, Copenhagen © Adam Mørk

BUILDINGPROJECTS

The European Copper in ArchitectureAwards programme celebrates thebeauty and versatility of copper and

its alloys through some of the best contem-porary architecture. It also seeks to exposeto a wider international audience inspira-tional projects, some of which mightotherwise go unrecognised. The judgingpanel for this eighteenth iteration of thebiennial awards consisted of four architects,all recipients of previous awards: EbbeWaehrens (BBP ARKITEKTER, based inCopenhagen), Maxime Enrico, (LAN, Paris),Ville Hara (Avanto Architects, Helsinki) andCraig Casci (GRID Architects, London).Entries were assessed from photographs,

drawings and descriptions submitted bytheir architects. Considerations includedoverall architectural design, response toprogramme and context, importance ofcopper to the scheme, and its detailing. Thejudges were impressed by the quality ofentries generally and the range of copperapplications displayed. Choosing a shortlistfrom the 35 entries, with major publicbuildings alongside modest domesticschemes, presented a real challenge andgenerated lively debate. But the judgeseventually agreed on eight projects,summarised here in no particular order.They stood out from the rest with a diver-sity of typologies and design approaches –and some exceptional architecture.

Row of six houses in a barn, Italy –Studio Roberto MascazziniArchitettoLocated on the edge of an ancient ruralvillage now absorbed into Milan’s suburbs,a collapsing barn has been replaced by thisnew building. Use of the same location, size,

shape and materials as the original buildingwas a planning requirement and presented the architects with fundamental challenges. Their response envisaged some of the demolition material, taken from solid brick walls and porphyriticfloors, having new life within a shell for the new building. The crushed material is contained within

metal net gabions of corten steel, distrib-uted uniformly across both roofs and walls,creating a ‘legacy’ aesthetic. This techniquealso provides continuity between facadesand roofs, defining the monolithic shape ofthe original barn, reinforced by an absenceof gutters, downpipes, window sills andother traditional details.The recycled material gabions alternate

with sections of copper of varying heights,again linking facades to roofs. All theopenings of the houses are contained withinthe copper zones where they cannotcompromise the integrity and strength ofthe building. They can be hidden by verti-cally folding, copper-clad shutters that openand close mechanically, offering shelteragainst the sun and rain.

Lahti Travel Centre, Finland –JKMM ArchitectsThe New Travel Centre – located at theheart of Lahti and next to the existing,historic railway station – forms a transporthub connecting the rail network to bothlong-distance and local bus lines. It consistsof a 60 metre canopy for the bus terminal,enclosed lift and stair structures, local busstops on the street and supportinglandscape elements. There is also a roadtunnel underneath the centre. Together,

Eight very different entries have been shortlisted for the 2017 European Copper inArchitecture Awards, reports architect and judging panel moderator Chris Hodson

Rewarding copper architecture

EUROPEAN COPPER IN ARCHITECTURE AWARDS

Row of six houses in a barn © Simone Bossi

Lahti Travel Centre © Mika Huisman

21


these copper-clad elements create an easilyperceived and high quality urban entity inthe complex city environment, managingvarious changes in level.The new terminal for intercity buses has

a canopy and pillars clad in perforatedcopper. Next to it, the delicate and airyelevator tower uses glass in both the outerwalls and load-bearing structures. Inside the

glass box, the elevator shaft is covered incopper sheet and copper wire mesh: anelegant counterpart to the powerful andstreamlined silhouette of the canopy. Thisand two other elevator towers, also made ofglass and copper, connect the lower levelstreet to the northern bus stop shelters onthe street above. The side walls, parapet andface of the bridge structure create animpressive copper portal. A full report on the terminal was included

in ADF’s Metal in Architecture supplementpublished in September 2016 – this can befound at www.architectsdatafile.co.uk/adf-supplement-archive

Hydropolis, Poland – Pracownia Projektowa ART FMA new copper entrance pavilion with aninnovative “water printer” sculpture

Choosing a shortlist from35 entries, with majorpublic buildings alongsidemodest domestic schemes,generated lively debate

Hydropolis © Michal Lagoda (courtesy of European Copper Institute Poland)

22 EUROPEAN COPPER IN ARCHITECTURE AWARDS


celebrates the regeneration of a remarkable19th century reservoir in the Polish city ofWrocław. One of only a few well-preservedhistorical water supply plants in Europeand a protected monument, the redundantreservoir structure has now been convertedinto ‘Hydropolis’ – the only ‘knowledgecentre’ in Poland devoted entirely to water.

The new pavilion is roofed and clad incopper, intended to oxidise naturally andharmonise with the brickwork, includingperforated panels – some sliding – in front ofthe glazed entrance. The sculpture is madeup of twelve modules concealed behind thecopper facade, each with controlled solenoidvalves and nozzles creating effects with thewater. The pre-programmed patterns andcaptions are a prelude to the theme of theexhibition, enabling visitor interaction andfirst contact with water.

Copper – this time pre-oxidised – alsoadds the finishing touch to the entrancehall, illuminating the interior and harmonising with matt black metal andconcrete surfaces. Sunlight penetratesthrough irregular holes in the perforatedpanels, fills the space and creates a uniqueinterplay of light and reflections.

Suvela Chapel, Finland – OOPEAAThis new complex is located in one of themost multicultural districts in the metro-politan area of Helsinki. The needs of thisculturally diverse community form a coreprinciple of the project. All spaces are onone level and the complex wraps into asingle U-shaped entity forming an intimatecentral courtyard. The various functionsorientate themselves around the courtyard,ranging from kindergarten and childcare toyouth spaces and local community clubs.The building also provides office space foremployees as well as social workers andfamily services, and a soup kitchenprovides low-cost food. Finally, the chapelitself is used for concerts as well asreligious ceremonies.

The exterior shell of the whole complexis entirely clad in copper to emphasise theunity of the various volumes of the build-ing. Copper was an ecological choice, beingdurable and recyclable, easy to maintainand therefore sustainable. The architectsparticularly valued its patina, which willdevelop over time and allow the age of thebuilding to show, giving it a sense of being‘alive’. Local spruce timber is predominantthroughout the interiors, creating a warmand peaceful atmosphere. Suvela Chapel © Mika Huisman

23EUROPEAN COPPER IN ARCHITECTURE AWARDS


Architect: Pracownia Projektowa ART FM

Architect: JKMM ArchitectsPhoto: Mika Huisman

Architect: HUS arkitekter AS

Architect: Riepl Riepl Architekten Photo: Olaf Rohl

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Bosruck Tunnel, Austria –Riepl Riepl ArchitektenThe 5.5 km Bosruck Tunnel passes throughthe Ennstal Alps, connecting Upper Austriawith Styria in the south east. The original,two-way traffic tunnel has been renovatedand a second, new tunnel built alongside.Now part of the A9 Pyhrn motorway, it isused by around 18,000 vehicles each day.This impressive engineering feat is

announced by new portal structures at bothends of the tunnel. The highly architectonicapproach taken is unusual for projects ofthis kind, suggesting a new building typology in celebration of transport infrastructure. The architecture isthoroughly modern and the design strategyalmost theatrical. A series of screens – madeup of perforated brass cassettes, profiledand arranged to reflect the verticality of thesurroundings – partially conceal buildings

and equipment essential to the tunnel’soperation and safety. The rhythms of the vertical brass screens

highlight the experience of travellers as theyapproach and drive straight through thebuilding, via the dramatic ‘flying roof’entrance and exit galleries, acting as transi-tion spaces between inside and out.Brass was chosen for its long-life and

durability, including resistance to road salt,following trials simulating the exposure ofthe material over 30 years.

Walmer Yard, London –Peter Salter AssociatesA modestly-scaled scheme of four houses,Walmer Yard is intriguing and intimatelydesigned and detailed. Copper is used toclad various roof forms, relying on theexpertise of craftsmen to successfully

Walmer Yard © Hélène BinetBosruck Tunnel © Otto Hainzl



execute the shingle and standing-seamstyles, numerous roof pitches and complexjunctions. Seen from above, the pyramidalcopper roofs of one house traces its formthrough its changing gutter systems thatspan between light-wells and the copper-clad entry canopy.

Two of the houses facing the courtyardhave surface-mounted fascia gutters incopper, shaped to falls and forming acornice to the shutters below. The undersideof the gutter forms a belly that projects infront of the window as a hopper, connectingwith a copper downpipe that similarlycrosses the window on its way to theground. Rainwater can be heard tricklingthrough the system of copper pipes whichacts as a ‘weather register’. Each front doorhas an enlarged push plate in copper as partof a viewing panel assembly, containingdoor-bell, locking escutcheon and purpose-made pull handle in copper and brass whichhides a letter plate.

Maersk Tower, Copenhagen – C F MøllerThis major research building was designedas a sustainability landmark, in dialoguewith the city and university, acting as acatalyst for positive urban development.The 15-storey tower rests on a series oflow buildings containing commonfunctions: three auditoriums, classrooms,canteen, show lab, conference rooms and a‘book cafe’.

The tower’s exterior appearance entersinto a dialogue with the existing researchcomplex and other surrounding buildings,where red brick dominates. The facade is agrid comprising storey-height windowfields that break up the building’s substantial scale. These storey-heightbands are fitted with over 3,000 verticalcopper fins. The choice of copper on thisprominent building anticipates the naturalcolour and surface changes that will occurover time.

A third of the fins move, enabling thefacade to constantly change character asthey open and close, responding to thesun’s path around the building. Whenactivated, each section splits in two withone half remaining static while the otherhalf slides in front of the window glass,limiting heat gain into the laboratories.This approach adds to the building’ssustainability credentials, alongside thechoice of copper as an exceptionally long-life material that will eventually berecycled.

The choice of copper onthis prominent buildinganticipates the naturalcolour and surfacechanges that will occur

Maersk Tower © Adam Mørk

26 EUROPEAN COPPER IN ARCHITECTURE AWARDS


Hverdagsscene (Communal Stage),Norway – HUS arkitekter ASThe project was part of a larger plan torenovate and upgrade Torvet, Trondheim’stown square, as a whole. The architects’vision was to create a new, lively spacefocused on activity rather than form – aspace bursting with people and life.

The stage itself is multifunctional withoutany dedicated use and is dominated by themain attraction – the cylindrical stage ‘loft’.With a skin consisting of perforated andpatinated copper, the stage canopy is transformed from its rich green patina indaylight to an animated beacon at night byartificial lighting from the inner circlereflected throughout the screen.

The cylinder consists of three layers: theinner reflective surface is polished stainlesssteel with a random pyramid pattern; the

middle screen is copper with clear lacquerto keep its natural colour over the years;finally, the outer skin is made of hand-patinated green copper. The twocopper layers are perforated for trans-parency in a random pattern of hexagons ofvarying sizes. Between the middle and innerlayers, multi-coloured LED lighting isarranged in five height zones, facinginwards. Between the outer and middlelayers, on top of the structure, LED wall-washers face downwards.

Further informationThe Overall Winner, Commended projects and a Public Choice Award will be announced later in the year. More information and images of the shortlisted projects, all the other entries and previous awards can be viewed atcopperconcept.org/awards �

Hverdagsscene © Mathias Herzog



Designed as a ‘city within a city,’ Vendsyssel Theatre in Hjørring, Denmark, is also a newcorten-clad cultural landmark where performers and audience members exist in closeproximity. Stephen Cousins reports

Breaking the fourth wall

VENDSYSSEL THEATREHJØRRING, DENMARK

BUILDINGPROJECTS


Like an actor preparing to get intocharacter before going on stage, thereare two very distinct facades to

Vendsyssel Theatre in Hjørring, Denmark.Approach the building during the day andyou will see elevations clad in a mixture ofweathered brown corten steel and frostedglass over pastel hues of green and pink. Visit at night, and the corten steel

disappears entirely from view, consumed by the darkness, while the glass comesvividly to life, illuminated by red and violet LED light.This dynamic juxtaposition reflects the

intent of lead designer Schmidt HammerLassen Architects (SHL), to create a

building that manifests itself as a “newliving organism in the cityscape”, which is subject to constant change, both aesthetically and in use.It is also a radical response to a

once-in-a-lifetime brief to deliverDenmark’s first newly built theatre outsideof the capital Copenhagen in over acentury, a modern cultural facility that also had to integrate with the localarchitectural tradition.Rasmus Kierkegaard, associate partner

and head of concept development at SHLcomments: “We had to stop and think,what does it mean to design a culturalbuilding like this which is so rare, especially

The corten steel’s naturalpatina and matt surfaceclosely matches materialsfound on old buildingssurrounding the theatre


in Denmark. In the past, people tended toexpress the cultural power of theatre inarchitecture, today we are in a completelydifferent world, so we had a lot of thoughtson what that might mean. We also had totake into account the fact that Hjørring is aholiday location, in the northern part of thecountry, and not necessarily associated with theatre and culture.”

The 4,200 m2 building is conceived as a “theatre and experience house”, amultifunctional complex with a groundfloor concert hall, ‘black box’ theatre, arehearsal hall, and a 430-seat flexible hallable to switch between an ‘in-the-round’theatre in the mode of Shakespeare’s Globe in London, and a theatre with a more conventional layout with the stage at the front of the auditorium.

The ground floor also accommodates aspacious foyer with a cafe, backstage area, a workshop and dressing rooms. The firstfloor provides office, admin and technicalsupport space.

The designers took a pragmatic view ofculture as an opportunity and experiencefor all. Therefore, space has been createdfor both scheduled and ad hoc events in aplaza at the front of the building, inside thefoyer and on a grand staircase, wherevisitors can choose to be spectators or evenparticipate in activities.

Miniature metropolisAnother design concept is the notion ofcreating a “city within the city” by dividingthe building into a series of separate cubicvolumes, connected by generous circulationand meeting areas, similar to the streets andsquares of a city.

Actors and staff are able to flow betweenthe different blocks, as easily as blood in anartery. The theatre’s location, between themain train and bus stations and a mainshopping area, encourages the generalpublic to pass through from one side to theother, and maybe stop to meet or buy foodat the cafe.

Creating a microcosm of a city made practical sense in terms of the building’sinternal logistics – exploding the largevolume into cubic blocks helped streamlinepathways for the complex services forelectrics, air conditioning, lighting etc.

The less imposing massing helped merge the theatre into the local urbancontext, says Kierkegaard: “Had wedesigned the theatre traditionally, as single volume, it would have been verydominant compared to the site and the surrounding buildings. Breaking the

30 VENDSYSSEL THEATRE HJØRRING, DENMARK


form down into cubic blocks allowed us tocreate a more satisfying composition thatblends much better into the cityscape.”

SHL wanted to blur the boundariesbetween publicly accessible areas and moretraditional theatre functions so that spacesinterconnect to bring actors and audiencemembers into closer proximity.

It’s possible to visit during the day andsee actors and technical staff moving stagesets around, and performers can glimpse thepublic from their lounge on the top level.All the major halls can be opened to the

foyer, while the use of glass and windows indifferent rooms creates visual connections.

“The client had a very different approachfrom the traditional split between actorsand the audience. We were very inspired by that and tried to open things up toenable the public to see some of the thingsthat go on backstage,” says Kierkegaard.

Increasing levels of transparency enabled more light to enter the building. Glass curtain walls running along theentrance allow large amounts of daylightinto the foyer and cafe area, which istopped by a long skylight.

Innovate & integrateIn terms of the theatre’s externalappearance, the designers saw the need todare to be different while maintaining afocus on the city’s existing qualities. Therusty reddish-brown corten steel is an

ABOVEThe ‘black box’ theatre space

LEFTFrosted glass over pastel coloured walls provides a softcontrast with the corten steel by day, but glows atnight lit by LEDsA building that manifests

itself as a new livingorganism in the cityscape

31VENDSYSSEL THEATRE HJØRRING, DENMARK


unmistakable contemporary material, yetits natural patina and matt surface closelymatch materials in surrounding oldbuildings. The steel will become stronger asthe surface oxidises to form a protectivelayer more resistant to wear and tear.The illuminated elevations are a modern

twist on the bright-coloured signage seen inLondon’s West End, New York’s Broadway,or the Moulin Rouge in Paris. In contrast,during the day the pastel colours behind theglass mimic those seen on existing plasterand brick facades in the surrounding area.“We wanted to create a modern

expression with its own architecturallanguage, rather than simply imitate thesurrounding city; something totally different that would also be recognisable asa theatre, not another typology like housingor an office block,” says Kierkegaard.The sharp corners where the

glass and corten steel come together

were particularly tricky to detail. The metal panels have a very thin profile,but the frosted glass panels are thick and incorporate a void with colour-changing LED lights sandwiched in between.Several tests and mock ups of the glass

facade were required to reduce the size ofthe bearings to minimise the amount ofshadow visible on the coloured walls.

Aesthetics & acousticsVendsyssel Theatre is envisaged as acultural hub, a meeting place of people ofall ages, and a place to nurture localyoungsters wanting to excel in theatricalart. Hjørring has a strong tradition fortheatre, particularly theatricalexperimentation and a thriving scene ofsmall amateur theatre clubs.Each hall employs a different aesthetic

and acoustic approach. “Just as in the city each house has a different attitude and atmosphere,” says Kierkegaard. The flexible main theatre is all black insidewith a shifting pattern of triangular panelson the walls that conceal perforatedacoustic absorbers. During the transformation process from

a round theatre with a central stage into asemi-circular theatre with a stage at one end, sophisticated technical tricksare required to lower a section of seatinginto the floor then cover it over. Accordingto the architect, designing the theatre tofunction in both modes was a challenge in terms of the spatial geometry andconfiguring the theatrical machinery,sound and lighting equipment for each mode.The curved end of this theatre juts into

the lobby space and features woodenbenches carved into its lower level. In thefuture it can be used as a screen to projectimages and films onto.The music hall’s acoustics are specially

customised for classical music and it has amuch lighter interior with projectingtimber blocks lining the walls. On one sideof the hall, the lower part of the wall isopen to reveal pink LED lights slottedbehind the facade.SHL’s innovative approach to theatre

design, which splices together ideas of thetheatre as a living organism and a micro-cosm of the city, has proved a major hitwith the public. Since the theatre openedin January it is already a popular socialhub and all shows for the current seasonhave sold out, spurring on actors to experiment even more with their craft. �

MINIMAL SHADOWSeveral tests were done on the glass facade tominimise bearings and reduce visible shadows

PROJECT TEAM

Architect: Schmidt Hammer Lassen ArchitectsClient: Hjørring Municipality RealdaniaLocal architect: Arkitekt0rmaet FinnØstergaard Engineer: Brix & Kamp Landscape architect: LIW PlanningApsAcoustic consultant: Gade &Mortensen Akustik

32 VENDSYSSEL THEATRE HJØRRING, DENMARK


Controlling the interaction betweenthe natural world and the builtenvironment is one of the most

fundamental concerns for designers and architects. In most cases, this simply means ensuring the elements are kept out.Building facades, however, present anopportunity for much greater interplay and experimentation. Through the use ofcorten steel, architects are increasinglyharnessing the weathering process, creating vibrant canvasses which naturallychange over time.

Composition for changeCorten, or weathering steel, derives its unique character from a carefullybalanced composition – incorporating lowalloy elements, such as copper and nickel,during the smelting process. As with allsteel, when exposed to the natural elementsthe surface of corten metal oxidises andforms a patina giving the sheets a distinc-tive “rusted” look. The oxide layer is porous, causing it to

retain moisture. In standard steel products,this will inevitably lead to further corrosionover time. The alloys within corten steel,however, help to form secondary layerswhich are resistant to water ingress andhelp to limit further corrosion of the metal.As a result, it can be used in outdoor applications without the need for a protective paint layer. Much like the changes the autumn

leaves are currently undergoing, when the patina first forms it takes on a yellowshade. If the corten is left uncoated, this colour will gradually shift to a vibrantorange before settling to a dark red after several years of exposure. The speedof the colour transition is dependent on the frequency of wet and dry cycles the steel undergoes.

Constructing a corten timelineThe American Society for Testing andMaterials first began conducting tests to

clarify the benefits of incorporating a lowpercentage of copper and phosphorous into steel in 1916. Building on this research,United States Steel began testing its own steel and alloy composites in 1929 and in 1933 it patented Cor-Ten A (subsequently joined by Cor-Ten B). Corten products took their name from anabbreviation of two of their main properties – corrosion resistance and tensile strength. These benefits, in addition totheir relatively cheap pricing, originally sawthe materials used in a variety of industrialapplications such as rail carts in collieries. Eero Saarinen is often credited as the first

designer to make use of weathered steelwithin an architectural context. In shapingthe headquarters for John Deere, an Illinoisbased farming equipment manufacturer,Saarinen wanted to create a building whichreflected the rugged, honest nature of themen who’d formed the company. His solution was a modernist design, blending glass with a corten steel framewhich would develop a “deep hue, similar to that of the oak trees” whichsurrounded it. Since then, corten steel has been used in

an increasingly wide variety of applications,from shipping containers and bridges togarden furniture and iconic sculpturalpieces such as the Antony Gormley’s Angel of the North. The material can beincorporated within a structure in a number of ways, but one of the simplestand most popular remains its use as arainscreen facade.

Rust-ic facadesCorten rainscreen facades are available in awide range of sizes and styles. Corten steelis non-combustible and has excellent tensilestrength – allowing them to be fitted in longlengths. The panels work particularly wellwith secret fixings which maintain a cleanaesthetic and maximise their visual impact. When specifying corten facades it is

important to consider the potential

Ian Sutherland from Benchmark by Kingspan discusses how the use of corten steel cancreate a facade that will change over time to provide visual interest for years to come

Changeable weathering forecast

AUTUMN HUESIf the corten is left uncoated, its colour will graduallyshift to a vibrant orange before settling to a dark red

33


downside of this unusual medium. Run-off can cause staining on surroundingmaterials, so careful planning of gutteringand drainage channels is vital. Powdercoated cladding can also be used to recreatethe look and feel of the material where useof actual corten proves challenging – forexample, in sub-tropical environments orfor low-level applications where clothingcould be marked.

Stand out from the crowdCorten-clad buildings have a high visualimpact that evolves and then settles into thelandscape. Perhaps one of the most iconicexamples in the UK is the award-winningBroadcasting Tower in Leeds, which wonthe 2010 Best Tall Building in the Worldaward by the Council on Tall Buildings and Urban Habitat. Designed by FeildenClegg Bradley Studios, 9200 m2 corten steel hook-on cassettes were used to create the distinctive facade with itscantilevered projections.The colourful, industrial appearance can

also be used to great effect in refurbishmentor extension applications. For example, at Kennington Park in London,

architects Carey Jones utilised cortenrainscreen facades as part of the refurbishment, conversion and extension of a Victorian warehouse. The cladding was installed as part of a

new, four storey entrance unit to ChesterHouse, which now offers Grade-A officespace. The material reflects the building’srich industrial heritage while, through itsappearance and modern design, simultane-ously providing a clear visual referencepoint to draw visitors from the forecourtinto the main entrance area.

Under controlCorten structures always promote a gooddeal of debate, both in architectural circlesand among the general public. As with any distinctive facade material, corten speci-fications require considerable thought andplanning, however, as a growing number ofprojects have shown, when used well it candeliver truly iconic buildings which willcontinue to change and surprise over time.

Ian Sutherland is area sales manager and chartered architect at Benchmark by Kingspan

CONTRASTINGThe corten facade of the extension to the Henry MooreFoundation provides contrast with the traditional styleof the original archive building© Hufton+Crow

34


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Rolled lead sheet is a beautifulmaterial to work with, and the Lead.Sheet Association (LSA) spends a

lot of time supporting and advising thearchitectural community to ensure they getthe best out of this product.As well as the obvious aesthetic merits of

lead, you can also expect tremendouslongevity from a well-installed lead roof. Itslife cycle costs and green credentials – it is fully recycled in the UK – are further benefits.However, to make sure you get the

longest life out of a lead roof there are afew steps that need to be followed. Hereare our key tips to get you started.

Ventilation – the key to a long-lasting roofLead roof and cladding ventilation is one ofthe most common design flaws dealt within the LSA’s technical department so wecan’t stress enough how important is to getthe ventilation detail right. The LSA recommends the use of a venti-

lated warm roof for most new roof detailsas it allows through ventilation above theinsulation to disperse any moisture thatmay percolate through the vapour controllayer. Although recommended, it is usuallydifficult to achieve a 100 per cent effectivevapour control layer and without ventila-tion, any moisture penetration could betrapped in the insulation area.When looking to renovate existing

leadwork, the underside of the old lead willgive an indication as to whether there hasbeen a condensation problem. If corrosionis minimal, the existing roof constructionwill usually be satisfactory for new leadsheet, provided that there is to be no changein the use or heating levels of the buildingin the future for the life of the lead sheet.

Definition – flat to pitchedA lead roof changes from flat to pitched at11 degrees; joints across the fall becomelaps instead of drips and the lead is naileddirectly to the substrate. The length of laprequired is related to the roof pitch,

however, a 75 mm vertical lap must bemaintained at all times. The LSA wouldrecommend that a minimum fall of 1 in 80be used for any flat roof design.The joints used in the direction of the fall

may be wood cored rolls, hollow rolls orwelts and the size of each bay is limited inrelation to the thickness of the lead sheetused. Bays are secured in position with tworows of copper or stainless steel nails at thetop of each sheet, and in the top third of anundercloak if wood cored rolls are used.The lap length is related to the roof pitch

and always measured from the lowestfixing. However, a 75 mm vertical lap mustbe maintained at all times. The substrate must always be a fully

supported roof construction whichconforms to the current BuildingRegulations, and the recommendations ofBritish Standards 5250, 6229 and 6915.

The importance of good gutteringA well-designed lead gutter will help tominimise the chance of water ingress.Gutters should be designed with aminimum fall ratio of 1 in 80. Lead-linedgutters are used where a flat or pitched roof

Darren Tutt of the Lead Sheet Association looks at the dos and don’ts of working withrolled lead sheet that will enable architects to get the best out of it

Rolling out the bene�ts

GUTTER DIMENSIONSThe maximum length and girth for the five codes oflead sheet used for linings of box and tapered gutters

37


abuts a vertical wall, where two pitchedroofs are joined by a horizontal valleygutter and between adjacent areas of leadroofing. To allow for thermal movement,lead gutter linings must always be dividedinto separate pieces (bays).

As with all lead sheet installationsthermal movement must be accounted for

when specifying the dimensions of thegutter. To allow for thermal movement theLSA recommends that gutters are dividedinto bays with the size of each bay depen-dant on the code of lead sheet used.

The table shows the maximum lengthand girth for the five codes of lead sheetthat are used for linings of both box andtapered gutters.

By following these guidelines, you andyour clients should have peace of mind anda roof that stands the test of time. All thetechnical details referred to in this articlecan be found in ‘Rolled Lead Sheet – TheComplete Manual’ which refers to the useof Rolled Lead Sheet BS EN 12588. TheLSA has also recently developed an app thatbrings together some key details that can beeasily accessed.

Darren Tutt is technical officer at the LeadSheet Association

RECOMMENDEDThe LSA recommends the use of a ventilated warmroof for most new roof details as it allows through-ven-tilation above the insulation to disperse any moisture

You can expecttremendous longevity froma well-installed lead roof

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Get technical advice from the Rolled Lead Sheet experts, at your fingertips

• The LSA's Manual was fully updated in 2016, the biggest revamp in recent years• Available online as an e-book and as a hard copy• Visit www.leadsheet.co.uk/manuals to order your copy today

Don’t forget the LSA’s technical experts are here to help with all your technical queries, including site surveys and condition reports.

www.architectsdata!le.co.uk

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Over the last few years there hasbeen much discussion about howbuilding design is being influenced

by art. As a result, art, design and architec-ture are becoming more closely integratedand the introduction of new facade materi-als and finishes is helping with this.Extending the options available to designerswith finishes such as patinated brass andweathered steel gives them an ability toengage the observer and make them lookbeyond the basic ‘four walls and a roof’.

If we pause and examine the facade ofany building we pass by, inhabit, work orlive in we might see that architecture canoften be a form of visual art. An example ofthis is Imperial College’s new MolecularSciences Research Hub in London. Thestriking perforated panels in were manufac-tured in TECU Brass with a Capiscopatinated finish, helping the designerscreate a dynamic aesthetic.

Molecular facadePerforated brass cladding with patinationapplied by Capisco was chosen for the Hubbecause the designers Aukett Swanke felt itreflected the molecular science that takesplace inside. Alongside this, the designerschose a combination of other materials forthe facade including concrete and glasscurtain walling. They specified Capisco’sCAP 55 finish for the Proteus SC perforatedpanels early in the design process becausethey were looking to complement the flatbare concrete facade and glazed elements.

The CAP 55 effect was hand-applied,giving the perforated panels an enhancedflow, feel and texture. The appearance ofthe panels changes depending on the levelof sunlight and the angle at which they areviewed from. The end result is a strikinglybeautifully building that appears to moveand shimmer across the visually flat facadebeneath. In that respect, it achieves whatthe designers set out to do – integrating art,design and architecture to create a buildingthat inspires the viewer.

This design theme flows to internal areas,too, with the perforated panels seamlesslytransitioning through the entrance glazingto form a striking feature within the atrium.This creates an impressive solar composi-tion, accentuated by spotlights, whenvisitors cast their eyes upwards.

Commenting on the development, EliasNiazi, design principal at Aukett Swanke,said: “The contrast between the concrete,glass and patinated brass couldn’t be morecomplementary and, with it, aestheticallypleasing to the eye. The visual outcomes onthis project have exceeded expectations.The perforated patterns on the brass panelswith artistic patinations add a sense ofmystery and mirror the innovative researchworks carried out inside the building.”

The project also included the manufactur-ing of the window flashings, again in amatching patinated finish. Initiallyconceived as a simple window flashing, areal technical challenge had to be overcome– the profile of the window reveal is anarrow box that tapers across the width tomake it appear as though the window

Simon Gregory of Proteus Facades looks at how advances in facade materials andfinishes are allowing architects to ‘sell the dream’ to clients of integrating art anddesign in our cityscapes, as demonstrated on a new research unit in London

The art of facades

IMPERIAL COLLAGEPerforated and patinated brass panels complementconcrete and glass on the facade of Imperial College’snew Molecular Sciences Research Hub, designed byAukett Swanke

39


blends into the concrete. An ability toovercome this challenge is an indication ofjust how adaptable metal facades really are.For example, the maximum depth of thewindow reveal was too large for traditionalmanufacturing processes and so a multipiece flashing that could be stud-weldedand bolted together was designed. Thisavoided any distortions that would haveresulted from traditional welding processes,while creating a bespoke element that couldbe easily installed on site. The perforated panels were developed inconjunction with the supporting compositepanel behind. These had a maximum capac-ity to support the perforated panels, withthe required cavity zone, at 750 mmcentres. A perforated hook-on panel systemwas used, set off from the 125 x 50 mmmullions. The panels encompass a PPCblack stainless steel bird mesh, carefullyintegrated into the back to ensure there wasno visual impact to the panel face.The Molecular Sciences Research Hubincorporates technical and laboratory areasclustered around a full height atrium, andthe striking new hub forms the centrepieceof the Imperial West campus. Laing

O’Rourke commenced construction worksat the end of 2014 with completion in2016. The facade was installed by its in-house team, Laing Facades.Recent advances in metal facades meanthat designers are choosing to show off theconstruction and materials rather thanmasking them, and Imperial College’sMolecular Sciences Research Hub is a goodexample of this. It also shows that anincreasing number of building designers arecreating structures that give a nod, externally at least, to art. In some respects, architecture has alwaysdone that, from the elaborate carvings ofmedieval stonemasons, through to stainedglass used by Victorians. They all have onething in common, which is that the qualityof materials should be emphasised indesign, not hidden away. Advances inmetal cladding allow building designers todo just that, ensuring the ongoing vibrancyof our cityscapes and enabling architects to‘sell the dream’ to clients of the next awe-inspiring design.

Simon Gregory is sales manager at ProteusFacades

PICTUREDThe perforated patterns on the brass panels add asense of mystery to the facade Images courtesy of Aukett Swankewww.aukettswanke.com

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‘Chain of custody’ is a term normallyused in relation to timber products,by manufacturers seeking to show

that their wood comes from ‘well managedforests’ – and to distance themselves fromillegal logging and other dubious practices.Some specifiers might be surprised to

learn that there is another material avail-able to them which is arguably even moreenvironmentally-friendly than timber; aswell as stronger, more versatile and 100 percent reusable at the end of a building’s life.Then, rather than being burnt as biomass, itcan be reworked in the same manner asnewly extracted material.Aluminium is initially produced from

bauxite, one of the planet’s most plentifulresources, and turned into everything fromhousehold goods to cars and claddingpanels. It is in doors, windows and curtainwalling, though, where building designerscan access the biggest benefits fromaluminium: including squaring the ‘recyclability circle’. A drop-off in demand from China

has meant scrap metal values have eased in recent times, yet nearly all wastealuminium is routinely recovered and reused.In fact it has been forecast that the worldcould reach the point, within a few decades,where no new bauxite mining is necessary. Already, where consultants and their

clients are targeting the top BREEAMratings, some aluminium system manufac-turers can offer them certification on ingotswhich comprise 100 per cent recycledmetal. Embodied energy is also significantlyreduced and at the end of a building’sworking life, all of the aluminium will berecovered and the process begun again.Meanwhile there is no reduction in

aluminium’s amazing strength to weightratio and – unlike PVCu – extrusions donot need to be cloaked with virginmaterial. Whether anodised or polyester

powder coated, aluminium frames offer avery long, low maintenance life as well asstrong aesthetics.

Educating the marketThe education and student accommodationmarkets are proving to be very strongsectors at present for those able to providetop-performing aluminium glazing systems,with one recently completed project inNottingham vividly illustrating the multiplebenefits to the solutions available. Located in the city’s Eastside district, the

Discovery Building is part of the Universityof Nottingham’s BioCity development andhas been part funded by the East MidlandsDevelopment Agency, working withNottingham City Council and the D2N2Local Enterprise Fund, which contributed£6.5m. Willmott Dixon was the maincontractor with locally based Bonam and Berry the specialist fabricator, supplying and installing the fenestrationpackage.Apart from its scale, the four-storey

bioscience building is prominent because of the sculpture across the main facadewhose aluminium tubes carry fibre-opticlights controlled by NASA measurements ofsolar activity. Forming the backdrop to this,Sapa’s NRGY 62 system had to beengineered to take the large loads createdby long spans and very heavy, acousticglazing units. Project architect for CPMG, Matt

Greenhalgh, commented: “The systemproved very adaptable while Bonam andBerry were proactive in coming up withideas to realise our aspirations for theglazing. Because of the wide, large formatunits and the heavy glass, the systemprovided extra structural support ordiagonal bracing; while for the glass-to-glass junctions at high level, Bonam andBerry used a special rod to tie the

Mark Robinson of Sapa Group puts the case for aluminium as one of the most versatileas well as sustainable materials available to specifiers, explaining why the metal isincreasingly featuring on the UK’s cutting-edge architectural projects

Sustained support for aluminium glazing systems

Aluminium frames offer a very long, lowmaintenance life as wellas strong aesthetics

43


transoms together, which provides a veryattractive, bespoke finish.”The main area of glazed facade is 45

metres long and 15 metres high, withinwhich NRGY 62 fixed lights measure up4,000 mm x 1,500 mm tall. The 34 mm thick Saint-Gobain solar control glazing,supplied by System 3, delivers a centre paneU-value of 1.0 W/m2K, meaning the systemcan perform to Passivhaus standards.During the early stages of the project, one

of Sapa’s facade specialists worked along-side Bonam and Berry’s designers to helpdevise a solution to how the very high loadsfrom the centre of the transom could betransferred back to the mullions.Consequently, bespoke 45 degree bracketswere manufactured, which were boltedback to the system members, all concealedwithin the spandrel area.Whether fulfilling the aesthetic design

aspirations for different developments ormatching the most challenging environmen-tal and performance standards, aluminiumsystems are proving themselves capable ofkeeping up with the pace of change.

Mark Robinson is technical director atSapa, part of the Sapa Group

44


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Cast your mind back 15 years and zinc roofing, cladding andrainscreen projects were still

relatively uncommon. Today, however, thevariety of projects in which it can be seen is almost limitless – from schools andhospitals to retail, social housing and self-builds. The material is now seen soregularly that, for many, it has becomeinstantly recognisable. The ability to specify zinc in a variety of

colours adds a fresh context to its use.Sustainable, pre-weathered colours anddistinctive, highly evocative shades areavailable from manufactures. These lendthemselves to both rural and urbanenvironments and can provide a level of colour retention which sustains the ‘as-installed’ appearance. For older buildings, often of no architectural value,upgrading can also introduce a highlycontemporary visual aesthetic.

A good example is Cambrian House inthe centre of Shrewsbury where, as part of a £3m renovation, an interlocking panelfacade was specified in conjunction with a standing seam and flat lock panelroofing system. This has enabled a dreary1960s office block to be converted intowhat has become a highly sought afterapartment building.

Zinc was installed to the principal elevation and existing concrete frame, withcontrasting dark and engraved finishesbeing used to complement oak and renderin the creation of 17 apartments and penthouses. In much the same way, the regeneration

of Friars Mill, Leicester’s oldest wool mill,came at a time when the building had lain

Jonathan Lowy of VMZinc explains how Zinc can now be specified far more easily for awide range of projects, whether it’s for a transformation of a tower block or creating avibrant interior

The sky’s the limit for zinc

Zinc’s muted colours andtexture provide a stepaway from the neutraltones favoured for so long

Newcastle College’s Parsons Tower

45


derelict for many years after a fire destroyedthe roof. The Grade II-listed building wasconsidered ideal for creation of high quality,creative workspaces within a £4m conservation framework. Externally,Levitate Architects’ design saw new serviceshoused in a zinc and glass extension in orderto reduce impact on interior spaces. Theproject establishes a sustainable and appropriate use for buildings previouslyconsidered to be at high risk.

The scope to create curved profiles andcomplex detailing has made zinc a highlypractical option. Projects as diverse as RedBox Design Group’s transformation ofNewcastle College’s Parsons Tower and deRijke Marsh Morgan’s Hastings Pierredevelopment (shortlisted for this year’sStirling Prize) show its effectiveness in bothmodern and traditional designs. Domed,natural zinc roofs spanning covered seatingareas of the £14.2m pier are particularlyeye catching and complement facades, all ofwhich will take on the natural patinationfor which zinc is renowned. At Parsons Tower in Newcastle (pictured

on previous page), zinc played a pivotalpart in the rejuvenation of an ugly towerblock, the visual impact of which was allthe more obtrusive given its position onone of the main approaches to the city.Being such a dominant feature of the locallandscape, a key element of the design briefwas to transform the building into onewith a distinctive and positive visualaesthetic. This was achieved in large partby extending the facade into the roofline using two contrasting shades of zinc. The overall effect has been to provide athermally efficient structure which extendsthe usable life for student accommodationby at least 40 years. Zinc is less well known for its use in

interiors but this too is beginning to changewith specifications for areas such ashallways, stairwells and hotel foyers. Its useas an intrinsic element of design can also beseen in restaurants, bars and public buildings such as museums and libraries.Zinc’s muted colours and texture

provide a step away from the neutral tones favoured for so long in such environmentsand not only create a greater sense ofidentity but can add sensory value too.They blend well with wood, stone, ceramic, slate and fabrics in the creation of highly contemporary and atmosphericsettings. With lengths of up to 2.5 metres and the light weight and resilience of panels there is no compromise in terms of fabrication or installation, available time for which can often be very limited. Zinc cassettes have a simple yet

innovative fixing system that makes assembly and disassembly quick and easy,while bespoke sizes, colours and shapes arenow very much the order of the day. Thedegree of customisation available extends to stamped images and perforation of panelsto meet corporate design requirements, toallow for back-lighting and to meet levels of acoustic performance.The first engraved zinc is also now

available for use in construction. It hasprovided further discernible refinement forthe metal and resulted from consultationwith more than 400 architects throughoutthe world. In conjunction with the first BBAapproval for both non-vented standing seamstructural warm roof and compact roofsystems, and availability of BIM objectsthrough NBS Plus, the ease with which zinccan be specified has never been greater.

Jonathan Lowy is operational marketingmanager, VMZinc

TOPAbdullah Gul University, Kayseri, Turkey

BOTTOMOffices for La Chocolaterie Levallois-Perret, Isle deFrance, Paris

46


www.vmzinc.co.uk

RetrofitThroughout VMZINC’s 180 year old history its products have been used not only to give attractive and durable roofs and walls to new buildings but also to many old buildings needing a fresh exterior. The wide range of VMZINC systems and finishes available provide endless opportunities for the architect.

www.vmzinc.co.uk

VMZINCTel.: 01992 822 288

www.vmzinc.co.uk

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SSAB launches the greenest portfolioMetal Solutions have formed anexclusive UK partnership for the salesand distribution of GreenCoat PLX Pro BT manufactured by SSAB, thepioneer and innovator in color coatedsteel products for exterior buildingapplications. The commissioning of acustom-built coil to coil processes line

allows tailored coil lengths and weights. Metal Solutions are locatedin Bolton and hold stocks in standard GreenCoat colours in large coilformat for processing exactly to customer requirements.

www.metalsolutions.uk.com

Fastrac coating from BraditeFastrac from Bradite is a single pack fastdrying, high gloss coating which also containsrust inhibiting pigmentation for extra protec-tion. Direct to metal Fastrac is surface dry intwo hours and its fast drying time combineswith a tough flexible finish which is resistant

to spillage of mild chemicals, oils and hydrocarbons. It is suitable asa one or two coat finish or as a part of a protective system for steelor suitably primed nonferrous metal. Heat resistant to 120 C andgiving an excellent coverage rate of 13 sq m per litre, it is available ineither a gloss or satin finish and the full BS and RAL colour range.

01248 600315 www.bradite.com

Contemporary copper in AustraliaA World Architecture Festival Finalist in 2016, this apartment building designed by SJB, in a prominent Sydneylocation is defined by its restrained palette of quality materials, including Nordic Copper from Aurubis.Commanding expansive views over Sydney Harbour, 10 Wylde Street is a seven-storey contemporary building set in an urban fabric originating from early colonial grand residences and the first apartment buildings in Australia. The northern facade elevated above neighbouring buildings is characterised by its transparencyand fineness of detailing. Distinctive copper ‘wings’ to the rear facade enable small triangular balconies to project from the monolithic masonry, screening them from the south and directing views towards the cityand harbour. A subtle pattern of perforations in the Nordic Standard copper screens provides solar shadingand privacy from adjacent buildings. Nordic Standard copper was selected as a natural material that will age gracefully. Nordic Standard is produced by Aurubis, part of the world’s leading integrated copper groupand largest copper recycler.

[email protected] www.aurubis.com/finland/architectural

49


BEMO-MONRO Freeform standing seam is becoming more prevalent in the worldwide market, featuring on prestigious projects such as the Mriya Resort in Crimea, the Wei-Wu-Ying Centre Kaohsiung in Taiwan and the spectacular new airport terminal in Zagreb. BEMO UK has developed a new RIBA approved CPD aimed at architects wishing to understand the complexities of Freeform standing seam roof design; for more information please contact us.

www.bemoprojectengineeringuk.co.uk

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Unique roof and facade system by BEMOBEMO-SMOOTH – using standing seamas the weather surface and to provide thethermal and acoustic insulationrequirements, the unique BEMO-TOPand BEMO-AKKORD rail systems canbe used to support almost any rainscreenpanel, creating a flat roof surface. This

has been used to stunning effect on the new Convention Centre inBaku, Azerbaijan. BEMO engineered the standing seam geometry forthe 18,000m² roof and facade, taking advantage of the thermal bridgefree GFK halter and a project-specific top hat sub-construction.

[email protected] www.bemouk.com

Limitless design possibilitiesTrimo, a leading architectural solutionsprovider, presents Qbiss One; acost-effective, complete composite panelsystem insulated with mineral wool.Selected by industry leading names such asMecanoo and Purcell Architects, QbissOne is distinguished by its unique rounded

corner and non-combustible core. Offering numerous joint optionsand surface treatments, Qbiss One provides the ultimate solution foraesthetics, design and function. The prefabricated system offerslimitless design prospects, while minimising construction time.

0203 1960800 trimo-group.com/en/trimo

Another Gold Standard from MetallineMetalline’s glazed in Ultima insulated panelshave provided a specialist touch to therecently completed Weybridge Business Parkin the Borough of Runnymede. The bespokeglazed in panels which feature on the window

surrounds were coated in ppc golden beach metallic and feature afluted design that met the architects vision for the external envelopeof the building. The aluminum outer face was fitted with extrudedbox sections to give the fluted appearance. Ultima panels aretraditionally specified in aluminium with either an anodised finish orin a range of polyester powder coated RAL and metallic colours.

01543 456 930 www.metalline.co.uk

BIM objects added to NBS LibraryBIM objects for VMZINC roofing and facade systems are now hosted by theNBS National BIM library. They includebuild-ups for composite, interlocking,overlapping, flat lock panel and sine waveprofile facades and standing seam roofs.Operational Marketing Manager Jonathan

Lowy commented, “We are pleased to be part of the largest and fastestgrowing library of BIM objects. Any update to those alreadydownloaded is immediately highlighted to the specifier and all can beaccessed directly from the NBS plug-in for Autodesk® Revit®”

01992 822288 www.vmzinc.co.uk

www.bemoprojectengineeringuk.co.uk

50


Sleek staircase for the Sytner GroupReflecting the prestigious surroundings of theSytner Group Aston Martin Dealership,Nottingham, the sleek feature staircase and balustrade is an example of the bespokeproducts manufactured and installed by M & GOlympic Products Ltd. Working closely with theContractor and Architect, M & G Olympic

Products provided technical expertise, ensuring the mild steel staircaseand structural glass balustrade installed here not only fulfilled theaesthetic requirements of the Client but also the overall budget,without cutting corners or compromising the loading requirements.

[email protected]

Aluminium glazing systems are the futureThe UK’s aluminium glazing industry isexpanding at a rate of knots. A sustainablebuilding material, aluminium-framed glazingsystems also offer excellent thermal perform-ance and outstanding contemporary style.Suffolk-based Livingwood is experiencing an

impressive growth curve after opting to become sole manufacturersof Reynaers’ cutting-edge aluminium window and door systems.Following £100,000 investment in state-of-the-art CNC machinery,Livingwood operates in sync with Reynaers’ software system tomanufacture its products to the millimetre.

[email protected]

Design and Build contractor McAleer& Rushe and architect White Inkspecified a comprehensive suite of

Metal Technology architectural aluminiumproducts at the new, 124-bedroom PremierInn and adjacent Pearce Building Class A commercial office space in Maidenhead.

The development, on a brownfield site,utilised System 17 curtain walling in bothstandard capped and silicone pointedformats, complemented with system 5-35Hi+windows from Metal technology’sTHERMAL range and System 23 Louvres.The building also featured System 10 andSystem 5-20DHi+ doors.

System 17 SP (silicone pointed) was used to create a large feature glazed facadedelivering an impressive visual impact. The combination of Metal Technology’s high-performance curtain walling, windowsand doors offered not only a pleasingaesthetic but also structural integrity, weatherperformance and thermal enhancement.

Metal Technology's System 23 Louvre systemcomplemented the overall appearance whilealso providing natural ventilation andpreventing water ingress.

The discovery of 50 ancient graves was an unexpected feature of the project, with the delicate process of removing the

remains entrusted to the Museum of London.For more information visit Metal

Technology’s website or contact them bycalling.

028 9448 7777 www.metaltechnology.com

Full house for Metal Technology at PremierInn Maidenhead

Introducing Lindab Seamline Known for its steel rainwater system, buildingproduct manufacturer, Lindab, is bringing itsstanding seam sheet roofing solution to the UK.Lindab’s steel sheeting is extremely formable. Askilled installer can work the material to fit any

roof design, no matter how tricky it may be. Strong coatings in a widerange of traditional and modern colours are available in a choice offinishes including scratch-resistant DuraFrost PLX steel, matt andgloss finishes of GreenCoat PLX steel and Lindab Magestic. Flashingsheets and Lindab’s renowned steel rainwater system, Rainline, areavailable to match or complement Seamline colours and finishes.

[email protected]

The city is not just about buildingsThe city or any urban area is not just about buildingsbut a place for emotion and the aesthetic appealrequires our full attention. City Emotion by RMIG isfor everyone who decides to prioritise the “beautiful”and innovative. City Emotion captures the passion forcreative urban design by offering innovative technolo-gies and materials. RMIG can help you realise the

most ambitious architectural projects, the projects that will give theconurbation all its emotional value. RMIG City Emotion will be yoursolution in the design of your facades, sun screens, balustrades,ceilings or any project where you want to utilise perforation.

[email protected]

51


Midland Lead ahead of the gameLead sheet manufacturer Midland Lead is one of thefirst in the lead industry to have been awarded thenew ISO 14001 2015 Environmental Managementaccreditation by the BSI. With a high commitmentto reducing environmental impact, the companyreceived the updated ISO ahead of schedule inDecember 2016. In a bid to support emissionsreductions in the UK, Midland Lead’s recent

improvements include investment in a new energy efficient crane,truck upgrades, purchasing five Autogas (LPG)-operated forklifts andreplacing halogen light bulbs with LED light bulbs across the factory.

[email protected]

Architects Datafile websiteThe Architects Datafile (ADF) website isan online provider of past and presentproducts and news items for the architector specifier. architectsdatafile.co.uk is aone-stop source for all the latest pressreleases providing any visitor with accessto information about products and services that they may require. From thewebsite, you can find links to digital

issues that have live links to advertisers’ sites, as well as daily emailalerts to keep you as informed as possible.

www.architectsdatafile.co.uk

Over recent years Powdertech Corby hasdeveloped unique ranges of powder coatingmaterials that follow trends in style anddevelopments in technology. Two ofthecompany's 'Collections' range make a pointof using powder coatings to reflect thenatural aesthetic appeal of metal itself,in addition to protecting it from corrosionand abrasion.

Metal, in its natural state, can offer avariety of 'looks' to the designer andarchitect. Stainless steel evokes a clinical,modern, technological feeling. Lead-dull orspangled zinc can look minimalist or rustic.Copper and brass have a warm and homelyappearance. Oxidised copper and rusted ironlook vintage, or stylishly 'grungy'.

Evolution™, launched in March 2017,addresses the last of those 'looks' - stylishlyand colourfully 'aged'. In the naturalenvironment, oxidation occurs on the surfaceof metals such as copper and bronze, resultingin beautiful patinas, but the metal itself is

compromised, its strength and inherentproperties weakened. Using Evolutionpowders, designers can achieve stunningeffects on metal which is intact and protected.These polyester resin powder coatings createthe effect of patination on the surface of themetal and provide excellent weatherprotection and durability.

Another specialist powder coating range,Anomatch™, enhances the metal with alustrous sheen, creating an alternative finish

to anodising. Anodised aluminium has areputation for its 'living' quality, with naturalmetallic radiance. Anomatch creates the sameeffect, on aluminium and galvanized steeland the metal has high protection fromcorrosion and abrasion. Anomatch achieves ahomogenous appearance within and betweenbatches of material which is difficult toachieve with anodising, and across differentmaterials which is impossible for anodising.

Where once, powder coatings, in theirprimary role as metal protectors, firmly hidthe underlying metal from sight, the ability toprotect and at the same time celebrate thenatural beauty of metal has made many moredesign choices available to architects,designers and fabricators.

Visit the website for more infomation.

01536 400890www.powdertechcorby.co.uk

Powdertech Corby celebratesthe beauty of metal

SFS intec’s Powder Coated Fasteners SFS intec's powder coated stainless steelfasteners are the perfect match to ensure aroof or facade retains its integrity andvisual appeal over a long service life. Theyare less prone to colour fading compared tofasteners with moulded nylon heads anddeliver excellent weather resistance.

Detailed information about all the fastening solutions available fromSFS intec can be found on its new website. An experienced sales andtechnical team provide market-leading support to realize the bestpossible result in the finished building envelope.

www.sfsintec.co.uk

Senior sets the standard with PURe®

Awarded a UK patent, the PURe® range ofenergy-efficient aluminium windows and doorsfrom Senior Architectural Systems combines designflexibility with exceptional thermal performance.The new patented system is the first on the UKmarket to benefit from an enhanced thermalbarrier manufactured from expanded polyurethanefoam (PUR). Traditionally used in cladding andinsulation products, the innovative use of PUR as

a thermal barrier in windows and doors gives the PURe® range thepotential to achieve U-values as low as 0.71W/m2 K.

pure.seniorarchitectural.co.uk

www.adaptacolor.com

Documents

adf ARCHITECTURE · project in 2012 and successfully obtained planning permission in September 2014. Construction is expected to complete in spring 2020. Construction begins on £130m