COPPERA RC h it EC tu REFOR u M

Transcription

COPPER Architecture FORUM
ARCHITECTURAL
AWARDS LAUNCH
Entries are invited for the 2013 European Copper in Architecture Awards
– a showcase for architects designing with copper and its alloys to promote
their work to an international audience.
All entries must incorporate facades, roofing or other architectural
elements of copper or copper alloys. Any scale or type of project
can be entered – from major landmark buildings to modest schemes.
Architects and critics, drawn from a panel including some of the
most influential designers in Europe, will judge all the entries on
their architectural qualities from graphic submissions.
Final deadline for receipt of entries: 31st May 2013
For more information on entering the 2013 Awards-16 and on previous
33
awards entries and results, visit: www.copperconcept.org/awards
COPPER ARCHITECTURE NEWS
EDITORIALE
Diversificare con il rame
Questo numero vi illustra un eclettico mix di edifici moderni in cui il
rame e le sue leghe giocano un ruolo chiave nell’espressione architettonica. Può essere visto come una rassegna tipologica, che rivela una
crescente diversificazione nell’uso di questo materiale da parte dei progettisti, in tutta la gamma degli edifici, secondo nuove strade.
La percezione del rame è cambiata, parallelamente al suo ruolo nella
moderna architettura e continua così anche ai giorni nostri. Naturalmente, il rame è ancora usato su edifici ai quali è storicamente associato; ma spesso, viene affrontato con un nuovo approccio, come nel caso
della cappella che chiude questo numero (pagg. 36-38): un tamburo
conico al centro dell’edificio scolastico che lo contiene, che richiama
insieme sia le cupole sia le guglie delle chiese. I tetti in rame sono al
cuore del nostro primo progetto, un grande atrio di un centro congressi
(pagg. 4-7), ma nella forma di una stella smontata in lega dorata di
rame, a dimostrazione delle possibilità di questo materiale nelle innovative forme contemporanee, all’interno e all’esterno.
Le possibilità di modellarlo sono riprese - ancora di più - con le spettacolari curvature della sede di un club in riva al mare (pagg. 8-9) diventato realtà grazie ai modelli computerizzati che offrono allettanti
opportunità di libertà nel design. All’opposto, le forme seguono la funzione propria di una postazione di salvataggio (pagg. 12-15), concepita
intorno alla nave che la ospita e protetta dal rame contro il più severo
tra gli ambienti – ora un design collaudato, pronto ad essere replicato
ovunque. Ancora, la protezione dagli elementi definisce l’involucro di
vetro e di bronzo per due antiche pietre runiche (pagg. 28-29) con una
semplice qualità scultorea.
• Per ricevere in futuro la tua copia di Copper Architecture Forum, registrati su www.copperconcept.org/it, dove puoi scaricare anche i numeri precedenti.
Copper Architecture Forum n.33, novembre 2012
Copper Architecture Forum è parte della ”Campagna Europea sul Rame
in Architettura”. È pubblicato due volte all’anno e ha una tiratura di 25.000
copie.
La rivista è distribuita agli architetti e professionisti del settore edilizio in
Europa - e non solo - in lingua italiana, ceca, danese, finlandese, francese,
inglese, norvegese, polacca, russa, spagnola, svedese, tedesca e ungherese.
Copper Architecture on-line
Forme chiaramente definite caratterizzano anche il teatro Marlowe
(pagg. 16-19), una tipologia tradizionalmente associata al rame. Lo stesso può esser detto delle biblioteche pubbliche, ma a Seinäjoki (pagg.
32-35) l’estensione del centro Alvar Aaalto rispetta il suo contesto iconico, pur distanziandosene con una pelle in rame. Un’altra biblioteca - la
Deptford Lounge (pagg. 24-27) si sviluppa in un nuovo, aperto edificio
comunitario, espresso attraverso la trasparenza delle sue facciate in lega
dorata.
This magazine is published by the European Copper in Architecture Campaign,
which also organises a major architectural awards programme. But the third pillar
of the Campaign is the Copperconcept.org website, providing the definitive resource
for architectural inspiration with copper.
Copperconcept.org is organised into 17 separate language sections, each edited
La varietà tipologica del rame si amplia ulteriormente in un trattamento
astratto che impiega molte forme del materiale per animare la facciata di
un altrimenti comune parcheggio multipiano (pagg. 20-23).
E un edificio temporaneo (pagg.10-11) - altro caso spesso non associato
al rame – assume una speciale importanza grazie alla suo rivestimento
in lega di rame. Infine, l’estensione di una casa di modeste dimensioni
(pagg. 30-31) diventa un promemoria che il rame può anche aggiungere
particolari qualità a fianco di altri materiali.
locally. The website features an extensive selection of regularly updated project
references, demonstrating different uses of copper and highlighting some of the
best examples of copper architecture from around Europe and beyond. Of course,
information on the European Copper in Architecture Awards can be found there,
alongside articles on topical issues, such as the antimicrobial capabilities of copper.
As well as design inspiration, Copperconcept.org gives access to a range of architectural and technical publications, and links to other organisations including cop-
L’architettura in rame continua a svilupparsi, guidata dagli architetti e
dal loro entusiasmo per il materiale e le sue possibilità. E noi continueremo a mostrare i migliori esempi qui e su www.copperconcept.org, col
vostro aiuto.
per fabricators. Journalists and editors can also access press releases, articles and
images for publication. Finally – and most importantly – the website hosts Copper
Architecture Forum and you can register for your free subscription there, as well as
download the latest, and previous, issues of the magazine.
La Redazione
Explore the world of copper architecture now at – http://www.copperconcept.org
• Per sottoporre un progetto, suggerire un argomento per un articolo o farci avere il tuo commento su Copper Architecture Forum manda un e-mail a editorialteam@copperconcept.org
The Copperconcept App
Free & available for iPhone and iPad.
Inspiration and information combined in one app.
Redazione: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell,
Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock
E-mail: editorialteam@copperconcept.org
Indirizzo: CAF, European Copper Institute,
Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
•
•
•
•
•
Editore: Nigel Cotton, ECI
Layout e produzione tecnica: Naula Grafisk Design, Svezia
Stampa: Strålins Grafiska AB 2012, Svezia
Copertina: Il Centro visitatori
della cattedrale di Lund (p. 4-7).
Foto: Åke E:son Lindman
Collaboratori:
Birgit Schmitz, De
Kazimierz Zakrzewski, Pl
Marco Crespi, It
Nicholas Hay, UK
Nikolaos Vergopoulos, Gr
Nuno Diaz, Es
Olivier Tissot, Fr
Paul Becquevort, Benelux
Pia Voutilainen, Se, No, Fi, Dk
Robert Pintér, Hu, Cz, SVK
Vadim Ionov, Ru
www.copperconcept.org
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
paul.becquevort@copperalliance.be
pia.voutilainen@copperalliance.se
robert.pinter@copperalliance.hu
vadim.ionov@copperalliance.ru
Reference projects
Architectural city maps
Design Awards
Copper Architecture Forum
Articles
© Copper Architecture Forum 2012
Copperconcept_App_hirdetes_01.indd 1
10/18/12 11:33 AM
39
COPPER ARCHITECTURE FORUM 33/2012
Indice
33
2 Diversificare con il rame
– editoriale
4-7 Ridefinire l’atrio – un nuovo spettacolare concetto di atrio moderno,
per un centro congressi in Norvegia
8-9 Rame: libertà di forma, in digitale
– libertà di design per una scultorea sede di yacht club in Australia
10-11 Stella temporanea – un padiglione temporaneo a Münster, in Germania, rivestito in lega dorata di rame
12–15 Copper Wave
– copper protects this new lifeboat station on England’s most southerly point
16–19 Canterbury Tales
– the new Marlowe Theatre makes a bold statement on Canterbury’s skyline
20–23 Animating the Utilitarian
– copper brings to life the facades of a multi-storey car park in Nottingham, UK
24–27 Copper at the Heart of the Community
– a new typology of school and community building for Deptford, London
28–29 Sheltering Bronze Hands
– ancient runic stones in Denmark are protected by bronze and glass
30–31 Copper over Time
– a contemporary copper and oak house extension anticipates change
32–35 Famous Neighbours
– the challenge of designing a new library close to five Alvar Aalto buildings
36–38 Conical Copper
– a copper clad chapel at the heart of this new school in Cheltenham, UK
39 Copper Architecture News
– updates, including our architectural awards launch and a new App for architects
3
Ridefinire l’atrio
Un complesso alberghiero in Norvegia mira a trasformare
l’esperienza dei congressi attraverso un nuovo spettacolare
concetto di atrio moderno, come spiega Chris Hodson.
Il Clarion Hotel a Trondheim è il più grande centro congressi della
Norvegia, nonché uno dei maggiori di tutta la Scandinavia. Il suo architetto - Space Group- ha adottato la strategia di orientare le ali che
ospitano le camere – distinte e simili a lastre - in maniera da offrire
ai visitatori una perfetta visione su mare, paesaggio e città. Questo
atto torsionale si avvita intorno all’atrio centrale, per generare uno
spazio decisamente tridimensionale grazie ad un complesso tetto
sfaccettato - una stella dorata smontata - che arriva fino a terra.
La visione dell’edificio è spettacolare da ogni angolazione, ma soprattutto dall’alto, cioè da dove molti ospiti lo vedono per la prima
volta, sorvolandolo.
4
“Irrompendo nel mezzo dei blocchi e collegandoli
insieme, ecco la dirompente stella d’oro”
Materialità rigorosa
Il progetto esibisce una rigorosa applicazione della materialità tra differenti
elementi. Il massivo, ruvido box scuro
della sala conferenze principale contrasta nettamente con i blocchi totalmente
vetrati delle camere da letto, serigrafati
in bianco ma che si dematerializzano in
prossimità delle finestre per sviluppare
un delicato effetto-nuvola. Irrompendo
nel mezzo dei blocchi e collegandoli insieme, ecco la dirompente stella d’oro,
costituita da una lega di rame con alluminio e zinco.
“Nella lega di rame - ha commentato
l’architetto progettista Jens Niehues noi abbiamo trovato un materiale che ci
ha permesso di progettare usando una
superficie vivace, che riflette la funzio-
ne stessa di “stella” e le conferisce una
colorazione dorata. Oltre a realizzare le
nostre intenzioni concettuali, ovviamente il materiale doveva anche rispondere
alle sfide tecniche che poneva il clima
severo della costa occidentale norvegese.
Questa lega di rame non sviluppa col
tempo una patina verde o blu, perfino
in un clima difficile, ma mantiene il suo
colore dorato. Le caratteristiche del materiale permettono giunti verticali, orizzontali o inclinati, che sottolineano la
forma triangolare della “stella”. Inoltre
il materiale può essere lavorato per dare
rientranze con spigoli netti e dettagli di
gronda precisi. La scelta di una lega di
rame dorata ripaga veramente nell’edificio finale.”
Architetti: Space Group – www.spacegroup.no
(Credits completi di tutto il team di progettazione e altri
consulenti sono disponibili su www.copperconcept.org)
Installatore del rame: Mäster Blikk Trondheim
Prodotto di rame: Nordic Royal™
Foto: Joern Adde, Peter Hebeisen
5
L‘orientazione per catturare le migliori visuali
ha generato la stella centrale dorata
Smontare il convenzionale atrio di hotel
K1
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A9
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X3.01
A3.17
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A10
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Ax
Ay
K4
C5
C3.05
By
C6
X3.02
B3.01
Az
C3.01
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Bz
B3.21
B1
B3.20
B3.23
C7
C8
C3.51
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C9
C3.53
B3.22
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C3.56
B3.29
B3.28
B3.31
B3.30
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B3.32
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B6
B3.37
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B10
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B4
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Un impatto spettacolare
All’interno l’impatto spettacolare aumenta, dal
momento che le forme esteriori dell’hotel si convertono negli spazi aperti al pubblico. Al cuore di
questo c’è lo spazio centrale verticale, concepito
come una trasformazione dinamica - da monodimensionale a tre dimensioni - della tipologia
dell’atrio di hotel. Qui l’atmosfera e i volumi spaziano tra l’intimo e lo spettacolare, cosi come
avviene per le visioni dei panorami esterni e delle composizioni cristalline interne, che alludono
alle maestose forme di ghiaccio, scogliere e banchi di ghiaccio. E sopra tutto questo, ci sono le
lunghe punte della stella di rame dorato.
7
Rame: libertà di forma, in digitale
Le spettacolari forme del tetto di
questo club affacciato sul mare
dimostrano la libertà di progettazione che può essere realizzata
con il rame, in particolare quando
vengono applicate le tecniche del
Building Information Modelling
(BIM)
Architetto: Walter Barda Design • Prodotto di rame: TECU® Classic • Installatore del rame: Copper & Zinc Link • Foto: per gentile concessione di Trend Magazine
Testo: basato su un articolo di Trend Magazine www.trendsideas.com e con il contributo di Morten Pedersen di Copper & Zinc Link.
8
I
l complesso dell’Hamilton Island Yacht Club e delle sue villette nelle Whitsunday Islands - che formano parte della
Barriera Corallina australiana - è stato progettato per creare un impatto visivo non solo dal mare e dalla terraferma, ma
persino dal cielo, cioè da dove arrivano molti ospiti.
Gli architetti hanno immaginato un edificio che solcasse il
frangiflutti e alludesse agli elementi marini e alla cultura della navigazione. Il processo di progettazione ha portato ad uno
scultoreo assemblaggio di forme rivestite di rame, che suggeriscono vele nel vento, spinnaker, chiglie e il turbinio di venti,
maree e correnti.
Il centro del yacht club è un portico coperto, o piazza, che conduce alle varie stanze private e pubbliche.
Con un graduale cambio di altezza dei soffitti e rampe pedonali, l’edificio porta ad una spettacolare piattaforma sollevata,
sospesa sull’acqua. Il club contiene strutture tra cui bar, ristoranti, auditorium, sale per conferenze, palestra, piscinetta,
sale di lettura e spazio espositivo. Lo sviluppo integrato fornisce inoltre 35 villette indipendenti.
Il rame ricopre forme complesse
I complicati tetti a forma di petalo del club sono sostenuti da
un “albero” di colonne di acciaio, i cui rami incontrano il tetto
incurvato secondo una varietà di angoli.
Una griglia di acciaio strutturale è stata sviluppata per estendersi fino a 16 metri e sospesa fino a 11 metri, trasferendo i
carichi laterali ai muri centrali. Questo minimizza lo spessore
strutturale tra il rivestimento del tetto e i soffitti, come richiesto dall’architettura. Inoltre semplifica anche la fabbricazione
e la costruzione del tetto. Il rame è stato scelto per la sua durabilità, per le sue caratteristiche visive e naturalmente, per
la sua capacità unica di rivestire complesse forme in tre dimensioni.
Building information modelling (BIM)
Il BIM è stato indispensabile per il processo progettuale e costruttivo dell’Hamilton Club, in particolare per il tetto di rame.
A causa della complessità delle sue forme, erano necessari numerosi disegni di dettagli e sezioni, per mostrare come
i componenti si adattassero l’uno all’altro. I dati sono stati
condivisi con altri soggetti coinvolti: per esempio, con il produttore dell’acciaio strutturale, che lavorava direttamente con
il modello digitale.
La disponibilità sul posto di un modello completamente digitale ha significato che il team poteva vedere i disegni in 3D
dell’edificio mentre prendeva forma. Erano anche disponibili
degli spaccati dei differenti componenti, che aiutavano ciascuno a capire precisamente come l’edificio veniva costruito.
Ma il BIM funziona anche al di fuori del CAD e la simulazione
tridimensionale, con componenti e materiali aventi “attributi”
come costi, credenziali ambientali e periodi di manutenzione.
Il BIM cerca di fornire un modello digitale completo per design,
produzione, costruzione e uso dell’edificio, coinvolgendo pienamente tutti gli stakeholder. Ciò aiuta gli architetti a creare
progetti più sostenibili ed accurati, con meno errori e meno
sprechi. Essendo in grado di simulare le performance del
mondo reale, fornisce anche una migliore comprensione dei
costi, della tempistica e dell’impatto ambientale.
Il BIM è pensato per crescere rapidamente nella progettazione
di edifici di ogni tipo. Apre le porte agli architetti per esplorare
nuove forme espressive e il rame è perfettamente appropriato
per aiutarli a realizzare design innovativi.
9
STELLA TEMPORANEA
Soluzione dorata
Un intervento veramente contemporaneo, rivestito
con una lega dorata di rame, ha evidenziato in modo
appropriato la mostra “Splendore dorato: tesoro di
arte medioevale in Vestfalia” tenutasi quest’estate a
Münster, in Germania.
S
ituato nella centrale Domplatz (piazza del Duomo), il padiglione temporaneo ha creato un contrasto di modernità
verso il centro storico della città, collegando le sedi espositive
del museo e della Camera d’arte della cattedrale. Il progetto
del padiglione è stato il risultato della collaborazione tra la
Scuola di Architettura di Münster e lo studio di architettura
‘modulorbeat’. Guidata dagli architetti Marc Günnewig e Jan
Kampshoff, una squadra - in origine di 33 studenti – ha sviluppato vari bozzetti di struttura.
10 COPPER ARCHITECTURE FORUM 33/2012
Alla fine, la giuria ha deciso a favore della “soluzione dorata”,
un edificio a forma di stella con pianta a croce stilizzata, caratterizzata da facciate in lega di rame color oro. Un padiglione temporaneo per comunicare un evento d’arte non è esattamente nuovo a Münster. Cinque anni fa, modulorbeat ha creato
un simile tipo di costruzione, usando sempre la lega di rame.
Funzionando come un ‘laboratorio vivente’, il padiglione ha
ospitato sessioni formative di arte organizzate in concomitanza con la mostra. Visibile attraverso le pareti di fondo in
vetro, la continuazione del design semplice e senza fronzoli
prosegue all’interno. La struttura portante, in legno massello
o in legno lamellare, è completamente spoglia, dando alle superfici dei pavimenti, soffitti e pareti un chiarore ligneo uniforme – così come gli otto tavoli di lavoro assemblati dagli stessi
partecipanti al progetto.
Facciate modulate
Le facciate in lega di rame sono state modulate in verticale con
profili unici, irregolari ed ondulati, che ricordano un soffietto,
indicati dagli architetti. Questi sono stati prodotti in modo rapido, a basso costo e senza problemi da una ditta specializzata,
dotata della tecnologia necessaria per le profilature. Il padiglione Splendore Dorato ha presentato un’ assoluta omogenea
entità dorata, interrotta solo in corrispondenza delle pareti
terminali della croce dove sono ubicati gli ingressi -rientranti
e riparati- e le finestre, completamente vetrate.
Nel momento in cui leggerete questo articolo, il padiglione
sarà già stato smantellato. Ma verrà ancora ricostruito, utilizzando tutti i materiali originali, in una scuola locale, dove
verrà utilizzato per l’insegnamento dell’arte e di altre materie: un risultato appropriato e sostenibile.
S/W
Prospetto sud-ovest, con terminazione vetrata
workshop
83,5 m2
sliding door
S/W
information
12,9 m2
entrance
4,0 m2
ramp
Prospetto nord-est, con ingresso riparato
N/E
Pianta
N/E
Architetto: Modulorbeat e Scuola di architettura di Münster
Installatore del rame: Schabos GmbH
Profilatore del rame: MN Metallverarbeitung Neustadt
Prodotto in rame: TECU® Gold
Foto: Christian Richters
elevations 1:100
11
Photo: PBWC Architects
by Chris Hodson
The new RNLI lifeboat station at The Lizard is protected by a curved copper skin
to withstand the extremely aggressive coastal environment of its unique location
on England’s most southerly point. The RNLI charity saves lives at sea. Its volunteers provide a 24-hour search and rescue service around the United Kingdom and
Republic of Ireland coasts. The building’s design was developed from a previous
project, also by PBWC Architects, in Padstow, Cornwall. It is a direct response to
the specific technical demands of the new RNLI ‘fast slipway’ type lifeboat housed
there and is an exemplar for future buildings of the type in other locations.
The new structure sits on the footprint
of the original building: well-positioned
for lifeboat launching in bad weather
but also reducing the environmental
impact of the scheme. At first sight,
the wave profile of The Lizard lifeboat
station appears symbolic of its coastal
position - but form really does follow
function and reflects the arrangement
of internal accommodation, focused on
the lifeboat itself. Essentially, the vessel is mounted on a tipping cradle, which
tilts to align with the slipway, enabling it
to be launched and recovered – allowing
volunteer crews to reach those in trouble as quickly as possible. The outward
raking wall to the side of the building
reflects the demand for accommodation
at the main floor level with fast access
straight onto the lifeboat.
Weather-tight Design
All accommodation is located on one
side of the building, which allows the
heated and serviced zones to be efficiently grouped together and all ventilation and lighting needs to be met with a
strip of ribbon glazing or punched windows within the raked wall. The curve
of the roof then encloses the minimum
volume required for the lifeboat and creates a simple form that lends itself to
a single flexible roof finish. The design
aims to maximise roof area while minimising penetrations to ensure a robust,
weather-tight finish.
13
Copper Choice
The selection of metal roofing was a logical
progression from the development of the distinctive, wave-like, curved form. PBWC project
architect Cian Spowart commented: “After the
Padstow project, we reviewed the roofing material and system for The Lizard lifeboat station. Here, copper was selected for its durability and capability of withstanding the aggressive
coastal environment, including the possibility
of debris being thrown up from the sea. In addition, the aesthetic choice of copper over other
metal roofing was driven by its characteristic
weathering over time to give a rich green patina
complementing the aqua blue hues of the local
coastline.”
Architects: PBWC Architects
Copper Installer: Full Metal Jacket
Copper product: Nordic Standard
Photos (where indicated) and drawings: PBWC Architects
All other photos: Geoff Squibb (Cornish Pixels Photography)
COPPER CONSTRUCTION
Challenging Construction
Unsurprisingly, the building’s site at the
bottom of a tight, steep slope presented
special challenges with construction. The
building is predominately timber frame
with glulam-curved members providing the
iconic shape. Dry construction and prefabrication techniques are maximised for fast,
safe assembly and efficient deliveries to
site.
The double skin roof is finished in copper
trays with standing seam joints and was
installed by copper specialists Full Metal
Jacket, who recently won an Award for their
work on the project from the National Federation of Roofing Contractors. The longZ A R D L I F E B O A T S T A T I O N!
strip, copper trays were craned down onto
the building and installed by hand, displayS
ing a particularly high standard of craftsmanship under challenging conditions.
C-C
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FC
FD
FE
FF
Public Viewing
Main Floor
Photo: PBWC Architects
F.F.L - 13.35
Boathouse
fuel cabinet
fuel tank
!
Lower Floor
F.F.L - 10.25 (MAX)
Public Viewing
Dis !
WCs
Winch Motor Room
Boathouse
0
I Z A R D L I F E B O A T S T A T I O N!
NS
WCs and
Showers
!
Boatwell Floor
F.F.L - 7.55
Boat Well
Section C-C
4
8
Boat Well
Section A-A
C-C
D-D
C-C
B-B
D-D
F1 F1
F2 F2
Dis. W.C.
E-E
F3 F3
Changing Room
Workshop
F4 F4
Public Viewing
F5 F5
!
Galley
Area
F6 F6
Boathouse
Slipway !
Crew
Section B-B
fuel tank
!
!
Lower
Floor
Lower
Floor
- 10.25
(MAX)
F.F.LF.F.L
- 10.25
(MAX)
Training Room
LOM Office
C-C
FD FD
FE FE FF FF
Public Viewing
!
!
Boatwell
Floor
Boatwell
Floor
- 7.55
F.F.LF.F.L
- 7.55
Boat Well
Section A-A
Stairwell
WCs and
Showers
Public Viewing
Dis !
WCs
Boathouse
Boathouse
Winch Motor Room
Section
C-C
Section
D-D
fuel
cabinet
Boat Well
D-D
C-C
F1
fuel cabinet
Store
FB FB FC FC
1.5 Training room
- 13.35
F.F.LF.F.L
- 13.35
w.c.
A-A
B-B
FA FA
Floor
MainMain
Floor
Winch!
Motor Room
A-A
D-D
F2
F3
B-B B-B
E-E
F4
F5
F6
FA
A-A A-A
FB
FC
FD
FE
15
FF
“Copper plays a distinct role in the composition of the theatre overall”
Canterbury Tales
Standing on the banks of the River Stour and close to Canterbury Cathedral’s
UNESCO World Heritage Site, the new Marlowe Theatre makes a bold
statement on the Canterbury skyline. Architect Keith Williams discusses his
practice’s competition-winning design and its use of materials.
The Marlowe is, in formal terms, a complex
pavilion. It sets up a dynamic relationship
with its viewers, giving different architectural and urban emphasis depending from
where in the city it is viewed. At street
level, its architecture is ordered by an
8m high colonnaded loggia in white cast
Dolomite stone, which forms a portal to
the multi-level glazed foyer and sets up a
civic elevation to the Friars, an important
historic street within the city. The foyer
connects all the major internal spaces to
the riverside terraces and pathways and is
seen as a crystal ribbon by day transforming into a blade of light by night. New views
of the rooftops of the historic city and its
cathedral open up from the main stairs
and upper levels.
The colonnaded loggia mediates between the street scale of the Friars (the
street which the Marlowe faces) and the
necessarily larger forms of the two theatres and the fly tower. The colonnaded
overhang also provides shelter to the
Materiality and Contextuality
Copper plays a distinct role in the compo-
south-facing foyer from high angle solar
The composition and massing of the new
sition of the theatre overall, surrounding
gain and provides an architectural unity to
Marlowe is rooted in its context. The build-
the volume of the studio space, which me-
the composition. A new public square has
ing is seen to step up in scale gradually
diates between the entrance scale and the
been created by setting the Marlowe back
from a lower-rise street scale along the
larger volumes beyond. The studio theatre
from the existing street edge.
Friars, up to the larger volumes of the
is raised 4 metres above the ground; a vol-
The fly tower of the old theatre, widely
main auditorium and fly tower beyond.
ume wrapped entirely in copper. As such it
regarded as an eyesore, was the second
Materiality is also determined to a large
is almost at roof level of the surrounding
tallest structure in the city after Bell
degree contextually, in that it borrows
buildings hence the relationship between
Harry, the medieval Cathedral‘s principal
the hues and tones of the Canterbury
the reddish brown copper cladding with
tower. The new Marlowe’s fly tower is 9m
townscape. The reconstituted stone col-
the colouration of Canterbury’s roofscape.
taller than its predecessor, allowing it to
onnade takes it’s cue from the whites and
The underside of this volume forms the
be sculpted to create a pinnacle form fac-
creams of buildings in the city, whilst the
internal soffit to the restaurant space cre-
ing toward the Cathedral, adding accent
pre-oxidised brown copper cladding ech-
ated beneath. The raising of the volume
and silhouette to the city’s skyline. Its
oes the colour and hues of the nearby tiled
allows the restaurant to be slid beneath
form can be seen as a prominent symbol
rooftops. Materials are used to create
at foyer level, giving views to an adjacent
of secular architecture within the historic
something highly contemporary, whilst at
external terrace and the banks of the River
city whilst ensuring that Bell Harry re-
the same time complimentary to the con-
Stour.
tains its predominance. From the east, the
text in terms of texture and colour.
fly tower dominates the street scene announcing this major new cultural project
within the city.
Architects: Keith Williams Architects
Copper Installer: TR Freeman
Copper product: TECU® Oxid
Photos: Hélène Binet (unless indicated otherwise)
17
Level 1
8
7
8
5
6
11
3
4
2
2
1
Level 1
1. Paved Forecourt
2. Foyer
3. Box Office
4. Bar
5. Cafe
6. Auditorium
7. Stage
8. Dressing Rooms
9. Second Space
10. Creative Space
11. Administration Offices
12. Meeting Room
Photo: Keith Williams Architects
Level 2
Level 2
Level 3
0
1
2
Level 3
10m
3
4
5
N
11
12
10
8
Counter Weight Area
8
9
9
4
4
2
11
2
KEY:
KEY:
1.
2.
3.
4.
5.
6.
7.
8.
1.
2.
3.
4.
5.
6.
7.
8.
Paved Forecourt
Foyer
Box Office
Bar
Cafe
Auditorium
Stage
Dressing Rooms
Paved Forecourt
Foyer
Box Office
Bar
Cafe
Auditorium
Stage
Dressing Rooms
COPPER in detail
copper rainscreen
panels on underlay
110
160
18mm plywood
Copper Studio
back to back cladding
angles - details and layout
to be confirmed by copper
sub-contractor
Horizontal standing seam bands of varying
widths (using trays of 230 mm, 430 mm
80mm insulation
on vapour barrier
and 600 mm) wrap continuously around the
studio volume, with folded ‘birds mouth’
Metal angle by glazing
subcontractors to support EPDM
and provide backing for copper to
seal against at a later stage
corner details enabling the horizontality
to flow continuously around all sides. At
Sealant type to be confirmed
by copper sub-contractor sealant to be compatible with
both copper and aluminium
the junction with the main glazed curtain
walling, the copper runs cleanly through
from outside to inside, with internal
50
openings formed to create a connection
between the studio theatre bar areas and
the main entrance foyer.
FW60+SG Level 3 curtain wall
Opaque glazing to high panels
to conceal structure
Though the rationale in each case is
130
210
different, the use of copper at the Marlowe
TOS +22.935
echoes our previous work at the Unicorn
Theatre in London, completed in 2005 (UK
Award Winner of the Copper in Architecture
Awards 13 in 2007).
Mullion tied back to structural steel
to glazing subcontractors details
Metal channels to support glazing at
corner junction and provide a backing
to support the EPDM
140
vapour barrier
80mm insulation
6
80
125
2
2
11
77
n
18mm plywood
10
2
1
between
er
Section AA
Section AA
corner aluminium
flashing cover piece
110
80
92
15
15
EPDM sealed to blockwork
Spec and fixing to be confirmed
by glazing subcontractor
80
EPDM sealed to blockwork.
by glazing sub-contractor
50
2 no. layers of plasterboard sheets fixed
staggered with joints taped and filled
porting
d details
y copper
ut:
ck line of
e5
140
copper setting out
110mm off Gridline E
7
by copper sub-contractor
copper rainscreen
panels on underlay
FW60+SG
0
1
2
3
4
5
10
19
Rev
Date
ANIMATING
THE UTILITARIAN
by Chris Hodson
An abstract design using vertical panels of copper with
different surfaces animates long, straight facades of an
otherwise typical multi-storey car park, adding a sense of
movement which reflects its transport interchange setting.
Forming part of the ‘Hub’ development at Nottingham Railway
Station, this 6-storey structure accommodates 950 car spaces.
The 112 m long building is sandwiched between the railway to
the north and the busy Queens Road to the south with older
buildings beyond. Architects Leeds Studio developed an original
design by another practice, BDP, (following a successful bid by
VINCI Construction UK) adding an array of horizontally banded
vertical copper panels to transform this typical parking building.
The panels create an architectural language and are continuous
over curtain walling as well as conventional open car parking
decks, only being broken by the concrete lift core on the West
Elevation.
The palette of copper surfaces at Nottingham includes solid
green pre-patinated copper and a variant with less intense
patination, revealing some background material. Standard ‘mill
finish’ and light brown pre-oxidised copper were also used, together with an alloy of copper and aluminium with a long-lasting
golden colour which provides distinctive highlights around the
building.
Although creating a random, abstract feel, arrangement of the
panels is based on a limited modular language with three panel
widths: 210 mm, 420 mm and 840 mm, and spacing between of:
105 mm, 210 mm and 420 mm. Panels are generally 2870 mm
high with some reduced to 1470 mm crowning the top of the
building and where the base of the cladding is raised up.
Architects: Leeds Studio
Copper Installer: CA Group
Main Contractor: VINCI Construction UK
Copper products: Nordic GreenTM Traditional, Nordic GreenTM Living 1
Nordic Standard, Nordic BrownTM Light, Nordic RoyalTM
Photos: Chris Hodson
Drawings: Leeds Studio
21
“There is a designed progression
of copper colours running
around the whole building”
A Mosaic of Colour
The composition gives a mosaic of colour that sits in clearly defined horizontal bands along the length of the building, breaking
up the subservient concrete frame - typical of multi-storey car
park buildings - and curtain walling. The effect is particularly
animated on the two long elevations, especially when viewed
from moving trains or cars. In addition to the layering of materials, the colour choices are carried through in the design to
represent differing aspects of the location.
Project architect Antony Hall explained: “The copper panels
to the North are predominantly in green shades and refer to the
modern aspect of the adjacent railway. The panels on the South
are predominantly in traditional brown copper shades to reference the brick heritage warehouses and other structures lining
the conservation area opposite across the busy road. Key viewpoints formed in locations around the building are highlighted
with the golden coloured copper alloy. Vertical circulation elements are also highlighted in the same manner. There is a designed progression of copper colours running around the whole
building, beginning and ending at the West Elevation lift shaft.
We have also anticipated the natural changes to copper in the
environment.”
Multi-storey car park architecture is generally constrained by
vehicle circulation and other technical demands, reducing it to
a utilitarian level. But the numerous permutations of surfaces
and forms available with architectural copper today offer designers exciting possibilities to treat bare facades as a blank
canvas. The Nottingham project is an inspiring example of this
approach.
The previous station car park typifies the conventional open concrete deck
design approach, contrasting with that of the new building.
South Elevation.
North Elevation showing the disposition of green, gold and brown copper shades.
23
COPPER AT THE HEART
OF THE COMMUNITY
“Deptford Lounge is the jewel in
the crown of the regeneration of
Deptford. This is a fantastic
public space with first-class
facilities, which is already
proving popular with
the community.”
- Sir Steve Bullock, Mayor of Lewisham
This landmark building makes symbolic as well as functional use of its
perforated golden copper alloy facades to generate a new civic focus.
Pollard Thomas Edwards architects describe how the programme and
design developed a new typology of school and community building.
The brief from the London Borough of Lewisham was to create the centrepiece
of their regeneration of Deptford Town Centre – a new civic focus for Deptford.
This was to include a state-of-the-art public library, including a resource centre
and council services centre – called the Deptford Lounge – with a new building
for Tidemill Primary School, relocated from its existing site.
Our scheme, completed in December 2011, created from the bare bones of this
brief, a highly innovative mix of co-located uses on a single site: the completed
complex houses facilities shared between the new primary school and the whole
community via the Deptford Lounge. To this mix we also added apartments over
artists’ studios and exhibition space – Resolution Studios.
The design was also driven by the aspiration to restore to Deptford something
of the grandeur of its past, first as a hub of shipbuilding and later as the location
of the first railway station south of the River Thames. Now the golden Lounge
building sails galleon-like above Giffin Square, a new public space for Deptford.
Tidemill Academy lies within an urban oasis, sheltered on one side by the Deptford Lounge and on the other by Resolution studios, with classrooms grouped
around a green and leafy central play space. And new homes look out over the
historic St Paul’s Church and the railway line leading over the river.
Photo: Chris Hodson
Overall complex with Deptford Lounge on the right.
Resolution Way
Resolution Way Resolution Studios
School
School Play
School Deptford Lounge
Griffin Street
Deptford Lounge
School
School Play
School Resolution
25
Photo: © ArcEye Images Ltd / Robert Greshoff 2012
Photo: Chris Hodson
The rooftop sports pitch enclosed by pierced copper alloy panels.
School and Community Use
Photo: Chris Hodson
Shared facilities of Deptford Lounge include a rooftop sports
pitch, a flexible suite of assembly spaces and a dining hall and
kitchen, which are available for hire. All these facilities are located on the upper floors of the Lounge building and all elements
have separate access points both from within the school and
from the public realm. This enables the school to have sole use
of the shared facilities during the school day. Then, out of school
hours, the shared facilities form an integral part of the Deptford
Lounge and are open to the whole community.
Architects: Pollard Thomas Edwards architects – www.ptea.co.uk
Copper installer: English Architectural Glass (EAG)
Copper Products: Nordic Royal™
Photos: Chris Hodson, Robert Greshoff (ArcEye Images Ltd)
School playground with steps to the Deptford Lounge beyond.
Photos: Chris Hodson
INTERVIEW
Chris Hodson discusses the transparency and materiality of the Deptford Lounge facades
with Hamish Kilford-Brown, Project Architect at Pollard Thomas Edwards architects.
CH: How did your selection of the golden copper alloy come about and did you look at other
materials?
HK-B: We wanted a material that related
strongly to the conceptual meaning of the
Deptford Lounge on a series of levels. It was
to be seen as a landmark – a civic focus for
all ages and cultures. Initially timber cladding
was considered, relating to Deptford’s nautical
past – but timber requires maintenance. We
also sought an inspiring material, with reflective properties that would give the building a
jewel-like quality set against its main street
context. This meant considering various metals including copper. It also led to the idea of
expanded metal meshes or perforated sheets.
We felt that the perforated golden copper alloy cladding offered multiple meanings on a
conceptual level. The gold surface symbolises
‘wealth’ across all cultures, welcoming and
bringing together a diverse community into
a building that offers a wealth of knowledge
and services.
CH: What about sustainability and environmental considerations when choosing the façade
material?
HK-B: Copper and its alloys have sound sustainable credentials with exceptional durability and lifespan. The weathering characteristics
of this copper alloy are important: the material is virtually maintenance free and provides
a surface that will change very little over time,
which means it will retain its crisp jewel like
quality.
CH: What were the design intentions behind this
dramatic statement of a transparent golden skin?
HK-B: The wrapping of the gold cladding
aims to unify the building’s complex range of
functions, binding them together.
Contextually, it relates to various points of
Deptford’s rich history, including its growth
from a small fishing village into the Royal Naval Dockyard with links to HMS Discovery,
Sir Francis Drake and Captain James Cook.
So, the wrapping has multiple functions and
references. From a distance the golden form
appears solid but close-up reveals itself as
transparent and light-weight, floating above
its glazed base. On a functional level, the
wrapping provides solar shading to the large
areas of glazing, while also allowing suitable
levels of light in.
CH: How were these intentions realised on the
building with the pierced copper alloy panels and
how did the detailed design develop?
HK-B: The panels are rigid folded cassettes
that provide sharp and clean joints between
panels, rather than something that would
buckle and distort. The nautical references
continue with the setting-out of the panels
in a stretcher bond pattern like historic timber hull construction in ship-building. The
perforations are kept back from the edges to
help express each panel individually while
retaining rigidity. We explored various perforation shapes, from square to raised diamond
patterned with a cheese grater appearance,
and settled on simple circular holes, again arranged in a stretcher bond pattern. Different
levels of perforation were also considered, as
the transparency of the wrapping adds another dimension with the play of light. The building responds to its uses and environment,
continually changing with light conditions
throughout the day and into the evening, becoming more or less revealing – suggesting
discovery. The level of transparency increases
with distance away from the solid ‘ship’s bow’
corner, with its large symbolic window, gradually blurring solid and void.
CH: How was the light, floating feel of the pierced
copper alloy skin achieved in structural terms?
HK-B: Initially, the cladding was to be suspended on rods from a ring beam. But due to
the building’s subtle shifts of form – both in
the vertical and horizontal planes – additional
support was required, depending on location
around the building. The solution was to fix
steel brackets back to the main building structure at the top and bottom of the wall. These
then support a frame and suspension rods, to
which the copper alloy panels were fixed. Additional structure and stays were incorporated
where the golden wrapping pulled further
away from the building, reducing movement
from wind loading. The transparency of the
panels also offered further opportunities to
express the structure behind with honesty.
27
by Chris Hodson
Sheltering Bronze Hands
Deceptively simple bronze and glass structures provide a safe
environment for preserving two unique 10th century runic
stones – designated a UNESCO World Heritage site - at Jelling Church, Denmark. But these interventions go well beyond
conservation, seeking to transform the visitor experience, as
architect Erik Nobel explains.
The Jelling runic stones mark Denmark’s transition to Christianity in the year 965 and the monument is also known as Denmark’s ‘birth certificate’. Inaugurated in December 2011, the
project is based on the winning competition design by NOBEL
arkitekter. Our principal aims were to protect the runic stones
for the future and, at the same time, provide an architectural
composition allowing spectators to get very close to them.
Photo: NOBEL
Plan arrangement
Elevation
The design forms a stylised dialogue between the two stones,
which represent the first two kings of Denmark – Gorm and
Harald Bluetooth. The bronze angles form one gable and the
roof for each structure, while the other faces are fully glazed. Our
objective was to accentuate the runic stones’ curved forms by
contrasting them with the straight lines of the coverings which,
in a metaphorical sense, ‘hold protective hands’ over them. The
cast bronze contrasts with the texture of the ancient stones and
highlights their grey and reddish granite surfaces.
The requirement for creating a controlled climate around the
stones was a central consideration in the development of the project. Our consulting engineers from Rambøll designed a special
heating and ventilation system which ensures a frost-free climate
around the runic stones. Artificial lighting has been discreetly
added using specially designed fibre-optic light sources, which
are integrated in the roof structure.
The lighting emphasises the stones’ runic scriptures and visual
motifs, and accentuates their shapes. Juxtaposed with the angular bronze forms, the artificial lighting creates a completely new
way of viewing the rune stones, enhancing the experience of one
of Denmark’s most valuable monuments.
Architect: NOBEL arkitekter a/s
Photos: Jens Lindhe (unless indicated otherwise)
29
Copper over time
This thoroughly modern addition to an existing home in
Cardiff, South Wales – discussed by Kristian Hyde of Hyde
+ Hyde Architects – combines copper with oak and glass in
its carefully conceived design to anticipate change.
We were appointed to carefully restore elements of the existing
architecture creating a contemporary yet sensitive addition to
the rear. To the front of the property the new addition appears as
a simple copper box ‘peeping’ above the layers of existing green
glazed tiles of the existing home.
In the refurbishment, living and entertaining space is provided
at ground floor through the introduction of a predominantly single storey glazed element. At first floor, a layered copper and oak
form appears to delicately hover. Set on a shifted geometry to
acknowledge the existing building form, this creates a series of
overhangs, cantilevers and canopies to shelter its occupants from
the persistent Welsh rain.
The original house is quirky but beautiful. The unknown architect has put a great deal of effort into the detailing, some
of which is very playful. There is a certain humour about some
of the spaces that continue to make our clients smile. The new
addition responds with a singular oak clad curve at first floor
which ‘mimics’ the geometry of the existing curved glazing of
the main house. This is introduced to ‘turn’ the new addition
into the main private garden at the rear.
Copper was chosen as a suitable material for facades and other
details to converse with the existing ‘green glazed’ roof tiles of
the existing dwelling. After a decade it will begin to relate in
colour and tone to the existing tiles nearby, its salmon pink and
russet brown tones will be gone forever. That’s the beauty of
copper, it’s timeless and forces us to think about buildings in
time. Copper’s material character helps buildings feel as if they
have always been there.
“That’s the beauty of copper,
it’s timeless and forces us
to think about buildings in time”
UPPER LEVEL PLAN
Hardwood concealed glazing
Timber cladding referencing
materiality of tree canopies
New Addition
Bedroom
Copper standing
seam to match
existing vocabulary
of green roof
Internal openable window
for natural ventilation
Terrace
Original House
Architects: Hyde + Hyde Architects
Photos: Kristian Alexander Hyde, Warren Orchard.
31
“ copper has been used comprehensively across facades,
Photo: Martti Kapanen
plinth and roofs – creating a single-material skin”
Famous
Neighbours
The Finnish town of Seinäjoki hosts the most
extensive cluster of buildings designed by Alvar
Aalto in the world. Asmo Jaaksi of architects
JKMM explains his practice’s approach to designing a new addition to this hallowed Aalto Centre.
DIALOGUE BETWEEN OLD AND NEW
Built in 1965, the Library needed a modern extension
to meet today’s demands and JKMM’s design, called
‘Clover’, won the competition for the project. The aim
was to create dialogue between old and new. The new
library respects the protected cultural environment
but, at the same time, takes pride in contemporary
architecture. One of the objectives of the design was
to find an interface with the typical characteristics of
Alvar Aalto’s architecture without imitating it.
Photo: Tuomas Uusheimo
The Centre displays Aalto’s masterful touch, ranging
from the area’s town planning to the smallest door
detail and is an invaluable cultural asset which gives
the whole town its identity. Five Aalto buildings make
up the Centre: the City Hall, State Office Building,
Theatre, the Cross of the Plains Church and the Old
Library.
33
VARIED INTERESTING SHAPES
The new library stands separate from Alto’s
original, although connected by an underground link. Division of the building into
three sculptural units was an important decision to be able to blend the large building
volume with the surrounding townscape.
This generates varied, interesting shapes
when viewed from different directions. The
exposed boarded-formwork concrete interiors are punctuated by carefully placed
windows and larger glazing offering controlled views of the Centre. The view from
the glazed wall in the main library hall is
dominated by the highlights of the area: the
bell tower or the Cross of the Plains Church
and the fan-shaped facade of the original
Aalto Library. The heart of the building is
the wide staircase, intended for different
events and as an informal meeting place,
which leads to the collection departments
on the ground floor and through the connecting underground corridor to the Aalto
Library.
LIVELY AND VIVID SURFACE
The external skin of the new library is
dominated by copper. The darkening preoxidised copper sets the new library apart
from the whiteness of the surrounding
buildings. Copper is not a new material to
the area but in the Aalto Centre it is mainly
the roofs that feature the material’s beautifully patinated green surfaces. In the new
library, copper has been used comprehensively across facades, plinth and roofs –
creating a single-material skin.
A special shape of copper shingle was specifically designed for the facades to give the
building a highly individual, lively and vivid
surface. In some situations, the shingle
surface is formed into ventilation slots to
accommodate air handling. Copper is also
used to form vertical grilles and as a door
facing to maintain the material continuity.
Facade northeast
SOUTHWEST
Facade southwest
SOUTHEAST
Facade southeast
NORTHEAST
NORTHWEST
NORTHEAST
SOUTHWEST
Section A
SECTION A 1:500
SECTION B 1:500
Section B
SECTION B 1:500
TO AALTO'S LIBRARY
Architects: JKMM
SECTION A 1:1000
SECTION B 1:1000
Copper Installer: Pohjanmaan Pelti
Copper Product: Nordic Brown® Light
SECTION B 1:1000
A
GAMES
YOUTH,
MUSIC,
MOVIES
GAMES
MUSIC
LISTENING
MUSIC
LISTENING
YOUTH,
MUSIC,
MOVIES
A
A
CAFE
CAFE
CAFE
MUSIC
LISTENING
YOUTH,
MUSIC,
MOVIES
NEWS AREA
READING
STEPS
Photos: Tuomas Uusheimo, Martti Kapanen
B
SECTION A 1:1000
B
B
READING
STEPS
NEWS AREA
NEWS AREA
READING
STEPS
READING
STEPS
READING
STEPS BOOK HALL
READING
BOOK
STEPSHALL
BOOK HALL
SEINÄJOKI CITY LIBRARY
SECTIONS
EXHIBITION
OPEN STACK
YOUTH
INFO EXHIBITION
OPEN STACK
YOUTH
INFO
EXHIBITION
OPEN STACK
YOUTH
INFO
JAAKSI HALL
ENTRANCE HALL
ENTRANCE HALL
EXHIBITION
EXHIBITION
JAAKSI HALL
JKMM ARCHITECTS
ENTRANCE HALL
CUSTOMER EXHIBITIONCUSTOMER
SERVICE
SERVICE
DISTRIBUTION
JAAKSI HALL
DISTRIBUTION
PLAY
SOCIAL
SPACES
OFFICES
OFFICES
BOOKMOBILE
STACK
0 0 1 0 0 H E L S I N K I F I N L A N D TEL. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 0 0 F. + 3 5 8 ( 0 ) 9 2 5 2 2 0 7 1 0
MEETING
ROOM
DISTRIBUTION
SILENT
READING
ROOM
SILENT
READING
ROOM
A
PLAY
CHILDREN
SOCIAL
SPACES
1:500, 1:1000
LAP I N R I N N E 3
CUSTOMER
SERVICE
BOOKMOBILE
STACK
OFFICES
A
SILENT
READING
ROOM
OFFICES
CELLAR 1:500
MEETING
ROOM
STAFF
CAFE
OFFICES
OFFICES
OFFICES
BOOKMOBILE
STACK
OFFICES
GROUND LEVEL 1:500
GROUND LEVEL 1:500 GROUND LEVEL 1:500
STAFF
CAFE
OFFICES
CHILDREN
CHILDREN
OFFICES
OFFICES
OFFICES
1ST FLOOR 1:5001ST FLOOR 1:500
B
CellarGround level1st Floor
B
CELLAR 1:500
MEETING
STAFF ROOM
CAFE
2.10.2012
WWW.JKMM.FI
A
OFFICES
PLAY
OFFICES
OFFICES
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Facade northwest
SECTION A 1:500
O'S LIBRARY
ES
NORTHWEST
1ST FLOOR 1:500
35
CONICAL COPPER
A chapel in the distinctive form of a copper-clad cone is at the heart of the glazed
atrium welcoming visitors to this new school. Russel Hayden of Nicholas Hare
Architects discusses the design concept and how it was realised.
A
ll Saints’ Academy is a church school
for the community in Cheltenham,
UK. It provides secondary education for
900 pupils and 250 sixth-form students.
The building’s striking form curves around
an impressive external plaza with an elegant canopy and three-storey high glazed
atrium at its centre. The design developed
around the concept of a hand, the atrium
acting as a unifying device from which key
internal and external areas are accessed.
Curved open galleries within lead to three
radiating learning wings providing most of
the classroom accommodation.
A Visible Beacon
Learning wings
Dining and kitchen
Main hall and drama
Chapel above reception
Library
Primary circulation
WCs and changing areas
The entrance atrium forms the heart of the
building and the public face of the Academy. Above the reception area rises the
distinctive conical form of the copper-clad
chapel. It acts as a visible beacon reflecting
the Christian ethos of the Academy. The
building is clad with a limited palette of
materials. The ground floor is brickwork
to provide a human scale to the Academy
as well as being durable. Upper levels are
clad with an insulated render system. The
copper shingles to the chapel and the confident use of colour offer a lively counterpoint to the refined facades.
Sculpting of the chapel brings light pouring into the space from above. A single
slot window with a coloured glass design
provides a focus within the contemplative
space. At roof level, the cone is truncated
and a large opening formed in the vertical
face, infilled with glazing. A separate, lower copper clad form completes the composition and encloses mechanical plant servicing the chapel.
37
COPPER CLOSE-UP
Covering the Cone with Copper
A key element of the concept was for the
chapel to appear monolithic – both within the space and externally as it reached
through the atrium roof. The original
proposal was for timber cladding, but the
design team recognised the difficulty of
ensuring the internal and external elements
would weather consistently. Bright copper
was selected with a special, anti-weathering
coating to minimise any change as the surface aged.
Shingles were chosen to deal with the complex form that curves in both plan and
section. The cladding of the chapel was
undertaken – with real craftsmanship – by
NDM, the copper shingles gradually reducing in size to accommodate the conical
shape. The form was computer modelled,
as the size of each row of shingles had to
be calculated to suit the diminishing diameter.
Architects: Nicholas Hare Architects
www.nicholashare.co.uk
Copper Installer: NDM Metal Roofing & Cladding
Copper Product: TECU® Classic (coated)
Photos: © Hufton+Crow
Leitartikel
COPPER ARCHITECTURE NEWS
Gebäudeerweiterungen mit Kupfer
Das Thema dieser Ausgabe von Copper Forum zeigt beispielhafte Umsetzungen von Gebäudeerweiterungen wo Kupfer und Kupferlegierungen eine wesentliche Rolle in der Architektur spielen. Es kann als eine
typologische Tour de Horizon angesehen werden, die die zunehmenden Ansprüche im Materialgebrauch und neue Wege in der Realisierung umreißt.
Die Ansprüche an Kupfer in der modernen Architektur haben sich
deutlich verändert – ein Trend, der sich neben der Verwendung von
Kupfer an Bauten, bei denen Kupfer eine historische Bedeutung hat,
auch in Zukunft weiter fortsetzen wird. Aber häufig bringt ein neuer
Ansatz in der Anwendung frischen Wind, wie beispielhaft in der Innenanwendung in der zweiten Hälfte dieser Ausgabe gezeigt wird. Der
verbindende Stern eines Atriums verdeutlicht die Möglichkeiten des
Materials für innovative und neue zeitgenössische Formen.
Die architektonischen Möglichkeiten mit Kupfer werden noch deutlicher durch ein weiteres Projekt: die Gestaltung eines Clubhauses für
einen Yachtclub auf dem Gerat Barrier Reef. Moderne Computer Techniken ermöglichten ein wegweisendes Design an exponiertem Ort. Im
Kontrast hierzu die schnörkellose Umsetzung einer RettungsbootStation an der stürmischen englischen Küste: form follows function!.
Außergewöhnliche Wetterbedingungen und hohe Ansprüche an die
Nachhaltigkeit sind für Kupfer kein Problem. In skulpturhafter Qualität werden mit Bronze und Glas für lange, lange Zeit zwei historische
Runensteine geschützt (Seite 28-29).
Klar definierte Ansprüche und Formen charakterisieren auch das Marlowe Theater (Seite 16-19), was man auch von der öffentlichen Bibliothek
in Seinäjoki sagen kann (Seite 32-35). Inhaltlich eine schöne Ergänzung
zu dem Zentrum Alvar Aalto, wo mit Respekt zum architektonischen
Zusammenhang eine Abgrenzung auch über den Werkstoff Kupfer vorgenommen wird. Eine weitere Bibliothek – die „Deptford Lounge“ (Seite
24-27) wurde in ein neues, offenes Gemeinschaftsgebäude umgebaut, das
sich durch seine semitransparente, goldene Fassade aus einer Kupferlegierung hervorhebt.
Copper Architecture on-line
Experience copper architecture online- a definitive resource for architectural inspiration, including electronic versions of Copper Architecture Forum, the European
Copper in Architecture Awards and many other helpful publications available at
Copperconcept.org is organised into 17 separate language sections, each edited
locally. The website features an extensive selection of regularly updated project
Die Vielfalt in der Anwendung entspricht den verschiedenen Oberflächen
die heute in Kupfer verfügbar sind wie sie zum Beispiel bei dem mehrgeschossigen Parkhaus auf Seite 20-23 eingesetzt worden sind. Genauso
wie das kleine aber feine temporäre Gebäude (Seite 10-11) – einer Bauart, die normalerweise nicht oft mit Kupfer assoziiert wird. Dem Einsatz
von Kupfer wurde auch hier sehr viel Aufmerksamkeit gewidmet, die der
außerordentlichen Qualität des Projektes zugutekommt. Eine kommunale Gebäudeerweiterung die mehr ist als ein Gebäude (Seite 30-31) zeigt
beispielhaft, dass Kupfer eine besondere Qualität von Gebäuden und zu
anderen Materialien herstellen kann.
references, demonstrating different uses of copper and highlighting some of the
best examples of copper architecture from around Europe and beyond. Of course,
information on the European Copper in Architecture Awards can be found there,
alongside articles on topical issues, such as the antimicrobial capabilities of copper.
As well as design inspiration, Copperconcept.org gives access to a range of architectural and technical publications, and links to other organisations including copper fabricators. Journalists and editors can also access press releases, articles and
images for publication. Finally – and most importantly – the website hosts Copper
Architecture Forum and you can register for your free subscription there, as well as
Kupfer in der Architektur ist stetig in der Entwicklung, die durch Architekten und Architekturinteressierte vorangetrieben wird. Auf der Internetseite www.copperconcept.org können Sie sich die besten Beispiele
ansehen.
download the latest, and previous, issues of the magazine.
Explore the world of copper architecture now at – http://www.copperconcept.org
Das Redaktionsteam
• Für Ihre Ausgabe des Copper Forum registrieren Sie
• Um ein Projekt vorzuschlagen kontaktieren Sie uns gerne sich bitte auf: www.copperconcept.org (dort finden Sie
auch ältere Ausgaben zum download.)
per E-Mail: editorialteam@copperconcept.org
Copper Forum 33, November 2012
Copper Forum ist ein Teil der „European Copper in Architecture Campaign“.
Es erscheint zweimal jährlich mit einer Druckauflage von 25.000 Exemplaren.
Die Zeitschrift wendet sich an Architekten und Fachleuten in ganz Europa
und der Welt und ist in verschiedenen Sprachausgaben verfügbar, wie zum
Beispiel auf Englisch, Tschechisch, Dänisch, Finnisch, Französisch, Deutsch,
Ungarisch, Italienisch, Norwegisch, Polnisch, Russisch und Schwedisch.
The Copperconcept App
Redaktionsteam: Lennart Engström, Ari Lammikko, Chris Hodson, Graeme Bell,
Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock
Anschrift: : CAF, European Copper Institute,
Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
•
•
•
•
•
Hrsg.: Nigel Cotton, ECI
Layout und Realisierung: Naula Grafisk Design, Schweden
Druck: Strålins Grafiska AB 2012, Schweden
Redaktion:
Birgit Schmitz, De
Kazimierz Zakrzewski, Pl
Marco Crespi, It
Nicholas Hay, UK
Nikolaos Vergopoulos, Gr
Nuno Diaz, Es
Olivier Tissot, Fr
Paul Becquevort, Benelux
Pia Voutilainen, Se, No, Fi, Dk
Robert Pintér, Hu, Cz, SVK
Vadim Ionov, Ru
Titelseite: Pavillon zur Ausstellung
‚Goldene Pracht‘, Münster, Deutschland
(S. 10-11)
Foto: © KME/Christian Richters
Free & available for iPhone and iPad.
Inspiration and information combined in one app.
E-Mail: editorialteam@copperconcept.org
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
paul.becquevort@copperalliance.be
pia.voutilainen@copperalliance.se
robert.pinter@copperalliance.hu
vadim.ionov@copperalliance.ru
Reference projects
Architectural city maps
Design Awards
Copper Architecture Forum
Articles
© Copper Architecture Forum 2012
Copperconcept_App_hirdetes_01.indd 1
10/18/12 11:33 AM
39
COPPER Architecture FORUM
ARCHITECTURAL
AWARDS LAUNCH
Entries are invited for the 2013 European Copper in Architecture Awards
– a showcase for architects designing with copper and its alloys to promote
their work to an international audience.
All entries must incorporate facades, roofing or other architectural
elements of copper or copper alloys. Any scale or type of project
can be entered – from major landmark buildings to modest schemes.
Architects and critics, drawn from a panel including some of the
most influential designers in Europe, will judge all the entries on
their architectural qualities from graphic submissions.
Final deadline for receipt of entries: 31st May 2013
For more information on entering the 2013 Awards-16 and on previous
33
awards entries and results, visit: www.copperconcept.org/awards

COPPERA RC h it EC tu REFOR u M

Transcription

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