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16 Winning Bronze

18 Alpine Copper in Context

20 Copper Strikes Gold

21 A Precious Metal museum or Stockholm

21 Creating an Impression in Troms

22 Freyas Cabin Kielder Water

24 Colston Hall Foyer Building Bristol

26 A Landmark Hotel or Doncaster

28 Copper Inspiration

30 Island Copper

32 Hakaniemiranta 6 The eight-storey oce building

35 Copper at Sea

36 A modern Marine Villa

37 Wrestling with Copper

38 Copper in Harmony

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tHe reSUltSThis event proved to be as lively as ever,

bringing together the Awards judges and

designers o entered projects, as well as

cratsmen and copper industry represent-

atives. It was a clear demonstration o the

growing interest in the architectural use

o copper by European architects and their

clients. It was particularly impressive

that the architects o all ve shortlisted

projects presented their designs in detail

at the event, and in some cases revealed

more about them than was covered in the

last Copper Forum. As a result, we are re-

visiting two shortlisted projects later but

rst, the winners.

Selected rom ve shortlisted projects,

the outright Winn was the Archaeol-ogy Museum o Vitoria, Spain, designed

by Mangado y Asociados. Extensive use o

cast bronze elements creates contrasting

elevational treatments. From the street it

seems tough and hermetic with a real air

o mystery enticing the visitor in. Then, it

reveals more o its nature and grows in-

creasingly open with the changing archi-

tectural rhythm on entering the courtyard

(more about this project on page 1617).

The judges were particularly impressed

with the buildings stunning eect o a

timeless ortress in its urban setting.

Also rom Spain, Mediacomplex 22@ in

Barcelona by Patrick Genard y Asocia-

dos and Ferrater & Asociados was HighyCommndd by the judges or its superbresponse to a tight, complex urban set-

ting, orming new public spaces o lasting

value. Here, a solid, horizontal block clad

with panels o perorated copper contrasts

with a vertical tower shrouded in a strong

vertical grid o deeply recessed, copper-

aced screens.

eUrOPeaN COPPer IN arCHIteCtUre aWarDS

The previous issue o Copper Forum (27/2009) highlighted ve very dierent, exem-

plary projects rom around Europe, shortlisted or the European Copper in Architec-

ture Awards 14. Winners o these Awards were announced at a presentation ceremony

in London at the end o September 2009, as architect Chris Hodson reports.

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Three other projects received Commn-dions. Davide Macullo Architects sensi-tive design or the Ticino House responds

to its beautiul rural setting in Switzerland

and incorporates an extensive arrange-

ment o copper mesh panels (more about

this project on page 1819). In complete

contrast, the Clip House in Madrid, Spain,

by Bernalte-Len Asociados is a highly

sculptural design dened by sinuous

curving copper bands cantilevered rom a

vertical concrete spine. Finally, the judges

considered Dissing+Weitling Architec-

tures copper-clad Frederikskaj project in

Copenhagen, Denmark to set the standard

or high-density urban housing.

The well-established Copper in Architec-

ture Awards recognise architectural excel-

lence and celebrate the use o copper in al l

its orms. The last two decades have seen

their transormation rom a UK-based

programme highlighting cratsmanship,

into a major, design-led Awards event or

projects across Europe. For the rst time,

the 2009 Awards considered all entries

together - judged by a European panel o

eight architects and editors, chaired by

Paul Finch, the recently appointed chair-

man o CABE - the UK governments advi-

sors on architecture and urban design.

The European Copper in Architectu

Awards programme is part o the Eur

pean Copper in Architecture Campaig

promoted by the UK Copper Developme

Association and participating copper a

ricators. All ve shortlisted projects we

explored in the last issue o Copper Foru

(27/2009) and ull details o Awards 14 an

previous Awards can be ound at:

www.copperino.co.uk/arch or

www.copperconcept.org

In addition, a discretionary award or Innovion was made or the inventive use o arapplied to bronze panels on Stanton Williams Bristol Department Store. The essentia

role o cratsmen in realising designers aspirations or copper in architecture was also

recognised with three Csmnship awards or projects in Belgium and the UK.

Ticino House in Switzerland Stanton Williams Bristol Department Store

The Bristol Heart Institute, UKThe Clip House in Madrid, Spain

Frederikskaj project in Copenhagen, Denmark

Private house, Mortsel, Belgium

Acharacle Primary School, Scotland, UK

Article by Chris Hodson

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CONTEXT

In the heart o Vitorias crumbling historic

core, Francisco Mangados new archaeo-

logical museum stands out. Soberly ac-

coutred in a corrugated bronze carapace,

it is a conspicuous contemporary inter-

vention, yet it seems determined to blank

WINNING BrONZeThe Archaeology Museum o Vitoria in Spain, designed by Mangado y Asociados is a

worthy winner o the 2009 European Copper in Architecture Awards. In the last issue o

Copper Forum (27/2009) the architect descr ibed the designs development, illustrated

by photography o the nished project. But other material continues to reveal more

about this multi-aceted and infuential building. Here, Catherine Slessor, Editor o the

Architectural Review magazine and one o the Awards judges, reviews it and inter views

its architect.


out its surroundings. Windows set in exag-

geratedly deep reveals are like sightless

eyes, refecting back only peeling walls,

tottering balconies and scudding skies.

From a distance it appears as a dense,

dark, almost geological presence that has

somehow erupted out o the ground.

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CONCEPT

The character o the building is strongly

dened by the choice o bronze, an alloy

o copper, and the way it has been appro-

priated to devise an inventive and visually

distinctive cladding system. But the mate-

rial is also both unctional and economi-

cal. For Mangado, bronze was the obvious

option because it has a strong archaeo-logical resonance. Bronze was one o the

rst metals to be exploited by humans and

it is particularly appropriate or a museum

that explores very ancient history and has

many bronze arteacts in its collection. Up

close, the ribbed walls appear less like a

carapace and more like a kind o woven

metal textile. In most places, the bronze

weave is tight and impermeable, but

around the courtyard it is much looser,

with glazing exposed behind.

COPPER

And though the acade has an impressive

sense o weight and sobriety, theres a

sleight o hand at work. As it would have

been too costly and impractical to cast the

larger pieces as solid elements, a waer

thin veneer o bronze is simply wrapped

around timber orms.

You have to reconcile ideological and meta-

phorical aspirations with the practical quali-ties o the material, says Mangado.

Te ancient Egyptians did the same kind o

thing with stone to create an illusion o mass.

So architecture is all about ooling people, but

in a wonderul way.

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CONTEXT

Ticino is located in the southernmost part

o Switzerland, an area characterised by

a pre-Alpine landscape o peaks and deep

valleys. Early in the 20th century, cultural

immigrants began moving to the area, in-

cluding some o the great modern move-

ment architects with ideas and projects

that sought to explore a new way o build-

ing in this Alpine context. The Anatta House

(1) was built early last century to house a

amily that was part o this community o

oreign intellectuals who had settled in

this territory in order to enjoy a way o lie

in harmony with nature. This house is the

rst sign o modernisation in a rural area.

It introduces large horizontal planes that

contrast with the landscape and uses the

concept o raming the landscape through

large openings.

Many other architects o the modern

movement have attempted to deal with the

area: Neutra, Breuer, Le Corbusier and

Mies van der Rohe are some that proposed

projects here. Neutras Tuia House (2) and

Bucerius House (3), both built in the 1960s,

adopt the modern construct in emphasis-

ing the horizontal and create an object

that detaches itsel rom its context. TheKoeer House (4) by Marcel Breuer, built

not ar rom those o Neutra, again adopts

the idea o horizontality and, in addition,

uses planting as an integrated element o

the project.

With the second generation o Ticinese ar-

chitects, we see a shit in attitude whereby

the relationship o the building to the land-

scape becomes much more dominant.

We see a move away rom the horizontal

planes towards a volumetric architecture

that rises up rom the terrain, allowing the

landscape to continue to roll with its natu-

ral contour. The Rotalinti House (5) by Gal-

etti is an example o this. Rising up as an

extension o the rock and dominating the

landscape, it places the constructed vol-

ume as the new protagonist o the place.

In a similar way Bottas architecture (7)

dominates the landscape as an element

inserted between the earth and the sky,

recalling a memory o a building anchored

to the ground as a solitary bastion. In the1970s, we see the emergence o another

approach to building in the landscape

with local architect Luigi Snozzis Kalman

House (6) which places the dominant object

within the olds o the landscape. Since the

early 1970s urban development in the area

has witnessed a rapid growth a growth

that still shows no signs o slowing. The

existing modern models described here

continue to be emulated by speculators

and there is no longer a distinction be-

tween the abric o the urbanised valleys

and that o the natural slopes. Both areasare dealt regarded as the having the same

or, at best, similar, building typology.

But, in todays climate, this attitude re-

quires reassessment. It needs to become

one more o reading and working with the

existing olds and lie o the land, rather

than one o reproducing past models, de-

tached rom their context.


alPINe COPPer IN CONteXtIn complete contrast to the previous project, this House in Ticino, southern Switzerland Commended in theAwards and eatured in the last issue o Copper Forum (27/2009) is a modest building orming an integral part

o its Alpine setting. But it is also rmly rooted in a developing heritage o important modern movement houses in

Ticino and rigorously carries through its essential character rom concept to detail. Its architect Davide Macullo

made the ollowing presentation at the 2009 Awards event.

1

3

5

7

89. House in Carabbia

9

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COPPER

The house ollows the principles o building with or-

ganic recyclable materials such as wood and copper.

In addition, parts o the house such as the ounda-

tions and basement have been constructed in rein-

orced concrete. The emerging structure is made o

wood and clad with copper. The cladding is made up o

copper plates and the acade elements, in stretched

copper mesh, also act as a rain screen. The vertical

pattern o the copper mesh cladding renders the con-

struction system visible and reduces the scale o the

building.

The use o copper in the House in Ticino highlights

how extraordinary a material it can be when its trans-

parent and refective characteristics are exploited.

It gives a depth to suraces whereby across the day

they are continually rendered dierently, much like a

monochromatic painting. As the sun moves about the

house, each surace is constantly morphing colours.

Used in this sense, the material demonstrates an un-

expected expressiveness.

CONCEPT

The approach advocated here is one o harmony,

where the smallest o olds in the land become impor-

tant and where the majesty o the landscape humbles

even the greatest o architectural gestures.

The house is characterised as a series

o small monolithic volumes perchedon the natural slope o the land and is

surrounded by nature. The site was

previously home to a cluster o typical

old rural buildings and elements o the

new house echo this. The new construction

retains the ootprint o these old buildings, as

our volumes with a 14 meter-square ground

perimeter and, with its sloped roo recall the orm

o these ormer structures.

The design concept ts into the contextual argument

in as much as its constructed volumes embrace the

land organically. The construction ollows the slope

in a fuent sequence o spaces, each relating to each

other and to the surrounding landscape. In order to

relate an identity and a language to the inhabitants,

the project has a strong and precise geometric orm.

The living spaces at dierent levels ensure that all

the surrounding natural landscape can be lived in.

All spaces - even at dierent levels - have a direct

relationship with the external environment. The land-

scape appears to fow through these volumes that

become protected living spaces: a continuation o the

green environment integrated into the house.

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On o h mos xciing cn dvopmns o

copp s modn chicu mi o -cds is h inoducion o n oy wih siingwm godn suc.

This material is an alloy o copper with aluminium and zinc,

which is very stable and keeps its golden shade over time.

It behaves dierently to pure copper, which develops a dark

brown colour with oxidisation ollowed by its distinctive

green patina. The golden alloy has a thin protective oxide

layer containing all three alloy elements when produced. As

a result, the surace retains its golden colour indenitely and

simply loses some o its sheen as the oxide layer thickenswith exposure to the elements, with a matt appearance.

As well as exuding a sense o visual richness and quality, the

golden alloy oers outstanding mechanical abrasion resist-

ance, extremely high corrosion resistance and durability as

well as excellent stability and material rigidity. The mate-

rial can be easily cold-shaped and processed using standard

techniques. Both leading copper abricators oer very simi-

lar versions o the golden copper alloy, demonstrated on the

two recent UK projects which ollow. Luvatas Nordic Royal

is used to envelope an intriguing lakeside visitors shelter

(page 2223) while KMEs TECU Gold highlights a concert

halls new oyer building (page 2425).

Finally, as we go to print, two more projects are being built

using golden copper alloy which we plan to revisit in detail in

uture issues, once completed.

COPPER STRIKES GOLDBy Chris Hodson

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Near Vasaparken in the heart o Stockholm, the

building o a new art museum has recently start-

ed, designed with acades and roos in cassettes

o golden copper alloy, due or inauguration at

the beginning o 2011. Architect Anna Hglund oWingrdhs Arkitektkontor AB describes the build-

ing as: Like a piece o jewellery made o a pre-

cious metal and with a sparkling diamond on top

o the roo. Severe on the outside but surprising

inside culture meets everyday lie. The Nordic

Royal acade gives a solid impression, matching

the brick and render acades o the surrounding

buildings, all amiliar materials that will age with

dignity. The building is raised on a platorm with

a tall, glassed-in entrance foor that erases the

boundaries between inside and outside and willattract visitors. A big park, Vasaparken, reaches

all the way to the building, where the greenery

continues with plants climbing up the acade.

Nordic Royal wires stretch around the acade,

conjuring up images o a wrapped parcel with rib-

bons o gold.

A PRECIOUS METAL MUSEUM FOR STOCKHOLM

CREATING AN IMPRESSION IN TROMSDiagonally mounted panels o Nordic Royal dene

the architecture o this extension to the Quality

Hotel Saga in a central location o Troms, Nor-

way. The golden acade cladding gives an air o

exclusivity and reinorces the buildings central

importance in the townscape or passers-by. The

acade is not striving to create a supercial wow

actor but rather to become a long-term, high-

class and convincingly cratsman-like edice that

lives-up to its location in the centre o town near

the cathedral. The detail and cratsmanship o

the golden acade aim to refect other examples

o quality in the surroundings including nearby

brick acades, the roughcast elevations o the art

museum and the wooden acades o other historic

buildings.

Design: Arkitektkontoret Amundsen AS, Troms

and Foundation 5+, Germany

GOlDeN COPPer all

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Studio Weave create places through playing into

and exploring the narratives o spaces. Tey are

ascinated by the powerul role that stories play increating a sense o place. Teir work explores how

writing stories stemming rom the history, geogra-

phy and eccentricities o a place can create engag-

ing and distinctive design proposals.

Freyas Cabin is one o a pair o allegorical visi-

tors shelters by Studio Weave overlooking Kielder

Water, northern Europes largest man-made lake.

Tese and our other new shelters along the Lake-

side Way a 27-mile long walking trail around the

reservoir orm part o a series o new artistic and

architectural interventions within the Kielder Wa-

ter and Forest Park.With Freyas Cabin and Robins Hut, Studio

Weave have embraced the man-made nature o

the reservoir and park, thinking o it as a stage set

against which a story can be told. Teir two struc-

tures have been imagined within a airytale that the

designers wrote specically or Kielder, inspired by

the two sites, mythology and olklore. Within the

story, Freyas Cabin and Robins Hut are designed

and built by the characters: the real structures o-

er visitors evidence o these characters and their

adventures.

th fs pojc using luvs Nodicroy oy in h Uk is symboic sidsh inomd by iy cd byis dsigns Sudio Wv.

Freyas Cabin

Kielder WaterRobins Hut is on the North bank, on the edge o the

woodland amongst r trees and rocks. Robin built

himsel a simple wooden structure that he covered in

timber shingles on this site surrounded by water that he

elt gave it a remote, island-like eel.

Freya is named ater the Norse goddess o love, beau-

ty and ertility. Te goddess loves spring, music and

owers, is very ond o elves and airies, and is known- on occasion o great sadness - to cry tears o gold. Freya

loved to take long walks collecting owers and pressing

them to decorate everything around her.

Freya ell or Robin and showed her afection by

making him the git o an intricate cabin in the im-

age o the woodlands he so loved. She chose a spot op-

posite and aligned with Robins Hut to give Robin the

best chance o seeing the Cabin. She modeled it on her

ower press, arranging careully collected branches to

make an enchanted orest. She put Foxgloves at the en-

trance to invite the airies in, then pressed everything

tight together so the cabin would be strong and crisp

and last orever.

When she sees Robin rowing of on an adventure,

Freya cried tears o gold and wrapped the cabin in

them. Meanwhile, Robin turned his head to look back

at the lake he loved and noticed something glinting inthe distance. He was so curious that he decided to row

back and nd out what it was and there, o course, was

the golden Cabin and Freya. He was moved by the cab-

in and invited Freya on his adventure with him.

Tey didnt leave very long ago, so they are still away

adventuring, but i you can nd it, you can see Robins

wooden hut and the golden cabin that Freya made or

him, acing each other across the lake, awaiting their

return.

The Cabin is r aised up on golden metal stems

The Story ofFreya and Robin

By Chris Hodson

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Robins Hut, a simple timber construction,looks towards Freyas Cabin across the lake

Pojc: Freyas Cabin, K ielder Water and Forest Park,Northumberland, UK

Cin: Kielder Partnership

Dsigns: Studio Weave

Sucu engins: Price and Myers

Conco: Millimetre

Copp Suppi: Luvata Sales OY (UK)

Phoos nd iusion: courtesy o Studio Weave.Snow photo: Peter Sharpe

Freyas Cabin is the same size as Robins Hu

measuring 2.5 m x 3.6 m x 3.75 m tall, and sit

about 3 m above the Lakeside Way. Te Cabin i

constructed rom CNC-cut plywood layers presse

together, with each layer having a cutout shape lik

a stage set. Te structure is held together with glu

and tension rods that x through pre-drilled hole

in every layer. Some o the layers, including the bal

ustrade o the lake-side ront, are clear acrylic. Ti

allows light into the middle o the structure an

creates a orest-cover-like aect.

Te structure is raised up o the ground wit

lots o golden metal stems randomly arrange

and planted into the concrete oundations. Pre

ormed trays o Luvatas Nordic Royal sheets hav

been used to wrap the roo, sides and underside o

the Cabin. Te sheets were perorated to symbolis

Freyas golden tears.

The preabricated Nordic Roy al sheets are pierced to represent golden tears

Although the same orm as Robins Hut, FreyasCabin contrasts with intricate layers and a goldencopper covering

GOlDeN COPPer allOY

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teCU God copp oy cdding dfns hchicu o nw oy buiding hping onsom Bisos pmi music vnu om id municip conc h ino on o h Uksding pomnc cns.

The Colston Hall is Bristols principal music venue. The main hall

was opened in 1867 as an assembly hall to rival St. Georges Hall

in Liverpool. It has been radically remodelled three times since

then, the last occasion being in 1951. But now an ambitious three-

phase project aims to update all the acilit ies and create a modern

complex attracting audiences o all ages and all musical tastes.

This rst phase is a spacious new oyer, with its own inormal per-

ormance area, which orms a link between Bristols Centre and

its West End.

Transforming the Concert Experience

The new oyer building design by architects Levitt Bernstein hasan independent architectural identity, expressing the desire to

provide Bristols public with an entirely new concert-going expe-

rience. It accommodates oyers, interval bars, caes, administra-

tive oces, education studios and an open perormance area. The

purpose o the new oyer building is to transorm Bristol audienc-

es perceptions o concert-going. It is a new participatory space,

providing better acilities or all visitors and aiming to attract

people who may nd aspects o concert-going etiquette aloo and

challenging. Its vast central space is a showcase or people and

events, available to the citizens o Bristol throughout the day.

The development o this pivotal site in the centre o the city is in-tended to act as a transormational catalyst or the uture o the

surrounding area. When rst built the Colston Hall occupied a

prime position, just yards rom the old city boundary and Bristols

thriving docks, located on a new road cut through the medieval

streets to speed the progress o goods through the city towards

the north. Since then, however, its position has become increas-

ingly peripheral and, during the 20th century, an unsympathetic

trac-clogged backwater.

COLSTON HALL FOYER

BUILDING BRISTOLThe design o the new oyer extension attempts to remedy this by

creating a local landmark with a strong independent character

which can be clearly identied within a densely developed part o

the citys centre. There is a contextual basis to many o the major

design decisions concerning the buildings distinctive shape and

organisation, even though the result is unlike anything nearby. Its

curved orm relates to its immediate, essentially medieval con-text and its scale mediates between the old houses in Pipe Lane

and the larger bulk o the Hall itsel. It eortlessly accommodates

substantial level changes between adjoining streets by incorpo-

rating entrances o equal importance on each street.

Golden Copper IdentityThe principal cladding material is an alloy o copper and alumin-

ium chosen to respond to the brie or a bold and visible build-

ing. Its gold colour has a tonal relationship with the beige and

red bricks o the adjoining buildings. Just as the timber internally

resonates with the string instruments o an orchestra, the cop-

per shingles evoke the brass section, with constant variations olight enhanced by the curved geometry o the building orm. The

malleable nature o the material is expressed in the detail o the

shingles, which are peeled back to orm gill-like openings to ven-

tilate the plant rooms.

The windows recall the punched holes o an old music roll or the

texture o encoded data on a CD, and have a relationship to the

shingle size, being multiples o a 300 mm module, based on the

rhythms denoted by musical time signatures; and there is also the

hint o a graphic representation o a sheet o music. These ideas

have provided a ramework or an apparently random pattern o

window openings which increase in scale as they move rom theprivate unctional parts o the building to the public spaces that

ace towards the centre o Bristol.

Sustainable building technologies and construction have been

important actors underlying the design. The selection o building

materials and construction techniques has been driven by envi-

ronmental considerations and the copper cladding is made up o

at least 70% recycled material.

By Chris Hodson

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GOlDeN COPPer allOY

Pojc: Colston Hall Foyer Building, Bristol,

Cin: Bristol City Council

achics: Levitt Bernstein

Sucu engins: Arup

Copp Ins: Richardson Rooing

Copp suppi: KME UK

Phoos: Andrew Cross, KME

The golden copper skin i s peeled back to orm gill-like ventilation openings

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The pivotal site is on the corner o High

Fisher Gate and Church Way, and close

to the Market Conservation Area. The de-

sign by Cartwright Pickard Architects -

is intended as a landmark reconciling two

dierent urban characters: the intimate,

small scale o the Market Conservation

Area contrasting with the larger, broad-er scale o Church Way with its bigger

buildings including the 19th century St.

Georges Church designed by Sir Gilbert

Scott (the architect o Londons St Pan-

cras International Station).

RECONCILING DIFFERENT

GEOMETRIES

The new 140-bed hotel also includes

shopping acilities, continuing existing re-

tail uses in High Fisher Gate and introduc-

ing them into the potentially high-prole

Church Way. The new building recognis-

es the two existing geometries o these

streets. Two distinctive blocks ollow the

existing roads and are linked by a prow-

like corner, helping to reconcile the two

geometries and creating a distinctive ea-

ture on the prominent corner.

The northern block is six storeys high at its

West side. Here, a distinctive vertical ele-

ment sits on the corner o the site, at the

base o which is the entrance to the hotel.

To the East, and towards the Market, the

northern block steps down to three sto-

reys. The southern block is visually ve sto-

reys, with the sixth sitting well back romChurch Way. This block is lower to main-

tain a scale in sympathy with St Georges

Church, and to replicate the height o the

eaves o the church. Throughout, vertical

emphasis is reinorced by the composition

o the enestration, the expressed struc-

ture and projecting bays.

DESIGN FREEDOM WITH COPPER

A key element o the buildings design is

the use o Luvatas Nordic Green Living

pre-patinated copper cladding to createan abstract surace made up o horizon-

tally orientated bands o varying heights.

Nordic Green Living oers architects un-

paralleled design reedom and the abil-

ity to determine the type and intensity o

patina. The actory process can be accu-

rately controlled so that, as well as the

A LANDMARK HOTEL FOR DONCASTERa disinciv nw ho in h cn o Doncs, n hisoic own in Souh Yoshi in h noh o

engnd, is h fs Uk pojc o b cd wih luvs Nodic Gn living p-pind copp.

solid green patina colour, other intensities

o patina fecks can be created revealing

some o the dark oxidised background

material. On this project, three dierent

intensities ranging rom solid Traditional

Nordic Green to a special nish developed

to meet the architects requirements -

were used in apparently random combina-tions, adding richness to the fat acades.

Cartwright Pickard Architects Director

Peter Cartwright explains: We had seen

some really good photographs o pre-

patinated copper buildings in Finland. We

were excited by the potential or variegat-

ed copper to add lie and real interest to

the aades both in texture and colour. The

variation in the copper on the nal build-

ing had to look quite random but we actu-

ally specied the positions o each panelto ensure that the acades met our design

and satised the local planners which it

certainly did.

By Chris Hodson

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ENVIRONMENTALLY SOUND MATERIALS

We believe that this variegated copper gives us a

contemporary aade suited to such a prominent

site and contrasting well with the adjoining terracot-

ta panels. Sustainability is also very important to us

as a practice, including selection o environmentally

sound materials. The local planners design guide

led to the use o living, planted roos and required

other materials that will be easy to maintain and im-

prove with age.

The new hotel aims to set a high standard or design

and construction, as well as or quality materials

which are particularly important with the buildings

close proximity to the historic St. Georges church.

We were excited by the

potential for variegated

copper to add life and real

interest to the facades

Typical foor plan

Pojc: Premier Inn Hotel, Doncaster Cin: Premier Inn achics: Cartwright Pickard Architects Copp Ins: Varla UK Copp Suppi: Luvata Sales OY (UK)Phoos: Where indicated, photo courtesy o Cartwright Pickard Architects (copyright Daniel Clements). Oh phoos: Graeme Bell, Luvata.

Photo courtesy o Cartwright Pickard.

Copper panel layouts

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Throughout history copper has always

ascinated people with its naturally chang-

ing surace, malleability and unique visual

characteristics. Architects and artists

continue to nd inspiration and seek new

possibilities with this most adaptable ma-

terial and the copper industry is keen to

work closely with them in realising new

concepts.

Elsewhere in this issue o Copper Fo-

rum there are numerous examples o the

diversity that copper oers architects,

ranging rom the new golden alloys to the

development o variable pre-patinated

nishes. In this and in previous issues we

have also seen the many dierent clad-

ding and roong techniques available, as

well as the individual work o artists and

interior designers using copper.

But innovation in response to the imagi-

native demands o todays designers con-

tinues. Here, we explore just some o the

latest copper techniques available now.

SHAPING THE FUTURE

A completely new kind o press modelling

technology or copper oers a new design

reedom by introducing three-dimension-

al shapes and decorative elements into

aade design. It also provides endless op-

portunities in interior design and decora-

tion, cladding and mouldings. Digital press

COPPER INSPIRATIONExploring the latest techniques including pressmodelling, peroration and surace treatments

modelling is a highly automated system or

sheet copper which takes three-dimen-

sional design straight rom the designers

desk to the nished product.

TRANSPARENCY AND OPACITY

The use o copper mesh and perorated

copper sheets oers a resh design di-

mension or buildings. They can be used

externally as rain-screens, solar shading

and opaque cladding - or internally as par-

titions, screens and other interior design

elements. Transparency can be generated

by stretching or piercing copper sheet, or

weaving copper wire into a mesh. Copper

sheet is easy to water-cut and perorate

in various ways and the dierent shades

o colour and surace treatments widen

the design possibilities even urther. An

impressive example o perorated copper

technology is the Parventa Library build-

ing in Latvia (eatured in the last issue o

Copper Forum CF27/2009). Here, the sizes

o perorations were varied to generate

text graphics quoting the lyrics o Latvian

olk songs!

RICH AND VARIED SURFACES

The surace o copper is vibrant, multi-

aceted and ever changing: the glowing,

lively suraces and individual colours are

a source o inspiration or creative minds.

But advanced technology provides scope

or a rich diversity o colour shades enable

applications beyond architecture. Copper

is a versatile and durable natural material

the surace o which is easy to vary by pati-

nating, moulding or dyeing. Individual sur-

aces can be produced or either custom-

made bulk products or one-o projects.

Copper withstands dierent treatments

extremely well and moulding, shaping or

patination does not weaken the quality o

the material. It is certainly worth experi-

menting with these new types o prod-

ucts.

INTERIOR INSPIRATION

Copper is ideal or interior design instead

o conventional materials or in combina-

tion with them. The surace o copper can

be varnished or waxed to preserve its

distinctive colour and shine indoors. The

applications or copper internally are end-

less - on ceilings, kitchen cupboards and

suraces (where the materials anti-mi-

crobial properties are important), corner

mouldings and detailing (to provide con-

tinuity throughout an entire building), and

eature elements such as replaces and

light ttings.

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Designing a holiday home or

this sensitive location on an is-

land surrounded by nature and

lakes, situated in the northern

part o the Netherlands pre-

sented architect Paul van den

Heuvel with various challenges.

A planning regulation l imiting

the oor area to 75 m2 con-

icted with the clients need

to maximize usable space. Te

house also had to t into thenatural landscape in a subtle

way without compromising its

contemporary design.

MeetING CONlICtINGDeMaNDSwo distinct roo volumes

separated and perpendicular to

ISLAND COPPER

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A simple but clever holiday home

takes a thoroughly modern approach

to copper roong, maximizing usable

space while respecting its water-sidesetting.

one another dene the build-

ing. Teir suraces have been

devised using pre-patinated

copper o three dierent inten-

sities o green speckled against

a dark oxidized background.

Tese varied colours are used

in a composition o long, nar-

row copper strips with dierent

widths to give a rich, natura l

texture. Beneath one roo vol-

ume is the living room whilethe other sits over the bedrooms

and an extra bathroom.

A reestanding staircase sits

outside the main house area, so

that it does not count towards

the area limit o the house.

A glazed skin olds around this

staircase and lands on top o the

copper roo. Tis glazing is dec-

orated with enlarged images o

micro-organisms living locally

in the water. o address winter

ooding, when the water can

encroach onto the garden, the

house is constructed on a wide

wooden deck bridge above the

lawn and the lake, which gives

the impression o the house

oating independently o thelandscape.

MaXIMISING NatUralSUrrOUNDINGSo maximize the relationship

between interior design and

exterior nature, glazed acades

are used around the house o

which several can be sl id open.

Tis enables the natural sur-

roundings to give a spectacular

internal setting. As the 75 m2

maximum oor area require-

ment excludes roo overhangs,

these have been added gener-

ously, providing solar shading

to the glazed acades. Te roos

rest on columns running up

rom the wooden deck around

the house. ogether, the rhyth-mically placed columns and

overhanging roo volumes give

the house depth and stratica-

tion with a structured, abstract

quality.

Internally, walls and cupboards

have been devised in one mate-

rial, eeting into each other and

becoming one entity. Gentle

colours reerenced rom outside

are used internally. Te colour

palette is light grey/green or

the walls and light oak wood

or oors and urniture. Te

individual objects o urniture

are lightweight elements within

the space.

Externally, a landscape archi-tect has careully reinstated the

surrounding to minimize the

impact o the house. A wooden

whar and paths orm the con-

nection between the water-side

and the house.

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Bcgound

Te eight-storey ofce building designed byarchitect Kaj Salenius was originally built

in 1975. Te building was designed accord-

ing to the values and structural engineer-

ing principles o the time in the boundary

zone between the built-up downtown block

structure o Hakaniemi and the open 1970s

preabricated concrete estate o Merihaka.

Te powerul screen-like aade and the

small windows were realised using load-

bearing preabricated concrete aades.

Te total size o the building rendered it a

monotonous, enclosed appearance. Te lo-cation is excellent and or its part creates

the Hakaniemi aade toward the Cape o

Helsinki.

Te building has by no means been indi-

erent to the townspeople.

For almost 35 years it has stood as a recog-

nisable landmark o Hakaniemi. As a prod-

uct o its own era, it received also criticism

and in the 2000s won in a public vote the

title o the ugliest building in Helsinki.

Te townscape was only part o the prob-

lem, however, since the usability and the

engineering systems o the building had be-come obsolete.

Te preabricated concrete technology o

the 1970s ailed in the aades and the exter-

nal envelope o the building had to be com-

pletely replaced or technical reasons. Te

rame dimensioning o the building and the

location o the stairwells inside the building

rame, on the other hand, represent a good

standard.

Dsign souions

Te character o the old building shouldnever be destroyed in a renovation project,

but new structures should be designed to re-

inorce the signicant characteristics o the

building. History is not denied but com-

bined with a new layer into a synthesis.

It is easier to understand this principle i

we consider e.g. the renovation projects car-

ried out on the red brick buildings o early

nineteen hundreds where skilul old details

preserve the layered eeling o the time peri-

ods. Te buildings built in the 1970s pose a

dierent challenge, but it is still a question

o a synthesis o the old and the new.Te building mass is great and cannot be

integrated in the surrounding town struc-

ture. Yet, we did not want to lose and rag-

ment the handsome body o the building.

We wanted to create an interesting and

positive contrast and dialogue with the en-

vironment and introduce new small-scale

elements to the building.

Te starting point was to open up the

building into its environment and most o

all in the prominent direction; toward the

sea. With the building mass divided into

parts by means o a recessed aade, the newentrance becomes apparent in one glance.

Te load-bearing inner concrete shell

o the aades was enclosed in a white and

clean screen-printed glass cladding with a

matte surace. extile artist Outi Martika i-

nen rom our ofce also contributed to the

design o the elaborate screen-print pattern.

Te pattern is not distinguishable rom a

distance, but at close range adds another

layer in the pedestrians scale. Light andshade are also part o the aade. Te theme

o ice boulders is well suited to the shore

area in Hakaniemenranta.

Tis also repeated the historical tradition

o including art as a part o the design proc-

ess and the resulting architecture.

Text by Antti-Matti Siikala

Layout plan, Hakaniemenranta, Siltasaari Strait,Cape o Helsinki.

Renovation building projects make it possible to develop the existing building stock and the

built-up environment. Hakaniemenranta 6 is an excellent example o the renovation o a

1970s oce building. The new innovatively designed windows as well as the glass and copper

aades integrate the building in a natural manner in the townscape o Helsinki. The rhythm o

the new aades is also an outward refection o the new unctional structure o the building.

Esko Miettinen, Architect SAFA

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The copper aade, view rom west. T he transparency o the coppernet varies to some degree according to lighting conditions.

Connection o the copper net to the building plinth.

Project: Hakaniemenranta 6 Renovation

Completed: 2009

Client: Senaatti-kiinteistt

Architect: Arkkitehtitoimisto Sarc Oy,

Antti-Matti Siikala, Architect SAFA

Main contractor: SRV

Copper supplier: Tammet Oy

Photo: Jussi Tiainen, Eark

South, east, north and west elevations.

The construction o the new glass aade.

Top and bottom joint details o the copper net aades .

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aciviis nd inn sTe renovation o the outward appearance

o the building and the enhancement o the

quality level are also reected in the design

o the interior spaces, with attention paid

to increasing the amount o daylight and

external views, to creating a general eelingo space and to bringing rhythm to long

corridors.

Key alterations compared with the old solu-

tions include:

Te main entrance to the building is in the

old place, but the associated lobby has been

expanded into a partly two-storey common

space running through the whole building

with Kruunuhaka town block visible over

the sea. A new entrance into the lobby was

added on the side o the sea, complete with

a terrace. Tese activate the building in the

direction o the town and make the build-ing more accessible or customers. Various

public and common acilities, a restaurant,

meeting rooms as well as service acilities o

the end-users are collected round the lobby

on the ground oor. Te multi-activity

area, where we are located, is also a new

building part.

Floors 1-6 are ofce oors. On each oor

a central zone o assembly areas and break

rooms is provided as a common area with

tall glass walls that oer views o the town-

scape. Preabricated partition wall elements

running in parallel with the corridors are

also primarily glass walls to support the

transparency and lightness o the acilities.Te end-users o the building the Na-

tional Board o Education, CIMO and

Fullbright Center have contributed to the

design o the new acilities rom the very

beginning. Te strategies and objectives

o the user organisations were dened and

analysed to produce a work environment

that serves the users in the best possible

manner.

Te service-intensive nature o the user

organisations and their philosophy based

on transparency has also inuenced the ar-

chitectural solutions used in the building.Te design solutions or their part support

the users objective o sustainable operation.

Tis has been translated into exibility o

spaces and a possibility to implement modi-

cations in an economically viable manner

during the lie cycle o the building.

All the parties involved in the design

process utilised product modelling in their

design eorts. Te existing building was

measured by means o laser scanning and

modelled into a scale model or use by the

designers and the Client.

Te product models o the various design-

ers were combined and the resulting model

was utilised in many ways or the needs odesign, procurement, and implementation,

and will also later be used or building

maintenance purposes.

One concrete advantage o the use o

product modelling at the design stage is the

use o the model to perorm overlap analy-

ses, particularly as the existing oor heights

are exceptionally low or modern techno-

logy.

In Finland new building projects only

increase the building stock by ca. 1.5% an-

nually. In terms o the climate change, it

is important that stricter standards are ap-plied to the energy efciency o new build-

ings, but it is the existing building stock

and renovation projects that play a singu-

larly crucial role.

For 6 Hakaniemenranta Street, the re-

placement o the engineering systems and

the external shell has reduced the energy

consumption o the building to the level

required by current standards.

Original ground plan, third foor.

New ground plan, rst foor. A view rom the new interior to the patio.

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In his ic w sho b om chicuo xpo vy din ppicion o copp sh in bo buiding.

Todays pleasure boats are usually made o breglass or metal

but boating enthusiasts are keen to preserve traditional ways by

building new boats rom timber using old designs. This is how the

two-masted schooner Ihana came into being at the small coastal

community o Luvia located in western Finland.

Luvia is a centre or boating enthusiasts and the community

oers them a modern marina with restaurants and other

services. It has a long nautical history and cargo ships, some

o which were timber sailing vessels, used to call at the local har-

bour. The town is still well-known or boat-building and the re-

nowned Skylla boats are made in Luvia. So, it is not surprising that

a local enthusiast came up with the idea o building a new sailingboat identical to a traditional schooner and it has been named

Ihana, meaning wonderul.

The entire boat has been built by volunteers and mainly o do-

nated materials. Construction o the ship was started in 2005 when

large logs were elled to get material or the curved ribs o the hull.

Between ve and ten volunteers worked on the schooner every day

and it was launched in July 2009. The design o Ihana is aithul to

the drawings o the original schooner.

COPPER PROTECTION

Because the schooner is over 28 metres long and six metres wide,

it will not be taken out o the water or the winter. However, in the

rozen sea the wooden hull has to be able to withstand extremepressures and, i unprotected, there could be a risk o serious

damage. Thereore a decision was made to install copper sheets

to the keel and wooden hull up to the water line or protection.

The material used is 1 mm thick copper sheet pre-cut into 0.50 x

100 mm pieces and about 250 m2 was used.

The wooden sides were rst treated with bitumen mass, which in

turn was covered with a layer o polypropylene, and another layer o

bitumen applied onto it. Then the copper sheets were overlapped a

couple o centimetres and nailed at two-centimetre intervals with

barbed copper nails. For extra saety, there are another two rows

o nails in the middle o each sheet but more widely spaced. The

sheets had to be heated on site to mould them into the shape o the

boats hull. Another important reason or the use o copper was

to prevent seaweed and marine micro auna rom attaching to the

bottom o the schooner: without it the bottom would be extremely

hard to keep clean. The copper surace o the hull also helps the

boat to glide through the water with less resistance.

The schooner Ihana has attracted enormous interest round

the world and there have been numerous enquiries and proposals

or cooperation. The ships sail area is approximately 300 m2 and

the engine is a 6-cylinder 280-hp Sisu engine. For more inorma-

tion and photos o the Ihana, please visit www.kaljaasi-ihana.

Copper at sea

The keel and the bottom are protected with copper u p to the water line.

The wooden deck o the schooner getting its shape.

The copper has been annealed to ollow the contour o the hu ll.

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VILLA LAzUR enjoys a stunning marinelocation in Jurata on the south coast o Polands

Hel Penninsula a long, thin, tongue o land

extending into the Baltic Sea above Gdansk

Bay. Its beach-ront site in this popular holiday

destination is surrounded by pine orests with

extensive local ora and prestigious apartment

buildings.

Te Villa itsel consists o ten apartments, all

acing south towards the sea. Just three primary

acade materials are used: white stucco, natu-

rally coloured timber panels and pre-patinated

copper sheet. Te horizontally banded copper

acades to the top level use 430 mm x3000 mm

ECU Patina sheets, jointed with a single welt

system. Te substructure consists o an alu-

minium rame with 18 mm OSB boarding and a

double ventilation void protected by perorated

sheet metal.

Te dierent geometric orms used in the design

and choice o materials provide light, smooth

suraces some curved, others at. Te overall

eect is typically marine in character, with over-

tones o Art Deco architecture rom the early

20th century, but contemporary and entirely

suited to its coastal situation.

Architect: Zbigniew Reszka, PA Arch-Deco, Gdynia, Polan

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T

he village o Riao in the province o

Len, northern Spain sits between the

Cantabrian Mountains and a man-made

lake. At a pivotal location within the village, a

circular amphitheatre was built 10 years ago to

accommodate traditional wrestling competitions,

which have a long history in the region, and other

community events. Te building consists o rugged

stone walls orming a circle, with an umbrella-like

canopy oating above providing protection rom

the weather but essentially retaining an open-air

character.

Te roo is dened by ten radial, laminated timber

beams converging at the centre and supported

at the perimeter on massive concrete pillars. Te

slim, stainless steel connections between beams

and pillars allow structural movement but also add

to the impression o a weightless oating canopy.

Tis combination o massive and lightweight

elements is reminiscent o the Roman Coliseum

with its unolded canopy. Te open interior space

is organised by stands at both sides o an imaginary

and visual line connecting the lake and village.

Te copper orms a continuous skin over the lower

sections o the shallow dome roo, with a central

area o glazing above. It is laid on a thin, continuous

wooden substrate, supported on cross purlins and

incorporates standing seam joints running down

the roo curvature. Te raised main beams are also

clad with copper sheet, including where they pass

through the glazed roo. Here, single lock seam

joints are used in the direction o the slope.

Wsing wih Copp

Project: Wrestling Arena, Riao, Len, northern Spain

Architects: Felix Compadre Diez

Copper Installer: Amilcar

Roof area : 700m2

Completed: 2000

a soing, ighwigh copp oo pocs n opn spos n in dmic sid sing.


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In his issu o Copp oumw hv sn sv xmpso copp ppid xnsivy

houghou cds s h pdomi-nn mi, civy dfningh chicu o h buiding. Buin his nw housing dvopmn,

copp is usd in hmony wih oh- quiy mis o dvop nubn ngug ppopi o issnsiiv hisoic sing.

Appropriately named, Harmony is a new

development o contemporary apartments

in Isleworth, West London. It is being de-

veloped as a joint venture between Will-

mott Dixon Homes, Notting Hill Housing

Group and the Homes and Communities

Agency. When complete, Harmony willconsist o 280 one, two and three-bedroom

apartments in low-rise buildings separated

by areas o attractive landscaping. 106 o

the homes are or private sale, with the

remainder available or key workers, or

shared ownership under the governments

New Build HomeBuy scheme or or social

rent.

Te design by architects Hunter & Part-

ners aims to create good modern build-

ings that relate to the context o this sensi-

tive site. Te use o 3 and 4 storey buildings

with pitched roos and gables results in an

appropriate domestic scale but with con-

temporary detailing that eschews pastiche.

Te layout creates blocks with strong street

rontages that clearly dene public and pri-

vate areas and allow inormal surveillance

to contribute to a sense o personal saety.

A eeling o enclosure is generated within

the internal street, whilst gaps between the

blocks aord views across and out beyond

the immediate site.

VISIBle rOM a WOrlDHerItaGe SIteTe site is close to Syon House, the Lon-

don home o the Duke o Northumber-

land, and its impressive parkland, as wellas other protected historic buildings and a

cemetery. It is also visible rom the amous

Royal Botanical Gardens at Kew on the

River Tames, designated a World Herit-

age Site. Tis was a particular challenge or

the designers, as Paul Wellings-Longmore

o Hunter & Partners explains: Te lim-

ited palette o external materials is drawn

COPPer INHarMONY

rom those with natural hue and colour.

Te use o high quality, subtle materials

brickwork, grey roong and pre-patinated

copper sotens the visual impact o the

buildings when seen rom Syon Park and

Isleworth Cemetery and avoids jarring with

the surroundings.

Te lit and stair cores are expressed asvertical stacks equivalent to traditional

eatures such as chimneys, emphasised

through the green copper cladding. Tey

provide a rhythmic punctuation breaking

up the street elevations. Where the cores

support roo-mounted plant, the enclosure

is integrated into the design so that they

read as single unied elements. Although

there were nancial constraints, copper

proved to be the most appropriate mate-

rial given the sites historic context and we

were certainty steered in that direction bythe local planning authority. Pre-patinated

copper was used to give the nished im-

pression and to blend immediately with the

surrounding older buildings. We selected a

specic intensity o patination to suit this

context. Copper provides a living surace

not just a single colour with a changing

character, almost like abstract a rt.

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COPPER FORUM 28/2010

SUSTAINABLE MATERIALS

Sustainability is important to all thoseinvolved with the project and Harmonymeets the Code or Sustainable HomesLevel 3 standard. External materials havebeen selected that are durable and have in-tegral rather than applied fnishes: coppersextremely long-lie, heritage o recyclingand relatively low embodied energy wereall recognised at the design stage.

Vertical stacks of pre-patinated copper rhythmically punctuate the block elevations.

Copper is also used in stacks to highlight entrances and for more sculptural elements.

Project: Harmony, Isleworth, London, UKClient: Willmott Dixon Homes, Notting Hill Housing Groupand the Homes and Communities Agency.Architects: Hunter and Partners

Copper Installer: Full Metal JacketCopper supplier: Luvata Sales OY (UK)Illustrations: Hunter and PartnersPhotos: Chris Hodson and courtesy of the Client

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Copper Forum 2010 28 Ru