Copper Architecture Forum 2015 38 ENGLISH

38

ENGLISH

COPPERCONCEPT.ORG 1

CONTENTS

EDITORIAL

COPPER COMPARISONS 38

One of this magazine’s strengths is its ability to offer comparisons of different architectural approaches to a single material - copper.

Our first two buildings share sculptural, symbolic responses to historical contexts: a city’s ancient links with fire in Poland (page 4) and a fierce Roman battle in Lower Saxony (page 8). The latter also begins a triptych of buildings exploring dialogues between copper and timber – initially as opposing armies, then reinforcing the shoreline of an Austrian lake (page 10) and finally expressing the glacial forces that formed Iceland’s natural landscape (page 12).

Change is the defining theme of two very different cultural buildings where transformations subvert the permanence of their traditional roles. The Paris Conservatoire Claude Debussy comes to life with a copper façade animated by perforated folding shutters (page 16). In Gdansk, the massive, copper-clad roof of the new Shakespearean Theatre can be opened to the sky or closed, in conjunction with various internal arrangements, to give different theatrical experiences (page 20).

Our next two projects are exemplars of the skilful reconciliation of technical, architectural and cultural demands defined by their typologies. The ubiquitous sports hall is handled with deceptive simplicity and style in Villach, Austria, characterised by a transparent copper facade (page 24). Meanwhile in Lyon, a new municipal archive provides the environmental conditions needed to protect documents whilst maximising public access and generating a real sense of civic pride (page 28).

Photo: Basalt Architecture architects / Sergio Grazzia

2 COPPER COPPERARCHITECTURE ARCHITECTUREFORUM FORUM38/2015 38/2015 2

straddles the shore of an Austrian lake

12 – 15 Copper and Timber Nature – another visitor centre, this time in

Iceland and inspired by its dramatic surroundings

16 – 19 Wrap Music – this new Paris music school comes alive with

motorised shutters in perforated copper

20 – 23 Reaching for the Sky – a new theatre in Poland features a

remarkable openable copper roof

24 – 27 Copper Box – a deceptively simple but elegant and sophisticated

copperconcept.org/awards

interpretation of the sports hall typology

28 – 31 Civic Pride – reconciling the technical demands of archiving with

Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock, Hermann Kersting, Irina Dumitrescu, Robert Pinter

Front Cover: Conservatoire Claude Debussy, Paris, France (page 16)

All the shortlisted projects will be on exhibition at the Vision event from 2nd –3rd June at Olympia in London, where visitors can also vote. All the Awards winners will be announced later this year and covered in the next issue of Copper Architecture Forum.

E-mail: editorialteam@copperconcept.org

Publisher: Nigel Cotton, ECI Layout and technical production: ECI

London cultural and community centre

3 4 – 36 Sustainable Learning – a children’s nursery for the University of

Printing: Copy & Consulting Kft., Hungary

birgit.schmitz@copperalliance.de kazimierz.zakrzewski@copperalliance.pl marco.crespi@copperalliance.it nick.hay@copperalliance.org.uk nick.vergopoulos@copperalliance.gr nuno.diaz@copperalliance.es olivier.tissot@copperalliance.fr pia.voutilainen@copperalliance.se robert.pinter@copperalliance.hu yolande.pianet@copperalliance.eu

© Copper Architecture Forum 2015

public accessibility, in style

3 2 – 33 A House with Many Doors – brass is a defining element of this

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

Editorial panel: Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Pia Voutilainen, Se, No, Fi, Dk Robert Pintér, Hu, Cz, Svk, Ru Yolande Pianet, Benelux

Germany celebrates a major archaeological discovery

10 – 11 Copper and Timber Shoreline – a cleverly designed boathouse

As this issue goes to press, judging of the 2015 European Copper in Architecture Awards comes to an end. The shortlisted projects will be announced on 1st June on our website, where you can vote to select the Public Choice Award winner until 30th August.

Contact the Editorial Team – editorialteam@copperconcept.org

The magazine is distributed to architects and building professionals throughout Europe – and beyond – in English, Czech, French, German, Hungarian, Italian, Polish, Russian and Spanish languages.

ARCHITECTURAL AWARDS PUBLIC CHOICE

Editor: Chris Hodson RIBA

Copper Architecture Forum is part of the ”European Copper In Architecture Campaign”. It is published twice a year and has a circulation of 25.000 copies.

Polish exhibition pavilion

8 – 9 Copper and Timber Confrontation – this visitor centre in

The Editorial Team

Editor in Chief: Robert Pinter

Copper Architecture Forum 38, June 2015

Bringing this issue to a close are three buildings from the UK showcasing copper and its alloys while demonstrating excellent sustainability credentials. Particular care was taken with the finish of brass panels on a new community centre in London, which achieved a ‘BREEAM Excellent’ rating (page 32). Finally, it is fascinating to compare two projects, both designed by the same architects and both for the University of Edinburgh: a new children’s nursery facility (page 34) and The Edinburgh Centre for Carbon Innovation (page 37).

View magazine back issues – copperconcept.org

See the European Copper in Architecture Awards – copperconcept.org

2 Copper Comparisons – editorial comment

4 – 7 Dancing Flames – a beacon of copper flames greets visitors to this

Register for Copper Architecture Forum – copperconcept.org

Upload your project to the website – copperconcept.org

Edinburgh has a firm sustainability agenda

3 7 – 39 Carbon Innovation with Copper – a bronze intervention is at the

heart of this regeneration creating a new university facility

COPPERCONCEPT.ORG

Read on iPad for free

© Copper Architecture Forum 2015

COPPERCONCEPT.ORG 3

CONTENTS

EDITORIAL

COPPER COMPARISONS 38

One of this magazine’s strengths is its ability to offer comparisons of different architectural approaches to a single material - copper.

Our first two buildings share sculptural, symbolic responses to historical contexts: a city’s ancient links with fire in Poland (page 4) and a fierce Roman battle in Lower Saxony (page 8). The latter also begins a triptych of buildings exploring dialogues between copper and timber – initially as opposing armies, then reinforcing the shoreline of an Austrian lake (page 10) and finally expressing the glacial forces that formed Iceland’s natural landscape (page 12).

Change is the defining theme of two very different cultural buildings where transformations subvert the permanence of their traditional roles. The Paris Conservatoire Claude Debussy comes to life with a copper façade animated by perforated folding shutters (page 16). In Gdansk, the massive, copper-clad roof of the new Shakespearean Theatre can be opened to the sky or closed, in conjunction with various internal arrangements, to give different theatrical experiences (page 20).

Our next two projects are exemplars of the skilful reconciliation of technical, architectural and cultural demands defined by their typologies. The ubiquitous sports hall is handled with deceptive simplicity and style in Villach, Austria, characterised by a transparent copper facade (page 24). Meanwhile in Lyon, a new municipal archive provides the environmental conditions needed to protect documents whilst maximising public access and generating a real sense of civic pride (page 28).

Photo: Basalt Architecture architects / Sergio Grazzia

2 COPPER COPPERARCHITECTURE ARCHITECTUREFORUM FORUM38/2015 38/2015 2

straddles the shore of an Austrian lake

12 – 15 Copper and Timber Nature – another visitor centre, this time in

Iceland and inspired by its dramatic surroundings

16 – 19 Wrap Music – this new Paris music school comes alive with

motorised shutters in perforated copper

20 – 23 Reaching for the Sky – a new theatre in Poland features a

remarkable openable copper roof

24 – 27 Copper Box – a deceptively simple but elegant and sophisticated

copperconcept.org/awards

interpretation of the sports hall typology

28 – 31 Civic Pride – reconciling the technical demands of archiving with

Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock, Hermann Kersting, Irina Dumitrescu, Robert Pinter

Front Cover: Conservatoire Claude Debussy, Paris, France (page 16)

All the shortlisted projects will be on exhibition at the Vision event from 2nd –3rd June at Olympia in London, where visitors can also vote. All the Awards winners will be announced later this year and covered in the next issue of Copper Architecture Forum.

E-mail: editorialteam@copperconcept.org

Publisher: Nigel Cotton, ECI Layout and technical production: ECI

London cultural and community centre

3 4 – 36 Sustainable Learning – a children’s nursery for the University of

Printing: Copy & Consulting Kft., Hungary

birgit.schmitz@copperalliance.de kazimierz.zakrzewski@copperalliance.pl marco.crespi@copperalliance.it nick.hay@copperalliance.org.uk nick.vergopoulos@copperalliance.gr nuno.diaz@copperalliance.es olivier.tissot@copperalliance.fr pia.voutilainen@copperalliance.se robert.pinter@copperalliance.hu yolande.pianet@copperalliance.eu

© Copper Architecture Forum 2015

public accessibility, in style

3 2 – 33 A House with Many Doors – brass is a defining element of this

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

Editorial panel: Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Pia Voutilainen, Se, No, Fi, Dk Robert Pintér, Hu, Cz, Svk, Ru Yolande Pianet, Benelux

Germany celebrates a major archaeological discovery

10 – 11 Copper and Timber Shoreline – a cleverly designed boathouse

As this issue goes to press, judging of the 2015 European Copper in Architecture Awards comes to an end. The shortlisted projects will be announced on 1st June on our website, where you can vote to select the Public Choice Award winner until 30th August.

Contact the Editorial Team – editorialteam@copperconcept.org

The magazine is distributed to architects and building professionals throughout Europe – and beyond – in English, Czech, French, German, Hungarian, Italian, Polish, Russian and Spanish languages.

ARCHITECTURAL AWARDS PUBLIC CHOICE

Editor: Chris Hodson RIBA

Copper Architecture Forum is part of the ”European Copper In Architecture Campaign”. It is published twice a year and has a circulation of 25.000 copies.

Polish exhibition pavilion

8 – 9 Copper and Timber Confrontation – this visitor centre in

The Editorial Team

Editor in Chief: Robert Pinter

Copper Architecture Forum 38, June 2015

Bringing this issue to a close are three buildings from the UK showcasing copper and its alloys while demonstrating excellent sustainability credentials. Particular care was taken with the finish of brass panels on a new community centre in London, which achieved a ‘BREEAM Excellent’ rating (page 32). Finally, it is fascinating to compare two projects, both designed by the same architects and both for the University of Edinburgh: a new children’s nursery facility (page 34) and The Edinburgh Centre for Carbon Innovation (page 37).

View magazine back issues – copperconcept.org

See the European Copper in Architecture Awards – copperconcept.org

2 Copper Comparisons – editorial comment

4 – 7 Dancing Flames – a beacon of copper flames greets visitors to this

Register for Copper Architecture Forum – copperconcept.org

Upload your project to the website – copperconcept.org

Edinburgh has a firm sustainability agenda

3 7 – 39 Carbon Innovation with Copper – a bronze intervention is at the

heart of this regeneration creating a new university facility

COPPERCONCEPT.ORG

Read on iPad for free

© Copper Architecture Forum 2015

COPPERCONCEPT.ORG 3

DANCING FLAMES

4 COPPER ARCHITECTURE FORUM 38/2015

A beacon of copper flames now welcomes visitors to Żory in Upper Silesia, Poland, a potent symbol of the city’s historical links with fire. Architects Barbara and Oskar Grabczewski explain the project and its conception.

A SHOWCASE FOR ŻORY The programme for this project was an exhibition pavilion to showcase and promote Żory to newcomers and tourists, as well as partners and investors. The pavilion was to be built in an open and prominent location close to the main access road into the city. This site presented a number of challenges, especially extensive underground infrastructure that left only a strange, irregularly shaped piece of land to build on.

We spent some time exploring different options but decided to revisit the programme and seek out a defining theme for the building. The name Żory means ‘fire’, ‘burnt’ or ‘flames’ and there are several references to fire in the city’s history.

Forests were burnt in the XII century, when Żory was founded, to create space for the new city and it subsequently suffered sieges and fires over the years. Residents still celebrate a Festival of Fire each summer to protect the city and its logo is a small flame.

COPPERCONCEPT.ORG 5

DANCING FLAMES

4 COPPER ARCHITECTURE FORUM 38/2015

A beacon of copper flames now welcomes visitors to Żory in Upper Silesia, Poland, a potent symbol of the city’s historical links with fire. Architects Barbara and Oskar Grabczewski explain the project and its conception.

A SHOWCASE FOR ŻORY The programme for this project was an exhibition pavilion to showcase and promote Żory to newcomers and tourists, as well as partners and investors. The pavilion was to be built in an open and prominent location close to the main access road into the city. This site presented a number of challenges, especially extensive underground infrastructure that left only a strange, irregularly shaped piece of land to build on.

We spent some time exploring different options but decided to revisit the programme and seek out a defining theme for the building. The name Żory means ‘fire’, ‘burnt’ or ‘flames’ and there are several references to fire in the city’s history.

Forests were burnt in the XII century, when Żory was founded, to create space for the new city and it subsequently suffered sieges and fires over the years. Residents still celebrate a Festival of Fire each summer to protect the city and its logo is a small flame.

COPPERCONCEPT.ORG 5

THE IDEA CRYSTALLIZED It became obvious to us that the new pavilion should symbolise fire. The strange shaped plot suddenly resembled dancing flames and the idea crystallized. The building consists of three walls that ‘swim’ independently but next to each other. Their composition and shapes, covered with copper strips, conjure up flames. Spaces between the walls are fully glazed forming entrances to the pavilion. The walls are made of architectural concrete, clad on the outside with copper but left exposed inside. The floor is paved with black stone, which reaches out into the landscape.

During construction, our client decided to use excavated, below-ground space for a large exhibition hall. That is how we came up with the concept for the final project as the Museum of Fire. The building now has three entrances serving: a multifunctional hall and reception/information on the ground floor, and an exhibition hall underground with a multimedia exposition devoted to the phenomenon of fire.

Architect: OVO Grabczewscy Architekci Katowice Copper Installer: DachTom, Kutno Copper Product: Nordic Standard Photos: Tomasz Zakrzewski / archifolio

The new Museum is surrounded by extensive landscaping.

Building and landscape work together creating a synthesis of spaces, with pedestrian routes running through the pavilion and green walkways. A further outdoor exhibition space is anticipated that will be used during the Festival of Fire.

SECTION

1 Hall 2 Reception / Information 3 Multifunctional hall

1

3

2

GROUND FLOOR LEVEL

2

1 Exhibition space 2 Outdoor underground exhibition

1

UNDERGROUND LEVEL

6 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 7

THE IDEA CRYSTALLIZED It became obvious to us that the new pavilion should symbolise fire. The strange shaped plot suddenly resembled dancing flames and the idea crystallized. The building consists of three walls that ‘swim’ independently but next to each other. Their composition and shapes, covered with copper strips, conjure up flames. Spaces between the walls are fully glazed forming entrances to the pavilion. The walls are made of architectural concrete, clad on the outside with copper but left exposed inside. The floor is paved with black stone, which reaches out into the landscape.

During construction, our client decided to use excavated, below-ground space for a large exhibition hall. That is how we came up with the concept for the final project as the Museum of Fire. The building now has three entrances serving: a multifunctional hall and reception/information on the ground floor, and an exhibition hall underground with a multimedia exposition devoted to the phenomenon of fire.

Architect: OVO Grabczewscy Architekci Katowice Copper Installer: DachTom, Kutno Copper Product: Nordic Standard Photos: Tomasz Zakrzewski / archifolio

The new Museum is surrounded by extensive landscaping.

Building and landscape work together creating a synthesis of spaces, with pedestrian routes running through the pavilion and green walkways. A further outdoor exhibition space is anticipated that will be used during the Festival of Fire.

SECTION

1 Hall 2 Reception / Information 3 Multifunctional hall

1

3

2

GROUND FLOOR LEVEL

2

1 Exhibition space 2 Outdoor underground exhibition

1

UNDERGROUND LEVEL

6 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 7

COPPER AND TIMBER CONFRONTATION

by Chris Hodson Visible from nearby main roads, the Information Pavilion ‘Römerschlacht am Harzhorn’ celebrates a major archaeological discovery in Lower Saxony that changed perceptions of Roman history in Germany. More than 1800, mainly military artefacts attest to a fierce battle between the Romans and the Germans in the 3rd century AD. The Harzhorn battlefield lies at the edge of a hill range running from the Harz mountains.

The new pavilion is conceived as two angular forms – one clad in rustic oak, the other golden copper alloy shingles – emerging from the ground like two warring forces confronting each other. A narrow path forces its way between the two, echoing an ancient trade route pass cutting through the adjacent hills. The pavilion will house an exhibition and is the starting point for tours. The golden copper alloy also identifies information displays at key points around the battlefield site.

Architect: K17 – Steingräber Architekten Copper Installer: Henkel Bedachungen Copper Product: TECU® Gold Photos: Tim Grimme

8 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 9

COPPER AND TIMBER CONFRONTATION

by Chris Hodson Visible from nearby main roads, the Information Pavilion ‘Römerschlacht am Harzhorn’ celebrates a major archaeological discovery in Lower Saxony that changed perceptions of Roman history in Germany. More than 1800, mainly military artefacts attest to a fierce battle between the Romans and the Germans in the 3rd century AD. The Harzhorn battlefield lies at the edge of a hill range running from the Harz mountains.

The new pavilion is conceived as two angular forms – one clad in rustic oak, the other golden copper alloy shingles – emerging from the ground like two warring forces confronting each other. A narrow path forces its way between the two, echoing an ancient trade route pass cutting through the adjacent hills. The pavilion will house an exhibition and is the starting point for tours. The golden copper alloy also identifies information displays at key points around the battlefield site.

Architect: K17 – Steingräber Architekten Copper Installer: Henkel Bedachungen Copper Product: TECU® Gold Photos: Tim Grimme

8 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 9

Photo: © paul ott photografiert

COPPER AND TIMBER SHORELINE

by Chris Hodson This cleverly designed boathouse on the shore of Austria’s Millstätter See lake divides land and water with its rigorous use of materials. Over the lake, the simple box form is clad in varying width horizontal slats of Siberian larch. At the lower level, folding door elements are integrated within the facades, doubling-up as access decks when open to reveal the boat store and other outside activity areas. The land-side is clearly defined by a veil of expanded copper panels. Both materials were selected for their natural weathering characteristics.

Detailing of the copper facades is almost rustic in character.

The expanded metal was simply folded around an aluminium frame, forming panels that were then directly screwed onto the substructure. The expanded copper also forms an external handrail with integrated LED strip lighting, as well as sliding window shutters on the timber facade. The material language continues inside, including expanded copper staircase ballustrading and entrance door cladding.

Photo: Christoph Theurer

Architect: MHM architects, Vienna Copper Installer: Lendorfer Schmiede Copper Product: TECU® Classic_mesh

10 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 11

Photo: © paul ott photografiert

COPPER AND TIMBER SHORELINE

by Chris Hodson This cleverly designed boathouse on the shore of Austria’s Millstätter See lake divides land and water with its rigorous use of materials. Over the lake, the simple box form is clad in varying width horizontal slats of Siberian larch. At the lower level, folding door elements are integrated within the facades, doubling-up as access decks when open to reveal the boat store and other outside activity areas. The land-side is clearly defined by a veil of expanded copper panels. Both materials were selected for their natural weathering characteristics.

Detailing of the copper facades is almost rustic in character.

The expanded metal was simply folded around an aluminium frame, forming panels that were then directly screwed onto the substructure. The expanded copper also forms an external handrail with integrated LED strip lighting, as well as sliding window shutters on the timber facade. The material language continues inside, including expanded copper staircase ballustrading and entrance door cladding.

Photo: Christoph Theurer

Architect: MHM architects, Vienna Copper Installer: Lendorfer Schmiede Copper Product: TECU® Classic_mesh

10 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 11

COPPER AND TIMBER NATURE

The building form is inspired by the eternal creative force of the glacier: how it breaks its way through terrains or retreats, then carves new, ever changing natural wonders into the landscape. These creations provide models for the spaces and forms found in the building.

Defined by an X-shaped plan, the building is divided into three parts so that it can be utilized in different ways, depending on the season. Its main ‘exhibitions and education’ axis is raised above both sides and creates a framework for an exhibition space and a library. This axis rises up from a ‘Rock Foundation’ like a living and ever changing glacier. The Rock Foundation, or service axis, crosses the exhibition axis and houses a café and restrooms in addition to staff facilities.

Weaving through the two axes is the information path, terminating in an outdoor amphitheatre.

Another visitor centre - this time in Iceland and described here by ARKÍS ARCHITECTS - is also highly sculptural but draws its inspiration directly from a dramatic natural landscape.

Snæfellsstofa Visitor Centre communicates the dignity of the surrounding nature and is closely connected to its immediate surroundings. Its unique appearance and location attracts visitors for indoor and outdoor activities. It is intentionally positioned at a pronounced change in elevation, so that the building gently glides out over the terrain. Its location was selected to ensure shelter from winds, ample daylight and mountain views.

12 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 13

COPPER AND TIMBER NATURE

The building form is inspired by the eternal creative force of the glacier: how it breaks its way through terrains or retreats, then carves new, ever changing natural wonders into the landscape. These creations provide models for the spaces and forms found in the building.

Defined by an X-shaped plan, the building is divided into three parts so that it can be utilized in different ways, depending on the season. Its main ‘exhibitions and education’ axis is raised above both sides and creates a framework for an exhibition space and a library. This axis rises up from a ‘Rock Foundation’ like a living and ever changing glacier. The Rock Foundation, or service axis, crosses the exhibition axis and houses a café and restrooms in addition to staff facilities.

Weaving through the two axes is the information path, terminating in an outdoor amphitheatre.

Another visitor centre - this time in Iceland and described here by ARKÍS ARCHITECTS - is also highly sculptural but draws its inspiration directly from a dramatic natural landscape.

Snæfellsstofa Visitor Centre communicates the dignity of the surrounding nature and is closely connected to its immediate surroundings. Its unique appearance and location attracts visitors for indoor and outdoor activities. It is intentionally positioned at a pronounced change in elevation, so that the building gently glides out over the terrain. Its location was selected to ensure shelter from winds, ample daylight and mountain views.

12 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 13

01 02 03 04 05 06 07

Wooden terrace Entrance Foyer Coffee Shop / Library Meeting area Staff coffee

08 09 10 11 12 13 14

Office Office Staff entrance Staff lavatory Staff hallway Exhibition computers Exhibition area

15 16 17 18 19 20 21

Wooden terrace Kitchen Hallway Lavatories Accessible lavatory Storage Wooden terrace

North

05

glacier

01 02

03

06

21

20

19

16

18 17

15

14 COPPER ARCHITECTURE FORUM 38/2015

08

09

12 13

04

rock rock

07

14

10

11

ACCESSIBILITY AND SUSTAINABILITY The building stands alone and vehicles are kept to the side and screened by planting and landscaping walls. Visitors walk up to the building, much like climbers experiencing the glacier’s grandeur. Enjoyment of the exterior spaces is encouraged, focused on accessibility and universal design.

Pedestrian paths, ramps and decks are built from local wood and their forms steer the approach of visitors up to the building. Staff facilities such as workshop, garage and technical rooms are located so that they are not visible from the approach.

A clear and straightforward palette of largely local materials was chosen for the building including larch boarding, turf roof and landscaping walls of rock. The nearby forest will become apparent in the building’s texture.

The Rock Foundation is in situ concrete with insulation and wood board texture both inside and out. In addition, larch panels break up the concrete walls internally and externally.

The exhibition and education axis, the ‘Ice Stream’, is a timber framed and clad in dark-brown pre-oxidised copper with timber inside. Crossing and connecting the two axes is the information path.

The plan form and generous ceiling heights allow for permanent exhibitions in parts of the exhibition space and temporary exhibitions in other parts. Spaces can easily be combined and connected, both indoor and outdoor. For example, the meeting room and central hall can be opened up to the external amphitheatre, as can the café onto the exterior deck. Indoor and outdoor lighting is informed by the building’s location and designed to minimize light pollution, while maximizing use of daylight. The visitor centre has been designed with special emphasis on sustainable design and is undergoing BREEAM assessment.

Architect: ARKÍS ARCHITECTS Copper Installer: Sjörnublikk Photos: Sigurgeir Sigurjónsson

COPPERCONCEPT.ORG 15

01 02 03 04 05 06 07

Wooden terrace Entrance Foyer Coffee Shop / Library Meeting area Staff coffee

08 09 10 11 12 13 14

Office Office Staff entrance Staff lavatory Staff hallway Exhibition computers Exhibition area

15 16 17 18 19 20 21

Wooden terrace Kitchen Hallway Lavatories Accessible lavatory Storage Wooden terrace

North

05

glacier

01 02

03

06

21

20

19

16

18 17

15

14 COPPER ARCHITECTURE FORUM 38/2015

08

09

12 13

04

rock rock

07

14

10

11

ACCESSIBILITY AND SUSTAINABILITY The building stands alone and vehicles are kept to the side and screened by planting and landscaping walls. Visitors walk up to the building, much like climbers experiencing the glacier’s grandeur. Enjoyment of the exterior spaces is encouraged, focused on accessibility and universal design.

Pedestrian paths, ramps and decks are built from local wood and their forms steer the approach of visitors up to the building. Staff facilities such as workshop, garage and technical rooms are located so that they are not visible from the approach.

A clear and straightforward palette of largely local materials was chosen for the building including larch boarding, turf roof and landscaping walls of rock. The nearby forest will become apparent in the building’s texture.

The Rock Foundation is in situ concrete with insulation and wood board texture both inside and out. In addition, larch panels break up the concrete walls internally and externally.

The exhibition and education axis, the ‘Ice Stream’, is a timber framed and clad in dark-brown pre-oxidised copper with timber inside. Crossing and connecting the two axes is the information path.

The plan form and generous ceiling heights allow for permanent exhibitions in parts of the exhibition space and temporary exhibitions in other parts. Spaces can easily be combined and connected, both indoor and outdoor. For example, the meeting room and central hall can be opened up to the external amphitheatre, as can the café onto the exterior deck. Indoor and outdoor lighting is informed by the building’s location and designed to minimize light pollution, while maximizing use of daylight. The visitor centre has been designed with special emphasis on sustainable design and is undergoing BREEAM assessment.

Architect: ARKÍS ARCHITECTS Copper Installer: Sjörnublikk Photos: Sigurgeir Sigurjónsson

COPPERCONCEPT.ORG 15

WRAP MUSIC Basalt Architecture discuss their new Paris Conservatoire Claude Debussy, defined by its external cloak of perforated copper which comes to life with motorised, folding brise soleil shutters.

Located between two high-rise buildings, the conservatory stands at the interface between architectural scripts linked to the city’s built heritage on the edge of the 17th arrondissement. To the south, Haussmann style buildings look across at social housing of a more recent period.

The new music school is located strategically, as the 17th arrondissement’s history is closely linked with French music, and building this new edifice has to be worthy of this past.

It is also on the rue de Courcelles, an important corridor into the city with its sight-line extending from the Boulevard Périphérique ring-road, between two architectural eras and styles. And it acts as a catalyst for a new building fringe on the rue de Courcelles.

Aligned along the rue de Courcelles, the project is an oscillation from down to up through the play of external surfaces. It sends a strong signal through the city, a 20-metre-high landmark within a green alley dominated by vegetation. Visible from the Périphérique, it is identified by its architectural treatment, setting it apart from the landscape of publicity that predominates along the Parisian ring-road.

“Given its appearance and location, it is in constant dialogue with the city.”

16 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 17

WRAP MUSIC Basalt Architecture discuss their new Paris Conservatoire Claude Debussy, defined by its external cloak of perforated copper which comes to life with motorised, folding brise soleil shutters.

Located between two high-rise buildings, the conservatory stands at the interface between architectural scripts linked to the city’s built heritage on the edge of the 17th arrondissement. To the south, Haussmann style buildings look across at social housing of a more recent period.

The new music school is located strategically, as the 17th arrondissement’s history is closely linked with French music, and building this new edifice has to be worthy of this past.

It is also on the rue de Courcelles, an important corridor into the city with its sight-line extending from the Boulevard Périphérique ring-road, between two architectural eras and styles. And it acts as a catalyst for a new building fringe on the rue de Courcelles.

Aligned along the rue de Courcelles, the project is an oscillation from down to up through the play of external surfaces. It sends a strong signal through the city, a 20-metre-high landmark within a green alley dominated by vegetation. Visible from the Périphérique, it is identified by its architectural treatment, setting it apart from the landscape of publicity that predominates along the Parisian ring-road.

“Given its appearance and location, it is in constant dialogue with the city.”

16 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 17

PLEATED SKIN OF COPPER The dance studios in the upper floors, signalled by their expansive windows, stand out from the city with a dedicated volume that responds to the apartment buildings to the north. On the other side to the south, the building’s pleated skin of perforated copper creates a dialogue with the sturdy architecture of the classic Haussmann-style buildings.

Our project was designed from the inside out; we conceived the conservatory as a place for exchange and emulation - a crossroads of practices. This is the idea that drove the project, from the auditorium at its heart to the music rooms.

A place where people play, learn, dance and create. Sounds and movement emerge from this swirl of activities, this school of practice.

Reflecting these activities, the building also comes to life: a skin perforated by the beat of the melody that emerges and takes shape in the outer walls. The script is there with the surfaces folding and undulating in the light and the beat of the perforations that enliven it by day and by night.

The interior and exterior volumes shimmer and move, reinforced by the play of passageways and aerial walkways; the materials sometimes reflecting, sometimes absorbing the light like the superb acoustics of the place. Although the exterior volume is intended to be monolithic, it is wrapped with folds – much like a Christo installation – and we have sought to dematerialise the core interior space to render it impalpable and vital.

Dance studio Music room Reception desk

Music room Auditorium / Concert hall

SECTION

Dance studio Computer lab C.A.M.

Concert hall

Dance studio

Singing room

Music room

Control room

Dance studio

Drama classes

Organ room Music room

3RD FLOOR

1ST FLOOR

Orchestra hall

Music appreciation workshop

Music classes

Concert hall

Music classes

Jazz hall Administration Drum room GROUND FLOOR

Reception desk

Music classes

2ND FLOOR Architect: Basalt Architecture Copper Installer: Antonangeli SA Copper Product: TECU® Classic Photos: Basalt Architecture architects / Sergio Grazzia

18 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 19

PLEATED SKIN OF COPPER The dance studios in the upper floors, signalled by their expansive windows, stand out from the city with a dedicated volume that responds to the apartment buildings to the north. On the other side to the south, the building’s pleated skin of perforated copper creates a dialogue with the sturdy architecture of the classic Haussmann-style buildings.

Our project was designed from the inside out; we conceived the conservatory as a place for exchange and emulation - a crossroads of practices. This is the idea that drove the project, from the auditorium at its heart to the music rooms.

A place where people play, learn, dance and create. Sounds and movement emerge from this swirl of activities, this school of practice.

Reflecting these activities, the building also comes to life: a skin perforated by the beat of the melody that emerges and takes shape in the outer walls. The script is there with the surfaces folding and undulating in the light and the beat of the perforations that enliven it by day and by night.

The interior and exterior volumes shimmer and move, reinforced by the play of passageways and aerial walkways; the materials sometimes reflecting, sometimes absorbing the light like the superb acoustics of the place. Although the exterior volume is intended to be monolithic, it is wrapped with folds – much like a Christo installation – and we have sought to dematerialise the core interior space to render it impalpable and vital.

Dance studio Music room Reception desk

Music room Auditorium / Concert hall

SECTION

Dance studio Computer lab C.A.M.

Concert hall

Dance studio

Singing room

Music room

Control room

Dance studio

Drama classes

Organ room Music room

3RD FLOOR

1ST FLOOR

Orchestra hall

Music appreciation workshop

Music classes

Concert hall

Music classes

Jazz hall Administration Drum room GROUND FLOOR

Reception desk

Music classes

2ND FLOOR Architect: Basalt Architecture Copper Installer: Antonangeli SA Copper Product: TECU® Classic Photos: Basalt Architecture architects / Sergio Grazzia

18 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 19

What you see here is the remarkable openable roof of the new Gdansk Shakespearean Theatre in Poland - two wings of pre-patinated copper turning skywards from a massive, black brick base. Renato Rizzi tells us more about his competition-winning design (executed in partnership with Pro.Tec.O.).

Two fundamental assumptions converge in the project: historical nature and political-cultural nature. Historically, the Baltic city had already known at the beginning of the seventeenth century the wooden building of the Elizabethan Theatre. About four centuries later, the new theatre is built in the same place but in a completely different urban and landscape context, restarting from the archaeological traces found of that far away presence.

Politically, in 2004 Poland joined the European Union – in the same year as the international competition for the design of the new Elizabethan Theatre. It was as if the new theatre had to represent on the stage of Gdansk the reversal of the political horizon.

The theatre building is divided formally and functionally into three main parts: the walkway around the outer edges, the theatre itself and the administrative area including offices, restaurant and dressing rooms.

Photo: Dekar

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies 6 metres above the entrance level. This height offers a new viewpoint over the historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways from the theatre and pedestrian links with all levels of the complex, including the basement, five metres below level ground.

REACHING FOR THE SKY 20 COPPER ARCHITECTURE FORUM 38/2015

About the architect - Professor Renato Rizzi After graduating in Venice, Renato Rizzi worked with Peter Eisenman in the United States for several years before returning to Italy. He is involved with teaching, research and design as an integrated approach to architecture, and has won numerous awards and competitions.

COPPERCONCEPT.ORG 21

What you see here is the remarkable openable roof of the new Gdansk Shakespearean Theatre in Poland - two wings of pre-patinated copper turning skywards from a massive, black brick base. Renato Rizzi tells us more about his competition-winning design (executed in partnership with Pro.Tec.O.).

Two fundamental assumptions converge in the project: historical nature and political-cultural nature. Historically, the Baltic city had already known at the beginning of the seventeenth century the wooden building of the Elizabethan Theatre. About four centuries later, the new theatre is built in the same place but in a completely different urban and landscape context, restarting from the archaeological traces found of that far away presence.

Politically, in 2004 Poland joined the European Union – in the same year as the international competition for the design of the new Elizabethan Theatre. It was as if the new theatre had to represent on the stage of Gdansk the reversal of the political horizon.

The theatre building is divided formally and functionally into three main parts: the walkway around the outer edges, the theatre itself and the administrative area including offices, restaurant and dressing rooms.

Photo: Dekar

The outer edges are public passageways leading around the whole complex. This new pedestrian urban platform lies 6 metres above the entrance level. This height offers a new viewpoint over the historic and modern city with its contrasts and compositional counterpoints. Functionally, the edges ensure escape ways from the theatre and pedestrian links with all levels of the complex, including the basement, five metres below level ground.

REACHING FOR THE SKY 20 COPPER ARCHITECTURE FORUM 38/2015

About the architect - Professor Renato Rizzi After graduating in Venice, Renato Rizzi worked with Peter Eisenman in the United States for several years before returning to Italy. He is involved with teaching, research and design as an integrated approach to architecture, and has won numerous awards and competitions.

COPPERCONCEPT.ORG 21

“The ‘arms’ of the theatre are raised up to the sky in invocation, for a prayer, as a gesture of hope and grace.”

TRANSVERSE SECTION

ENTRY LEVEL

OPENABLE ROOF On the outside, the theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, and an openable roof. From the volume’s profile, two very distinct parts emerge. The first belongs to the Elizabethan theatre and sets the height of the building at 12 metres. The second belongs to the 18 metre high scenic tower. Technical, systems related and symbolic requirements make it the highest panoramic point.

22 COPPER ARCHITECTURE FORUM 38/2015

When the theatre roof is open, the view from the tower includes the interior of the theatre. Masonry ribs in the outer walls characterise the volumes of the theatre and scenic tower. On the outside, they indicate the rhythm of the modular indoor structure. They are needed to absorb the pressure that the open “wings” of the roof exert on the walls below in order to counteract the force of northerly winds.

The openable roof derives from typological and symbolic needs. With its wings opened straight up, the edges reach a height of 24 metres, concluding the vertical progression of levels (6, 12, 18, 24m). In plan, the whole assumes the figure of a diapason or tuning fork with the main axis oriented eastwest. The scenic tower transversely divides the theatre area from the administrative one. Its central position restricts the pathways of the outer pedestrian edges.

Situated within the perimeter of the diapason (3.6 metres thick) are all the horizontal and vertical walkways. This figuratively autonomous part is set back from the outer edges precisely in order to express the spatial hierarchy between the different formal systems.

COPPER CONTEXT Selection of the material for the roof wings - green prepatinated copper - was always guided by the nearby Cathedral of St. Mary: a mountain of dark bricks in the historic city centre, from which rise towers with their spires. Tall and thin, and copper clad, the spires appear like sensitive antennas seeking out even the faintest theological signal transmitted to the world. By the same analogy, the open wings of the theatre act like radar, with their rhomboid structures as receivers not so much of magnetic fields but rather the infinite spiritual shades of our inner singularity.

Architect: Renato Rizzi in partnership with Pro.Tec.O. Copper Installer: NDI Copper Product: Nordic GreenTM Photos: Matteo Piazza - unless marked otherwise

COPPERCONCEPT.ORG 23

“The ‘arms’ of the theatre are raised up to the sky in invocation, for a prayer, as a gesture of hope and grace.”

TRANSVERSE SECTION

ENTRY LEVEL

OPENABLE ROOF On the outside, the theatre’s silhouette is characterised by three general aspects: volumes, masonry ribs, and an openable roof. From the volume’s profile, two very distinct parts emerge. The first belongs to the Elizabethan theatre and sets the height of the building at 12 metres. The second belongs to the 18 metre high scenic tower. Technical, systems related and symbolic requirements make it the highest panoramic point.

22 COPPER ARCHITECTURE FORUM 38/2015

When the theatre roof is open, the view from the tower includes the interior of the theatre. Masonry ribs in the outer walls characterise the volumes of the theatre and scenic tower. On the outside, they indicate the rhythm of the modular indoor structure. They are needed to absorb the pressure that the open “wings” of the roof exert on the walls below in order to counteract the force of northerly winds.

The openable roof derives from typological and symbolic needs. With its wings opened straight up, the edges reach a height of 24 metres, concluding the vertical progression of levels (6, 12, 18, 24m). In plan, the whole assumes the figure of a diapason or tuning fork with the main axis oriented eastwest. The scenic tower transversely divides the theatre area from the administrative one. Its central position restricts the pathways of the outer pedestrian edges.

Situated within the perimeter of the diapason (3.6 metres thick) are all the horizontal and vertical walkways. This figuratively autonomous part is set back from the outer edges precisely in order to express the spatial hierarchy between the different formal systems.

COPPER CONTEXT Selection of the material for the roof wings - green prepatinated copper - was always guided by the nearby Cathedral of St. Mary: a mountain of dark bricks in the historic city centre, from which rise towers with their spires. Tall and thin, and copper clad, the spires appear like sensitive antennas seeking out even the faintest theological signal transmitted to the world. By the same analogy, the open wings of the theatre act like radar, with their rhomboid structures as receivers not so much of magnetic fields but rather the infinite spiritual shades of our inner singularity.

Architect: Renato Rizzi in partnership with Pro.Tec.O. Copper Installer: NDI Copper Product: Nordic GreenTM Photos: Matteo Piazza - unless marked otherwise

COPPERCONCEPT.ORG 23

COPPER BOX 24 COPPER ARCHITECTURE FORUM 38/2015

This deceptively simple copper and glass box in Villach, Austria is an elegant and sophisticated interpretation of the sports hall typology. Dietger Wissounig Architekten describe their awardwinning design.

The new sports hall is used by the adjoining secondary school, as well as various sports clubs, and is suitable for international ball game tournaments. The elongated structure runs almost parallel to the street which gives it a strong public presence, shields the outdoor sports ground behind it and retains existing parking spaces on the northwest side.

At the front of the building is the main entrance with a small forecourt. A row of trees and additional parking spaces serve as a buffer zone to the busy street. The three-storey building is sunk four metres below street level in order to create a direct underground access to the school and also to give the main hall a total height of 11.8 metres in a form that meets urban development requirements.

COPPERCONCEPT.ORG 25

COPPER BOX 24 COPPER ARCHITECTURE FORUM 38/2015

This deceptively simple copper and glass box in Villach, Austria is an elegant and sophisticated interpretation of the sports hall typology. Dietger Wissounig Architekten describe their awardwinning design.

The new sports hall is used by the adjoining secondary school, as well as various sports clubs, and is suitable for international ball game tournaments. The elongated structure runs almost parallel to the street which gives it a strong public presence, shields the outdoor sports ground behind it and retains existing parking spaces on the northwest side.

At the front of the building is the main entrance with a small forecourt. A row of trees and additional parking spaces serve as a buffer zone to the busy street. The three-storey building is sunk four metres below street level in order to create a direct underground access to the school and also to give the main hall a total height of 11.8 metres in a form that meets urban development requirements.

COPPERCONCEPT.ORG 25

CROSS SECTION

Photo: Jasmin Schuller

ELEVATION

GROUND FLOOR

Architect: Dietger Wissounig Architekten Copper Installer: Reinhard Eder Blechbau Copper Product: TECU® Classic_punch Photos: © paul ott photografiert - unless marked otherwise

BASEMENT

LIGHT COLOURED INTERIOR Contrasting with the transparent copper façade on a black background, the interior is dominated by light colours: the floor and walls of the gym are oak-paneled, while all other surfaces - even the floors - are cream white. This creates a friendly atmosphere where sports equipment and the lighting system on the underside of the ceilings remain in the background. The entire ventilation technology is integrated into the walls.

Geothermal preheating of supply air, a heat recovery ventilation system and a corresponding insulation ensure high levels of energy efficiency, resulting in an annual heating demand of 16.9 kWh/m².

26 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 27

CROSS SECTION

Photo: Jasmin Schuller

ELEVATION

GROUND FLOOR

Architect: Dietger Wissounig Architekten Copper Installer: Reinhard Eder Blechbau Copper Product: TECU® Classic_punch Photos: © paul ott photografiert - unless marked otherwise

BASEMENT

LIGHT COLOURED INTERIOR Contrasting with the transparent copper façade on a black background, the interior is dominated by light colours: the floor and walls of the gym are oak-paneled, while all other surfaces - even the floors - are cream white. This creates a friendly atmosphere where sports equipment and the lighting system on the underside of the ceilings remain in the background. The entire ventilation technology is integrated into the walls.

Geothermal preheating of supply air, a heat recovery ventilation system and a corresponding insulation ensure high levels of energy efficiency, resulting in an annual heating demand of 16.9 kWh/m².

26 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 27

CIVIC PRIDE This beautifully executed municipal building in Lyon, France - for the safekeeping of the Rhône Department’s history - is an assured reconciliation between the technical demands of document conservation and a cultural drive for public accessibility, described by its designers gautier+conquêt.

Little by little, France's departmental authorities are rediscovering their heritage and, consequently, their archives.

Archives represent the collective memory of a department and the buildings housing them become showcases. We have moved away from technical and empirical archiving towards a more publicly accessible methodology, located in the city centre and with user-friendly environments.

The building must also reconcile architectural considerations with the storage of documents kept in protective conditions.

Here, the challenge is to enable air renewal while maintaining good hygrothermic stability and minimising energy consumption.

The new building must also express the heritage of the city, accommodate the public and encourage them to visit, and promote knowledge. In short, it must form part of a cultural and urban approach. Locating the project in a currently evolving district, close to the universities and easily accessible by tram, kept this approach in mind. In particular, the project will become part of a ‘cultural corridor’ with flourishing public and cultural facilities helping to enrich the district and increase its population. The specific site between an up-and-coming urban boulevard and the highspeed railway line connecting Lyon with Europe – places it very much in the spotlight.

“Collect, classify, communicate, conserve: the four functions of an archive”

28 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 29

CIVIC PRIDE This beautifully executed municipal building in Lyon, France - for the safekeeping of the Rhône Department’s history - is an assured reconciliation between the technical demands of document conservation and a cultural drive for public accessibility, described by its designers gautier+conquêt.

Little by little, France's departmental authorities are rediscovering their heritage and, consequently, their archives.

Archives represent the collective memory of a department and the buildings housing them become showcases. We have moved away from technical and empirical archiving towards a more publicly accessible methodology, located in the city centre and with user-friendly environments.

The building must also reconcile architectural considerations with the storage of documents kept in protective conditions.

Here, the challenge is to enable air renewal while maintaining good hygrothermic stability and minimising energy consumption.

The new building must also express the heritage of the city, accommodate the public and encourage them to visit, and promote knowledge. In short, it must form part of a cultural and urban approach. Locating the project in a currently evolving district, close to the universities and easily accessible by tram, kept this approach in mind. In particular, the project will become part of a ‘cultural corridor’ with flourishing public and cultural facilities helping to enrich the district and increase its population. The specific site between an up-and-coming urban boulevard and the highspeed railway line connecting Lyon with Europe – places it very much in the spotlight.

“Collect, classify, communicate, conserve: the four functions of an archive”

28 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG 29

COPPER IN DETAIL

HIERARCHY OF BOXES

ACTIVE FACADES

The public entrance is at street level, with a dramatic raised central cube offering access to visitors. The spacious reading room, located between two cubes, is unencumbered by the structure of the upper levels and enjoys plenty of natural light, engendering respect and silence. Archiving calls for the careful and skilled ‘boxing up’ of documents. The boxes should be well designed and attractive, signalling by their very nature the value of their contents. Our city-scale project comprises three such boxes, containing another layer of boxes - the archive rooms - themselves encompassing yet smaller boxes - the archives.

The external skin plays an active role, based on the principles of Thermos flasks. A lightweight insulating façade, clad with the golden copper alloy panels, is installed around 80 cm from the structural concrete walls, creating an empty space or plenum. This enables slow circulation of the air ventilating the archive rooms and ensures excellent protection in terms of light, hygrothermics and security.

The building ‘boxes’ are therefore made of valuable materials: stone, copper and glass. The stone base is split black granite in horizontal layers. The central spaces containing the archives are clad with golden copper alloy sheets, embossed to add texture. This durable alloy will retain its colour over time. The offices form the crown of the building, sheltered by a ventilated double-skin glass façade, like a protective lid on a precious treasure casket.

Ventilation

Administration

Administration levels Double skin, single glazing steel subframe Sun protection Horizontal venetian blinds Offices Low emission double glazing Aluminium framing with thermal break Opening panels for natural ventilation

Dual flow air system with heat recovery Reversible chilled beam ceiling terminal High efficiency lighting

Administration 2

3

Ventilation controlled by centralised energy management system

4

7TH FLOOR

ARCHIVE LEVEL

GROUND FLOOR

1 2 3 4 5

1 Archive storage 2 Sorting area 3 Intern office

1 2 3 4 5 6

Offices Plant room Break room Meeting room Workshops

Reading room Entrance and reception School group area Auditorium Administration Service and delivery area

1

5 7TH FLOOR

Document storage Air plenum

2

Ventilation grill with fire damper 3

Document storage Load bearing reinforced concrete wall

1

Wall complex Document conservation area Copper aluminium panel

TYPICAL ARCHIVE LEVEL

External steel panel Thermal insulation Internal skin steel decking 5

6

1

2

Document storage

3 4

SECTION THROUGH THE LECTURE ROOM

30 COPPER ARCHITECTURE FORUM 38/2015

GROUND FLOOR

Atmospheric treatment of the document conservation rooms Air supply from the perimeter plenum Temperature and hygrometry controlled by an all air system with recycling, completed by air handling units with a dual flow air system and heat recovery

Architect: gautier+conquet architects et paysagistes Subcontractors: Dumetier Design / Séquences Architecture Copper Installers: Alain Le NY (copper roofing); SMAC (copper façades) Copper Products: TECU® Gold / Nordic RoyalTM Photos: Renaud Araud

COPPERCONCEPT.ORG 31

COPPER IN DETAIL

HIERARCHY OF BOXES

ACTIVE FACADES

The public entrance is at street level, with a dramatic raised central cube offering access to visitors. The spacious reading room, located between two cubes, is unencumbered by the structure of the upper levels and enjoys plenty of natural light, engendering respect and silence. Archiving calls for the careful and skilled ‘boxing up’ of documents. The boxes should be well designed and attractive, signalling by their very nature the value of their contents. Our city-scale project comprises three such boxes, containing another layer of boxes - the archive rooms - themselves encompassing yet smaller boxes - the archives.

The external skin plays an active role, based on the principles of Thermos flasks. A lightweight insulating façade, clad with the golden copper alloy panels, is installed around 80 cm from the structural concrete walls, creating an empty space or plenum. This enables slow circulation of the air ventilating the archive rooms and ensures excellent protection in terms of light, hygrothermics and security.

The building ‘boxes’ are therefore made of valuable materials: stone, copper and glass. The stone base is split black granite in horizontal layers. The central spaces containing the archives are clad with golden copper alloy sheets, embossed to add texture. This durable alloy will retain its colour over time. The offices form the crown of the building, sheltered by a ventilated double-skin glass façade, like a protective lid on a precious treasure casket.

Ventilation

Administration

Administration levels Double skin, single glazing steel subframe Sun protection Horizontal venetian blinds Offices Low emission double glazing Aluminium framing with thermal break Opening panels for natural ventilation

Dual flow air system with heat recovery Reversible chilled beam ceiling terminal High efficiency lighting

Administration 2

3

Ventilation controlled by centralised energy management system

4

7TH FLOOR

ARCHIVE LEVEL

GROUND FLOOR

1 2 3 4 5

1 Archive storage 2 Sorting area 3 Intern office

1 2 3 4 5 6

Offices Plant room Break room Meeting room Workshops

Reading room Entrance and reception School group area Auditorium Administration Service and delivery area

1

5 7TH FLOOR

Document storage Air plenum

2

Ventilation grill with fire damper 3

Document storage Load bearing reinforced concrete wall

1

Wall complex Document conservation area Copper aluminium panel

TYPICAL ARCHIVE LEVEL

External steel panel Thermal insulation Internal skin steel decking 5

6

1

2

Document storage

3 4

SECTION THROUGH THE LECTURE ROOM

30 COPPER ARCHITECTURE FORUM 38/2015

GROUND FLOOR

Atmospheric treatment of the document conservation rooms Air supply from the perimeter plenum Temperature and hygrometry controlled by an all air system with recycling, completed by air handling units with a dual flow air system and heat recovery

Architect: gautier+conquet architects et paysagistes Subcontractors: Dumetier Design / Séquences Architecture Copper Installers: Alain Le NY (copper roofing); SMAC (copper façades) Copper Products: TECU® Gold / Nordic RoyalTM Photos: Renaud Araud

COPPERCONCEPT.ORG 31

5

4

3 2

1

GROUND FLOOR 1 Youth centre 2 Multipurpose hall

3 Hub 4 Cafe / Bar

5 Screening room

A HOUSE WITH MANY DOORS Brass is a defining element - both inside and out - for this new London cultural and community complex, described here by architects Lifschutz Davidson Sandilands.

The JW3 is a new, award-winning community centre to serve the Jewish population in London. It aims to bring together the organisation’s many and diverse activities into a single building - a meeting point for Jews and non-Jews alike. The proposition of “a house with many doors” neatly sums up a central challenge of JW3: to create an attractive place for all Londoners interested in creativity; a building that is ‘cool’ irrespective of whether it is used by grandparents or grandchildren.

32 COPPER ARCHITECTURE FORUM 38/2015

The response was to equip the building with spaces for multiple activities, programmed for different audiences at different times – whether music, dance, art, writing, theatre or debate. Uniting these various spaces and activities are the ground floor piazza, café and restaurant – a forum for all to mix and to meet. Fourteen apartments in a ‘campanile’ tower provided welcome revenue for the charity, and have impressive views over north London.

The building has been designed to be easy to navigate, accessible to all, and very environmentally friendly, with natural ventilation, a brown roof to encourage biodiversity, rainwater harvesting and solar panels. JW3 has achieved a ‘BREEAM Excellent’ rating.

PATINATED BRASS JW3 uses a restrained palette of materials, with patinated brass bringing a warmth to the exterior of the building where it contrasts with cast stone and brickwork – all durable materials that are common to the area and found in London’s most appealing civic buildings. This is continued internally where brass details have been used in tactile locations such as the ironmongery, handrails and the main bar.

Careful consideration was put into the finish of the brass throughout the building, with particular attention to the external cladding. A project-specific finish was developed with Italian specialists, utilising a combination of chemical patination for texture and a wax topcoat to enhance the depth of colour.

Architect: Lifschutz Davidson Sandilands Copper Installer: Colorminium Copper Product: TECU® Brass Photos: KME

COPPERCONCEPT.ORG 33

5

4

3 2

1

GROUND FLOOR 1 Youth centre 2 Multipurpose hall

3 Hub 4 Cafe / Bar

5 Screening room

A HOUSE WITH MANY DOORS Brass is a defining element - both inside and out - for this new London cultural and community complex, described here by architects Lifschutz Davidson Sandilands.

The JW3 is a new, award-winning community centre to serve the Jewish population in London. It aims to bring together the organisation’s many and diverse activities into a single building - a meeting point for Jews and non-Jews alike. The proposition of “a house with many doors” neatly sums up a central challenge of JW3: to create an attractive place for all Londoners interested in creativity; a building that is ‘cool’ irrespective of whether it is used by grandparents or grandchildren.

32 COPPER ARCHITECTURE FORUM 38/2015

The response was to equip the building with spaces for multiple activities, programmed for different audiences at different times – whether music, dance, art, writing, theatre or debate. Uniting these various spaces and activities are the ground floor piazza, café and restaurant – a forum for all to mix and to meet. Fourteen apartments in a ‘campanile’ tower provided welcome revenue for the charity, and have impressive views over north London.

The building has been designed to be easy to navigate, accessible to all, and very environmentally friendly, with natural ventilation, a brown roof to encourage biodiversity, rainwater harvesting and solar panels. JW3 has achieved a ‘BREEAM Excellent’ rating.

PATINATED BRASS JW3 uses a restrained palette of materials, with patinated brass bringing a warmth to the exterior of the building where it contrasts with cast stone and brickwork – all durable materials that are common to the area and found in London’s most appealing civic buildings. This is continued internally where brass details have been used in tactile locations such as the ironmongery, handrails and the main bar.

Careful consideration was put into the finish of the brass throughout the building, with particular attention to the external cladding. A project-specific finish was developed with Italian specialists, utilising a combination of chemical patination for texture and a wax topcoat to enhance the depth of colour.

Architect: Lifschutz Davidson Sandilands Copper Installer: Colorminium Copper Product: TECU® Brass Photos: KME

COPPERCONCEPT.ORG 33

COPPER & SUSTAINABILITY

“Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint”

ROOF PLAN

B

SUSTAINABLE LEARNING

Architect: Malcolm Fraser Architects Copper Installer: CLM Copper Product: Nordic RoyalTM Photos: Angus Bremner

Externally, each age group’s playroom is clearly identifiable as a welcoming, domestic – but also contemporary - form, creating a sense of belonging and ownership for each age group. The roof forms and some facades are clad in a golden copper alloy which gives a visual lightness and warmth while adding a presence appropriate to the historic university location.

The new building provides early-years education for over 100 children aged from six weeks to five years and has been designed to facilitate a ‘free-play’ concept, whilst ensuring the children are safe and easily supervised. It was conceived as a free-flowing series of interconnected spaces that could be opened-up or closed-off to suit the activities of the day, with the focus not solely being one playroom per age group, but a series of additional spaces - such as shared ‘messy’ and art rooms, a children’s kitchen, raised cosy mezzanine spaces for quieter times, and a music and reading room.

These are all connected at the heart of the building with a flexible welcome and circulation space, used for many functions including dining and coat storage.

These three pavilions are then linked together by a single storey building, with large rooflight views to the tree canopy above. The desire to respect the façade of the adjacent ‘listed’ Joseph Black chemistry building led to a more compact footprint, with raised mezzanines for the children and a first floor area for offices, staff and a family room. The different trapezoidal roof forms of the pavilions reflect the varied internal spaces.

34 COPPER ARCHITECTURE FORUM 38/2015

B

The Arcadia Nursery is the first of two projects within the historic campuses of the University of Edinburgh designed by Malcolm Fraser Architects, characterised by a copper alloy and with a firm sustainability agenda in mind - as its designers explain.

A

A

LEVEL 00 PLAN

SECTION A-A

SECTION B-B

COPPERCONCEPT.ORG 35

COPPER & SUSTAINABILITY

“Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint”

ROOF PLAN

B

SUSTAINABLE LEARNING

Architect: Malcolm Fraser Architects Copper Installer: CLM Copper Product: Nordic RoyalTM Photos: Angus Bremner

Externally, each age group’s playroom is clearly identifiable as a welcoming, domestic – but also contemporary - form, creating a sense of belonging and ownership for each age group. The roof forms and some facades are clad in a golden copper alloy which gives a visual lightness and warmth while adding a presence appropriate to the historic university location.

The new building provides early-years education for over 100 children aged from six weeks to five years and has been designed to facilitate a ‘free-play’ concept, whilst ensuring the children are safe and easily supervised. It was conceived as a free-flowing series of interconnected spaces that could be opened-up or closed-off to suit the activities of the day, with the focus not solely being one playroom per age group, but a series of additional spaces - such as shared ‘messy’ and art rooms, a children’s kitchen, raised cosy mezzanine spaces for quieter times, and a music and reading room.

These are all connected at the heart of the building with a flexible welcome and circulation space, used for many functions including dining and coat storage.

These three pavilions are then linked together by a single storey building, with large rooflight views to the tree canopy above. The desire to respect the façade of the adjacent ‘listed’ Joseph Black chemistry building led to a more compact footprint, with raised mezzanines for the children and a first floor area for offices, staff and a family room. The different trapezoidal roof forms of the pavilions reflect the varied internal spaces.

34 COPPER ARCHITECTURE FORUM 38/2015

B

The Arcadia Nursery is the first of two projects within the historic campuses of the University of Edinburgh designed by Malcolm Fraser Architects, characterised by a copper alloy and with a firm sustainability agenda in mind - as its designers explain.

A

A

LEVEL 00 PLAN

SECTION A-A

SECTION B-B

COPPERCONCEPT.ORG 35

COPPER & SUSTAINABILITY

SUSTAINABILITY IN PRACTICE Along with a requirement to achieve a BREEAM Excellent rating, the client was keen from the outset to create a highly sustainable building. We also felt the building’s use leant itself as an educational tool in its own right, to teach children about the varying aspects of approaching life in a sustainable manner. It was also of foremost importance that a healthy, calm environment was created for the children. The cross-laminated timber structure provided the perfect combination of creating a warm, tactile interior, whilst also using a natural, sustainable product that could structurally achieve the clear roof volumes required to ensure the mezzanines spaces were not compromised.

The specification of all materials was carefully considered. Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint – criteria that the copper alloy easily met - whilst also creating a vapour-open, breathable building fabric with high air-tightness. This ensured that a high indoor air quality was achieved by minimising or eliminating products which emit low level toxicity. The design stage BREEAM assessment achieved a high score of 82.2%, with material and pollution sections achieving a 100% score.

COPPER FOR SUSTAINABLE BUILDINGS The BRE ‘Green Guide to Specification’ is a useful guide for assessing the sustainability of architectural materials and provides independent endorsement of the low environmental impact of both copper roofing and cladding.

It rates a wide range of complete building elements from ‘A+’ to ‘E’, using Life Cycle Assessment techniques.

Ratings form an important part of BREEAM and credits are available for using specifications for key building elements (e.g. external walls and roofs) with low embodied environmental impact. Various complete wall or roof buildups are considered, each including materials for structure, insulation, moisture control and finishes. All the copperfinished roofs and most copper wall cladding specifications included achieved A+ or A summary ratings. Even the few build-ups with lower ratings could be improved easily with replacement components, without affecting the copper skin itself.

Copper’s longevity is a major strength, resulting from its complex patination process that ensures extreme durability with no maintenance and resistance to corrosion in virtually any atmospheric conditions.

This topic is covered in more detail in Copper Architecture Forum 34 (pages 34-35), available from copperconcept.org

36 COPPER ARCHITECTURE FORUM 38/2015

CARBON INNOVATION WITH COPPER With the second of their projects for the University of Edinburgh, Malcolm Fraser Architects begin by focusing on sustainability.

As a world-class interdisciplinary research and teaching facility focused on key climate related challenges facing society, it was important that The Edinburgh Centre for Carbon Innovation (ECCI) demonstrated the highest sustainability credentials. It has been designed to achieve an exceptionally low energy demand, in particular given that it involves the refurbishment of an existing and protected historic building. ECCI has achieved BREEAM Outstanding at design stage. This is the first refurbished or ‘listed’ historic building to achieve a BREEAM Outstanding rating (with the construction stage confirmation awaited).

We need to focus on maintaining and upgrading our existing building stock before creating new. Significantly, ECCI is the reuse of an existing building in a historic city centre location.

It is possible - with careful consideration - to work with the historic fabric and provide a building which accommodates ‘current day’ user requirements, while acknowledging the importance of sustainable materials and low energy demand.

For example, the choice of façade material on the upper levels of new construction is bronze – an alloy of copper and tin. It is light in weight, which reduces demand on the structure and copper is a material which itself generally contains a high proportion of recycled material from scrap. It is also a durable and a recyclable material.

COPPERCONCEPT.ORG 37

COPPER & SUSTAINABILITY

SUSTAINABILITY IN PRACTICE Along with a requirement to achieve a BREEAM Excellent rating, the client was keen from the outset to create a highly sustainable building. We also felt the building’s use leant itself as an educational tool in its own right, to teach children about the varying aspects of approaching life in a sustainable manner. It was also of foremost importance that a healthy, calm environment was created for the children. The cross-laminated timber structure provided the perfect combination of creating a warm, tactile interior, whilst also using a natural, sustainable product that could structurally achieve the clear roof volumes required to ensure the mezzanines spaces were not compromised.

The specification of all materials was carefully considered. Materials were chosen that are renewable, have low embodied energy and a minimal carbon footprint – criteria that the copper alloy easily met - whilst also creating a vapour-open, breathable building fabric with high air-tightness. This ensured that a high indoor air quality was achieved by minimising or eliminating products which emit low level toxicity. The design stage BREEAM assessment achieved a high score of 82.2%, with material and pollution sections achieving a 100% score.

COPPER FOR SUSTAINABLE BUILDINGS The BRE ‘Green Guide to Specification’ is a useful guide for assessing the sustainability of architectural materials and provides independent endorsement of the low environmental impact of both copper roofing and cladding.

It rates a wide range of complete building elements from ‘A+’ to ‘E’, using Life Cycle Assessment techniques.

Ratings form an important part of BREEAM and credits are available for using specifications for key building elements (e.g. external walls and roofs) with low embodied environmental impact. Various complete wall or roof buildups are considered, each including materials for structure, insulation, moisture control and finishes. All the copperfinished roofs and most copper wall cladding specifications included achieved A+ or A summary ratings. Even the few build-ups with lower ratings could be improved easily with replacement components, without affecting the copper skin itself.

Copper’s longevity is a major strength, resulting from its complex patination process that ensures extreme durability with no maintenance and resistance to corrosion in virtually any atmospheric conditions.

This topic is covered in more detail in Copper Architecture Forum 34 (pages 34-35), available from copperconcept.org

36 COPPER ARCHITECTURE FORUM 38/2015

CARBON INNOVATION WITH COPPER With the second of their projects for the University of Edinburgh, Malcolm Fraser Architects begin by focusing on sustainability.

As a world-class interdisciplinary research and teaching facility focused on key climate related challenges facing society, it was important that The Edinburgh Centre for Carbon Innovation (ECCI) demonstrated the highest sustainability credentials. It has been designed to achieve an exceptionally low energy demand, in particular given that it involves the refurbishment of an existing and protected historic building. ECCI has achieved BREEAM Outstanding at design stage. This is the first refurbished or ‘listed’ historic building to achieve a BREEAM Outstanding rating (with the construction stage confirmation awaited).

We need to focus on maintaining and upgrading our existing building stock before creating new. Significantly, ECCI is the reuse of an existing building in a historic city centre location.

It is possible - with careful consideration - to work with the historic fabric and provide a building which accommodates ‘current day’ user requirements, while acknowledging the importance of sustainable materials and low energy demand.

For example, the choice of façade material on the upper levels of new construction is bronze – an alloy of copper and tin. It is light in weight, which reduces demand on the structure and copper is a material which itself generally contains a high proportion of recycled material from scrap. It is also a durable and a recyclable material.

COPPERCONCEPT.ORG 37

COPPER & SUSTAINABILITY

“This would be the first refurbished or ‘listed’ historic building to achieve the BREEAM Outstanding rating” BRONZE HEART The ECCI involved a major alteration and extension of the protected Old High School building, Infirmary Street. The brief included consideration of adjoining buildings and proposals to reinvigorate the land within the High School Yards, to the boundary of Infirmary Street at the front and the enclosed space of Surgeon’s Square to the rear. High School Yards has always been a significant architectural site and has gone through many incarnations since its beginnings as Blackfriars Monastery from 1230.

Due to the piecemeal fashion of the many changes that had occurred over the years, the existing building as a whole was lacking a sense of cohesion and its circulation was not clear. By removing the linking stair that connected the two significant front and rear buildings, it has been possible to create a generous central heart and circulation space. From this atrium, all accommodation spaces have a direct connection and their presence is visually legible. In response to the clients brief, this circulation space is a focus for interaction between a variety of building users and will provide informal break out space for small post graduate student groups, staff and businesses.

Bronze cladding defines the new intervention running through the building and uniting the historic parts. The accommodation spaces throughout the building have been reconfigured to provide well-proportioned and suitably sized spaces which can be used as flexibly as possible, as office, teaching or meeting areas.

Specific decisions were made to provide varying degrees of services for ventilation and IT within different spaces, so that the building, as a whole, can suit changes in the future and also cater on a day-to-day basis for a variety of events. The accommodation now includes refurbished teaching/seminar space, lecture/conferencing facilities; meeting rooms; staff offices; a Masters student hub; café and external landscaped areas.

Architect: Malcolm Fraser Architects Copper Product: TECU Bronze® Photos: Dave Morris Photography

Existing building arrangement with various additions to the Old High School made between 1830 - 1970

Link stair to be removed

ATRIUM CROSS-SECTION

New resolved connection between front and rear buildings; new Café to south and ancillary spaces to north

Massing of roofscape articulated

LEVEL 02/03 PLAN

38 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG COPPERCONCEPT.ORG 3939

COPPER & SUSTAINABILITY

“This would be the first refurbished or ‘listed’ historic building to achieve the BREEAM Outstanding rating” BRONZE HEART The ECCI involved a major alteration and extension of the protected Old High School building, Infirmary Street. The brief included consideration of adjoining buildings and proposals to reinvigorate the land within the High School Yards, to the boundary of Infirmary Street at the front and the enclosed space of Surgeon’s Square to the rear. High School Yards has always been a significant architectural site and has gone through many incarnations since its beginnings as Blackfriars Monastery from 1230.

Due to the piecemeal fashion of the many changes that had occurred over the years, the existing building as a whole was lacking a sense of cohesion and its circulation was not clear. By removing the linking stair that connected the two significant front and rear buildings, it has been possible to create a generous central heart and circulation space. From this atrium, all accommodation spaces have a direct connection and their presence is visually legible. In response to the clients brief, this circulation space is a focus for interaction between a variety of building users and will provide informal break out space for small post graduate student groups, staff and businesses.

Bronze cladding defines the new intervention running through the building and uniting the historic parts. The accommodation spaces throughout the building have been reconfigured to provide well-proportioned and suitably sized spaces which can be used as flexibly as possible, as office, teaching or meeting areas.

Specific decisions were made to provide varying degrees of services for ventilation and IT within different spaces, so that the building, as a whole, can suit changes in the future and also cater on a day-to-day basis for a variety of events. The accommodation now includes refurbished teaching/seminar space, lecture/conferencing facilities; meeting rooms; staff offices; a Masters student hub; café and external landscaped areas.

Architect: Malcolm Fraser Architects Copper Product: TECU Bronze® Photos: Dave Morris Photography

Existing building arrangement with various additions to the Old High School made between 1830 - 1970

Link stair to be removed

ATRIUM CROSS-SECTION

New resolved connection between front and rear buildings; new Café to south and ancillary spaces to north

Massing of roofscape articulated

LEVEL 02/03 PLAN

38 COPPER ARCHITECTURE FORUM 38/2015

COPPERCONCEPT.ORG COPPERCONCEPT.ORG 3939

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40 COPPER ARCHITECTURE FORUM 38/2015