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2 COPPER ARCHITECTURE FORUM 36/2014
Copper Architecture Forum 36, May 2014
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.
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.
EDITORIAL
Front Cover: Ferry Terminal Buildings, Stockholm (page 20)
Photo: Johan Fowelin
Editor in Chief: Robert Pinter
Editor: Chris Hodson RIBA
Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,
Hermann Kersting, Irina Dumitrescu, Robert Pinter
E-mail: editorialteam@copperconcept.org
Address: CAF, European Copper Institute,
Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
Publisher: Nigel Cotton, ECI
Layout and technical production: Naula Grafisk Design, Sweden/ECI
Printing: Copy & Consulting Kft., Hungary
Editorial panel:
Birgit Schmitz, De birgit.schmitz@copperalliance.de
Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@copperalliance.pl
Marco Crespi, It marco.crespi@copperalliance.it
Nicholas Hay, UK nick.hay@copperalliance.org.uk
Nikolaos Vergopoulos, Gr nick.vergopoulos@copperalliance.gr
Nuno Diaz, Es nuno.diaz@copperalliance.es
Olivier Tissot, Fr olivier.tissot@copperalliance.fr
Pia Voutilainen, Se, No, Fi, Dk pia.voutilainen@copperalliance.se
Robert Pintr, Hu, Cz, Svk, Ru robert.pinter@copperalliance.hu
Yolande Pianet, Benelux yolande.pianet@copperalliance.eu

Copper Architecture Forum 2014
ILLUMINATING COPPER ARCHITECTURE
We open this issue with the results of the 2013 European
Copper in Architecture Awards and make no apologies
for reminding ourselves of the outstanding quality of the
shortlisted and award winning projects, as well as the diverse
applications of copper on display. The outright winner
Platform of Arts and Creativity in Guimares, Portugal
is exceptional and we explore the architects approach
in a revealing interview (page 8) with Fernando de S,
founding partner of Pitgoras Arquitectos.
Equally illuminating is another building (page 10) by the
same architect, also in Guimares. This is the first of several
regeneration projects within historic urban environments
covered here, providing fascinating comparisons. Other
contrasting and equally uncompromising approaches
to medieval street settings are taken with a new museum
in Duderstadt, Germany (page 14) and a hotel addition
completing a street frontage in Visby, Sweden (page 18).
Also in Sweden, low-key, but thoroughly contemporary
structures provide services to ferry travellers along
Stockholms historic waterfront (page 20). Other examples
of more modest interventions bus shelters, access facilities
and even planters demonstrate the role that copper can
play in defining the streetscape (page 22).
In the second half of this issue, the focus moves towards
the diversity of copper forms being explored by designers
today. In Litzendorf, Germany, a new community centre takes
on a pure, crystalline form where roofs and walls become
a singular, copper alloy mesh surface, achieved with clever
detailing (page 24). Considered details also define the rhythmic
relationship between copper and glass at the heart of a new
university building in Bialystok, Poland (page 26). Meanwhile,
in Hof, Germany, special techniques have been used to achieve
completely flat, pristine copper panels interspersed with
glazing on a radiotherapy centre, combining a technological
feel with a sense of warmth (page 29).
The combination of copper and its alloys with other materials is
an area of growing interest and the new gymnasium for an Italian
football club explores the relationship of timber and brass,
anchoring the building to its pivotal location (page 32). Our final
example shows a golden copper alloy playing a key role within a
predominantly brick Parisian social housing block (page 36).
Copper Architecture Forum is only made possible by the
enthusiastic involvement of architects around Europe. You can
submit projects or let us have your comments by emailing your
local representative from the Editorial panel or to our central
e-mail address. We are keen to hear from you.
The Editorial Team
Register for Copper Architecture Forum copperconcept.org
View magazine back issues copperconcept.org
Contact the Editorial Team editorialteam@copperconcept.org
Upload your project to the website copperconcept.org
See the European Copper in Architecture Awards copperconcept.org
COPPERCONCEPT.ORG 3
Copper Architecture Forum 2014
36
Read on iPad for free
2 Illuminating Copper Architecture editorial comment
4 9 Rewarding Copper the results The European Copper
in Architecture Awards, including an interview with the Winner
10 13 The Architecture of Memories regeneration of an historic
industrial environment in Guimares, Portugal
14 17 Modern meets Medieval a contemporary museum in Duderstadt,
Germany reflects its ancient surroundings
18 19 A View from the Street this modern extension to a hotel
completes the streetscape in the World Heritage city of Visby, Sweden
20 21 Marine Interventions brass clad Ferry Terminal buildings link
Stockholms iconic quayside to the city
22 23 Urban Interventions copper structures for a variety of uses add
to landscape and urban design
24 25 Copper Crystal copper alloy mesh seamlessly envelopes
this community building in Litzendorf, Germany
26 28 Sylvan Evocations a forest setting inspired the rhythmic copper
facade of this university building in Bialystok, Poland
29 31 Copper Reflections a Radiotherapy Centre in Hof, Germany
distances itself from traditional copper cladding
32 35 Brass Football this new gymnasium provides a catalyst
for regeneration in Zingonia, Italy
36 39 Machines for Living a golden copper alloy acts as a counterpoint
to the brick mass of this Parisian residential building
CONTENTS
REWARDING COPPER
- the results
by Chris Hodson
In our last issue, we discussed the 2013 European Copper in Architecture Awards and reviewed the ten projects
shortlisted. Here, we can reveal the winners announced at a presentation event held at the international
BATIMAT show in Paris last November and summarise the judges comments.
With a record 82 entries, the 2013 Awards proved to be a
celebration of the very best in contemporary architecture.
The panel of judges (all recipients of previous Copper in
Architecture Awards) Einar Jarmund (Jarmund/Vigsns,
Norway); Craig Casci (Grid Architects, UK); Davide Macullo
(Davide Macullo Architects, Switzerland) and Anu Puustinen
(Avanto Architects, Finland) settled on ten shortlisted
projects that stood out from the rest, revealing a real diversity
of typologies and approaches, and excellent architectural
qualities.
Each of the shortlisted entries was then fully debated and
compared with the others, initially revealing differing opinions
which ebbed and flowed amongst the four judges. Eventually,
a clear consensus was reached revealing three particularly
strong, and very different, schemes meriting Commendation
Shortlisted project architects after presenting their schemes, with the European Copper Institutes Nigel Cotton (left) Photo: Edgar Stouvenot
and a clear Winner of exceptional quality the Platform
of Arts and Creativity, Guimares, Portugal by Pitgoras
Arquitectos. Interestingly, the Public Choice Winner was
Dolomitenblick, Sexten, Italy by Plasma Studio, with the
most votes cast on-line.
The Awards were announced and all ten shortlisted
projects presented at a special event held during BATIMAT
in Paris last November, followed by a lively reception
where architects, journalists and copper specialists mixed.
Throughout the 4-day BATIMAT show, Awards projects
were on display for visitors to explore at a dedicated,
interactive stand.
COPPERCONCEPT.ORG 5
The dedicated European Copper in Architecture Awards stand at BATIMAT Photo: Edgar Stouvenot
AWARDS2013
The 2013 Awards Shortlist
[All ten shortlisted projects were featured in our 2013/35 issue]
Seinjoki City Library, Finland
JKMM Architects
Beslan Memorial, Republic of North Ossetia-Alania
Dr Krekeler Generalplaner GmbH
LCV law-court offices, Venice, Italy
C+S Architects
Covering of the Runic Stones, Jelling, Denmark
NOBEL arkitekter
LAtelier, Gournay en Bray, France
Vincent Parreira Atelier Architecture
Clarion Hotel Post, Gothenburg, Sweden
Semrn & Mnsson
Platform of Arts and Creativity, Guimares, Portugal
Pitgoras Arquitectos
Ple Educatif et Culturel, Pau, France
Marjan Hessamfar & Joe Vrons Architectes Associs
Radio-log Strahlentherapie, Hof, Germany
Hiendl_Schineis Architekten [Featured on page 29]
Dolomitenblick, Sexten, Italy
Plasma Studio
Fernando de S (right) receives the Winners Award on behalf of Pitgoras
Arquitectos Photo: Edgar Stouvenot
Examples of the bronze awards, with the Public Choice Winner ibex (left)
and a Commendation Cycladic head (right) Photo: Edgar Stouvenot
Seinjoki City Library, Finland
JKMM Architects
The judges applauded this assertive but respectful addition
to the most extensive cluster of Alvar Aalto buildings in the
world. The massive, pristine white frames to openings
work well in counterpoint to the rustic feel of the naturally
weathering pre-oxidised copper of the external skin.
A centrifugal plan form with changing levels generates lively,
open spaces that will prove popular with users. The building
sits comfortably amongst its illustrious neighbours while
retaining its individuality a real achievement that justifies
its Commendation.
[Featured in our 2012/33 issue]

Covering of the Runic Stones, Jelling, Denmark
NOBEL arkitekter
In terms of its programme, the judges considered this
project to be a one-line poem but found it exquisite
nonetheless and certainly deserving of a Commendation.
In this deceptively simple design, everything has been
cleverly reduced down to a pure beauty. The interventions
to this ancient site can be seen as a pair of perfectly crafted
jewel boxes of real quality, substantially enhancing the
visitors experience of the runic stones that they so carefully
but discreetly protect.
Dolomitenblick, Sexten, Italy
Plasma Studio
The judges were seduced by the brilliant photographs
and presentation of this entry, effortlessly displaying its
strong sense of form and context. The design of this luxury
apartment building echoes both Alpine topography and
traditional roof forms, redefining the local vernacular.
The rigorous use of copper and timber, both inside and out,
to define the sculpted mass is impressive. It is a building
designed and completed with conviction, justifying its
recognition with a Commendation. This project was also
the Public Choice Winner.
THE COMMENDATIONS
AWARDS2013
Photo: Mika Huisman
Photo: Jens Lindhe
Photo: Hertha Hurnaus
COPPERCONCEPT.ORG 7
The awards brochure can be downloaded and images
and information about all the entries can be found at:
copperconcept.org/awards.
Platform of Arts and Creativity, Guimares, Portugal
Pitgoras Arquitectos
Pitgoras Arquitectos regeneration of the ancient centre of
one of Portugals most historically important cities is defined
by unifying abstract cubic forms, veiled by a grid of brass
profiles. The judges spent time discovering the numerous
qualities of this inscrutable entry on several levels.
The more they looked, the more was revealed.
The design is a confident response to the challenges of
working within a UNESCO and City of Culture site. Pulling
together a diversity of old buildings, the regeneration gives
a new civic heart to the city looking to the future as well
as the past. It is telling that the project was designed by
locally based architects.
THE WINNER
Photo: Joo Morgado
Externally, the brass profile grid dematerialises the
buildings mass, adding an extra, translucent dimension,
while the flexible, white internal spaces flow gracefully one
into the other. The design takes a clever, fresh approach
which the judges described simply as fantastic. Of all the
entries, this is the project that all the judges most want to
visit and explore a worthy Winner.
Photo: Joo Morgado
AWARDS2013
FERNANDO DE S
INTERVIEW
Chris Hodson caught up with the founding
partner of Award Winners Pitgoras Arquitectos
to discuss the practices work.
CH: How important to you is international recognition
through Awards like these?
FS: Recognition is important although its always a surprise
for us as it gives some visibility to our work, recognizing
and validating our approach.
CH: The Guimares project has also won other awards,
including the 2013 Mies Award, red dot best of the best
2013 and Detail magazine readers prize. With growing
recognition do you expect more international work and
will this change your approach?
FS: We have already done some work internationally
in Ghana, Mozambique, and Brazil and are actively
seeking other markets where our work can be developed.
If awards help further expansion of our international
operations, all the better. Our approach will probably stay
the same, although with more effort in understanding
local realities for each case something that we consider
essential in developing any project.
CH: Can you explain your interests and preferences
in terms of choosing materials for your projects?
FS: I think this comes, not from a simple search, but the
realisation of untapped potential and uses of numerous
materials, able to serve each project, distinct reality and
intended expression. Essentially, it is necessary to have
a very clear conscience about materials and their impact
on architecture.
CH: How did the choice of brass as one of the main external
materials for the Guimares project develop?
FS: The material and its composition made it possible for
the building to have specific characteristics such as gloss,
rhythm, transparency and opacity and so the choice was
very natural but supported by the possibilities of local
manufacturing. It meant that several prototypes were
executed during the design phase to gauge the possibilities
for implementation of the facade panels and their respective
costs, achieving the best balance between these two factors.
CH: Do you think the fact that you are locally based
architects influence the projects design?
FS: Absolutely. It starts with the confidence of the Owner.
Then, our knowledge of local realities physical, social and
COPPERCONCEPT.ORG 9
Photo: Joo Morgado
FERNANDO DE S
INTERVIEW
economic helps us to be more assertive in the proposals
and projects we do.
CH: Much of your work has been built in and around
Guimares. What impact do you think Pitgoras has
had on this historic town?
FS: Guimares has made an enormous effort, not only
recovering its historic centre but also equipping itself
for a new paradigm of regional and local development,
more focused on knowledge and qualifications for people.
Through our buildings, we see ourselves as agents of this
fundamental change to our collective future.
CH: Which architects or teachers have influenced
you most?
FS: Pitgoras partners had their training as architects
in the Oporto School, and with teachers such as Tavora,
Siza or Souto de Moura. But, more than the direct influence
of this or that teacher or individual, we have learnt that
its most important to keep our eyes wide open to reality
both local and global.
CH: How would you summarise your approach
to architecture do you and your colleagues see
yourself as modernists?
FS: For us and this has been the way of architecture in
Portugal the most important factors are location and
attention to detail. Regarding categorization of our work,
it is better if others do that. Yes, we are interested in learning
from modernism but from its mistakes as well as its
achievements.
CH: What is the collaborative process between
you and your colleagues in Pitgoras when working
on a project?
FS: We see ourselves always as a collective throughout
the entire office, whatever the geometry we use to
perform a specific job.
CH: Away from architecture, when you have time,
how do you relax away from architecture?
FS: There are plenty of pleasurable things to do in the
world beyond architecture, starting with the first coffee
in the morning
COPPERCONCEPT.ORG 11
The project sits in the old Zona
de Couros (Leather Zone) and is
connected to it by alleys and paths
following the small river that brought
the leather treatment industry
to the area. Now, Zona de Couros
is characterised by abandoned or
transformed buildings but also
by memories, sometimes imaginary,
developed from the historic fragments
that remain today. These include
a few leather treatment tanks, the
small river and a rich heritage of
industrial buildings with an undeniable
architectural interest, providing
us with themes for reflection and
development.
Architect: Pitgoras Arquitectos
Photos: Jos Campos
Copper Product: natural copper

The Platform of Arts and Creativity wasnt the only Pitgoras project in Guimares entered for the Awards.
Although not shortlisted, the Centre for Advanced Postgraduate Formation (CAFPG) for the University of Minho
caught the eye of each judge. Here, Pitgoras explain their response to an historic industrial environment.
OF MEMORIES
THE ARCHITECTURE
The redundant factory for our
project was a set of structures
arranged around a large courtyard.
The CAFPG building now has living
areas, classrooms and administrative
accommodation on the ground floor.
On the first floor are offices,
laboratories and activity rooms
but also the library that connects
with social areas. The circulation
has an irregular geometry to give
space to living labs for presentation
of current academic projects.
The urban context of this project meant, paradoxically, a strict retention
of the volumes of the original building and also its reconstruction, which in our view had
to be done with a light construction system. Here, copper with its technical qualities
and ageing characteristics became the obvious solution. The copper sheet cladding
ensured, without mimicry, dialogue with the traditional materials on site.
Fernando de S
In the design, we avoided a rigid
approach to intervention and
implementation, instead applying
a pragmatic and detailed response
to each problem the project presented.
Paradoxically, we adopted a
fundamental principle of retaining
the volumes of the original building
as an essential repository of its
memory. External materials reflect
the Zona de Couros wood and
granite together with a lightweight
upper level construction clad with
copper. In contrast, the complete
reconstruction of the interiors uses
a contemporary design language
and modern finishes.
MODERN
MEETS
MEDIEVAL
Architect: Gndinger Architekten
Copper Installer: Eduard Koch Bedachungsgesellschaft mbH
Copper Product: TECU
Gold
Photos: Markus Hattwig
The essence of a medieval town,
from twisted spires to timber-
framed houses bent over by age,
is embodied in the new Museum
of Historical Marksmanship,
Duderstadt, described here by its
designers Gndinger Architekten.
Duderstadt, situated in the
neighbourhood of Gttingen, ranks
among the 10 most important
half-timbered towns in Germany.
Besides the historic town hall, one
of the most striking landmarks is
the medieval Westerturm, with its
distinctive twisted spire, integrated
within the oldest sections of the city
fortifications. In 2009 it was decided
to undertake the renovation of an
abandoned half-timbered house next
to the tower and to install a museum
for historical marksmanship, thus
incorporating the tower with another
house on its east side that had been
badly restored some years before.
The massive, historic stone wall acts
as a support for the structure on one
side of the ensemble. In addition to the
re-established half-timbered structure,
we designed an expressive new wing
made of concrete, consisting
of assembled triangular folds.
The addition mainly houses emergency
staircases, as well as a gallery
with a void in front of a big window.
In keeping with the shape of the
new building, the three storey open
staircases are also sculptural
in design and form.
The inclined facades of the new wing refer to the similarly inclined facades
of old typical half-timbered houses in the neighbourhood, but in totally different
and new ways. The golden skin was chosen in reference to the shiny
metal surfaces of old weapons like armour, swords and shields.
Christoph Claus, Gndinger Architekten
Golden Copper Alloy
The facade is clad with golden copper alloy panels of various sizes, set in an
uneven pattern, executed by a specialist contractor and exhibiting particularly
high craftsmanship standards. The result is a completely foreign body, adding
an exciting new quality partly rigid and partly organic among the other houses
in this idyllic setting. A new steel bridge over a reconstructed parapet makes
it possible to take a walk along part of the ancient towns fortifications.
The museums interior is mainly characterised by a limited palette of materials:
raw steel on the floor and the balustrades, black painted wood surfaces for
furniture and doors (imprinted with sulphur yellow texts and images) and exposed
concrete inside the new wing, contrasting with the old stone wall. Here,
the exhibition offers three storeys of different media installations and historical
exhibits, giving insights into such themes as shooting, city defence and town
life in the middle-ages. The first floor is dedicated to the archers and riflemen
who formed a special militia to defend the city.
COPPER IN DETAIL
A VIEW FROM THE STREET
Architect: VISBYARK
Copper Installer: Gardells Plt AB
Copper Product: Nordic Standard
Photos: Roland Hejdstrm
Walking down Strandgatan in the heart
of Visby, the medieval World Heritage
City of Gotland, Sweden, you will
come across a shiny, copper-clad box,
shimmering over the street. This box is
the most prominent part of the recently
completed extension of The Clarion
Hotel Visby.
Through the acquisition and conversion
of an adjacent property, 77 rooms
have been added to the hotel. The new
extension links this to the original
hotel at first floor level and creates an
intriguing entrance from Strandgatan
to the hotel garden. Seated on a solid
base of concrete, the visually lighter
copper box provides Strandgatan with
a continuous street facade and adds
to the variety of the streetscape.
The last of our trio of contemporary interventions at heritage sites,
this new copper link completes and enlivens an historic street frontage
while following the local tradition of narrow gap views through to the
back, as architect Sven Landahl of VISBYARK explains.
Site Plan
Copper Box
New buildings on a prominent street
in a world heritage city such as Visby
demand great sensitivity in design. The
architectural expression of the new link
building was discussed in detail with
the citys planning and listed building
authorities. The design is contemporary
but, at the same time, follows Visbys
traditional format of a hole in the
wall. The main materials are copper,
glass and concrete, and other notable
characteristics are the black steel wall
at street level and the green roof.
The space inside the new link dubbed
The Copper Hall provides a dining
area, bar and lounge. The interior
of each part of the hotel now reflects
various periods in its history and
offers a journey through time, from
the medieval to the present day.
Architect: VISBYARK
Copper Installer: Gardells Plt AB
Copper Product: Nordic Standard
Photos: Roland Hejdstrm
MARINE
INTERVENTIONS
A series of new Ferry Terminal
buildings link Stockholms iconic
quayside to the city
MARINE
INTERVENTIONS
These low-key structures along the city centre water-front defer to their historic
surrounding and prioritise open views of the Royal Palace. The architects concept
involves interacting cones units of varying size and number depending on the
project and location, generating buildings without specific fronts or backs.
Roofs and walls are clad with burnished brass, which harmonises well with the
stone and stucco facades in the background and creates a unified, sculptural
expression. In addition, variations in surface texture are achieved using different
techniques. On this exposed quayside site, brass also offers great corrosion
resistance and durability.
Architect: Marge Arkitekter
Copper Product: Nordic Brass
Photos: Johan Fowelin
Architect: Schockguyan Arch.
Brass
Photo: Thomas Zger
Architect: AR THEME Associs
Patina
Photo: Carl Lang
URBAN INTERVENTIONS
We start with two very different takes
on the ubiquitous public shelter,
an increasingly important element in
sustainable transport by bus, train or
tram. In Wettingen, Switzerland,
the bus station is defined by flat, curved
form brass canopies punctuated by
rooflights and floating on thin columns.
This sleek modernism contrasts with
the Abribus shelters programme
in Rouen, France. Here, the architects
sought easily identifiable objects
on a human scale to mark particular
locations and express a sense
of movement. The green pre-patinated
copper references the citys Cathedral
spires, while the transparent, organic
leaf motif can be seen as reminiscent
of Guimards art nouveau Metropolitain
entrances in Paris.
Chris Hodson examines the growing role of copper in urban and
landscape design as well as architecture in various structures linked
to transport, infrastructure and streetscape projects around Europe.
Brown Hart Gardens
Meanwhile in London, rejuvenation of this elevated public
space, above a protected electricity substation originally
built in 1905, uses a material language of copper, glass and
timber for contemporary interventions, clearly differentiated
from the original Edwardian Baroque style Portland stone
structure. BDP Project Architect Sara Edmonds said:
Architect: BDP
Copper Product: Nordic Blue
TM
Living
Photos: Chris Hodson
Architect: Schockguyan Arch.
Brass
Photo: Thomas Zger
Architect: AR THEME Associs
Patina
Photo: Carl Lang
Copper-clad planters incorporate concealed lighting.
A new staircase and lift structure meets modern
accessibility demands and announces the Gardens
entrance to pedestrians approaching from Oxford Street.
We wanted to use copper as it has historic associations
as well as being a modern material. But there were also
technical considerations, as only lightweight construction
could be supported by the original deck. We decided on a
particular, gentle blue-green shade of copper pre-patination
to complement the Portland stone.
by Chris Hodson
COPPER
CRYSTAL
Clever detailing and construction enables copper
alloy ribbed mesh to seamlessly envelope
both the facades and roofs of this library building,
adding richness, texture and depth evenly across
all its surfaces.
The new building aims to give an iconic civic focus
to the German town of Litzendorf, as part of
an urban development promotion programme.
It provides a new community centre including
a library, exhibition and presentation rooms, and
offices. The result of an architectural competition,
architects HMs design for the 3-storey library
is a prominent landmark defined by its crisp edged
crystalline form, veiled in a golden copper alloy
mesh, interrupted only by deep-set, glazed incisions.
Architect: HM
Copper Installer: Fleischer Metallfaszinationen
Gold
Photos: Fleischer MetallFaszinationen
Then, the transition from faade to roof is almost seamless,
with a gutter hidden above copper-alloy sheet formed cappings
which contain the faade mesh. Below the copper alloy roofing
mesh is a standard copper covering fully supported by
a substrate, insulated beneath. Copper downpipes are cleverly
concealed in the void behind the mesh facades.
Seamless Continuity

Achieving surface continuity across walls and pitched roofs
proved no easy feat. The facades were conceived as free-
ventilated curtain-wall constructions with waterproof mineral
wool insulation over a concrete wall structure, protected by
a facing sheet. Panels of copper alloy ribbed mesh were then
fixed to the outside on a sub-structure incorporating clamp-
springs to allow for tolerances demanded by the mesh.
The specialist installer likened the installation and alignment
of mesh panels to: papering with decorative wallpapers.
You have to do it very precisely and look after both horizontal
and vertical sides at the same time.
COPPER IN DETAIL
Faade Corner detail with concealed downpipe Eaves Transition detail with concealed gutter
SYLVAN
EVOCATIONS
The Lecture and Performance Hall for the Faculty
of Pedagogy and Psychology at the University of Bialystok
is defined by its entrance faade. Here, slim vertical panels
of copper and glazing alternate, moving rhythmically across
the building in three horizontal bands, reflecting the adjacent
Zwierzyniecki Forest. The central entrance is announced
The copper and glass front of this new
university building in Bialystok, Poland
takes its cue from its setting at the edge
of a forest, as Chris Hodson explains.
by a welcoming concave curve, also acting as a pivot
to one side of the frontage, with each floor level shifting
forward of the one below. This device creates a dramatic
corner at a street intersection, revealing the self-contained
nature of the copper faade, contrasting with the buildings
other, grey brick elevations.
The internal layout is bisected by a longitudinal
circulation route, highlighted by long cuts in ceilings
and penetrated by a central rooflight. The main part
of the building provides a flexible performance and
exhibition space, with opposed banks of raked seating
for 150 and 300 people, facing a central performance
area. Soundproof mobile walls enable sub-division
of the spaces for different functions. Ceiling-mounted
acoustic panels of perforated copper sheet and copper
grid are used throughout the space, referencing the front
elevation. Across the circulation route, smaller spaces
provide a theatre, music and arts rooms, lecture halls
and cafeteria.
Architect: Arkon Jan Kabac & Meteor Architects
Copper Product: Nordic Brown
TM
Photos: Bogdan Pszonak
Ground Floor Plan Scale 1:500
First Floor Plan Scale 1:500
Second Floor Plan Scale 1:500
Section Scale 1:500
COPPER IN DETAIL
Creating the copper faades character
Conceived as a distinct, independent element of the building,
the entrance faade is arranged in three strong horizontal
bands. Verticality is introduced with alternating panels
of copper and glass, and accentuated by raised joints between
copper sheets within panels. These joints are set out at
apparently random centres, intentionally un-aligned between
floor levels adding a tree-like complexity and animation to
the surface. The copper panels sit forward of, and overlap
the glazing creating strong shadows and adding to the visual
detachment of the faade.
Facade Detail Scale 1:25
1. Rounded Nordic Brown
TM
sheet 1mm
2. Facade covering in Nordic Brown
TM
panel 0,7 mm
3. Aluminium C profile 2 mm
4. Plywood panel 18 mm
5. Aluminium L profile 2 mm
6. Perforated Nordic Brown
TM
sheet 1 mm
7. Steel sheet 4 mm Plan - Facade Detail Scale 1:5
Plan
Elevation Section
COPPER
REFLECTIONS
Plan - Facade Detail Scale 1:5
Hiendl_Schineis Architekten
describe their European Copper
in Architecture Awards Shortlisted
design for the Radiotherapy Centre
in Hof, Germany, which distances
itself from the traditions of copper
cladding with crisply detailed,
pristine copper surfaces.
Architect: Hiendl_Schineis Architekten
Bond
Photos: Eckhart Matthus, Augsburg
A simple cubic form, the building breaks
free of its restrictions and plays with the
angled lines of the facade panel sections.
Clusters of trees grow around the
building, sometimes producing shadow,
accentuating the verticality of the design.
The faade is divided into non-parallel
sections that develop a lively interplay
with the surrounding trees.
The material used for the curtain-walling
is copper, which will age with time.
The changing seasons are reflected in the
subtle colour changes that will occur in
the metal, from luminous bright copper
to a warm red-brown from shiny to matt.
The curtain-wall faade is applied
using a specially developed adhesive
system to give a completely flat surface
with crisp edges. The shimmering
green glass breaking up the copper
facade scatters light internally and,
at night, spreads light from inside to
out, bringing the building to life.
De8 architetti describe
their new brass-clad gymnasium,
used by Bergamos Atalanta BC
football club, which makes the most
of its prominent pivotal location
as a catalyst for the regeneration
of a 1960s new town.
Zingonia, in the province of Bergamo,
Italy, was intended as a new city
of workers. But from the 50,000
residents anticipated, only 2,000
remain today, of which three-quarters
are immigrants. With new ownership
and as the home of the Atalanta soccer
team, development of the Atalanta
Sport Centre will play an important role
in reversing the economic and social
decline of the town.
BRASS
FOOTBALL
Architect: De8 architetti
Copper Installer: Rubner Objektbau GmbH / Bauspenglerei Kammerer Paul GmbH
Brass
Photos: Danielle De Lonti
The first project the new timber
and brass Gym anticipates the overall
vision of the master plan, which includes
a new youth centre (a key strength
of the soccer team), new press room
and a coherent redesign of the access
flows throughout the site.
The new Gym reconnects the training
grounds and the main building (providing
dressing rooms and headquarters for
the main team) in a new continuum
space. It introduces a new architectural
language and acts as a hub all the
athletes pass through the Gym, even
to reach the training grounds. It also
establishes a strong bond with the
surroundings and existing trees
are accommodated by the plan form
and positions of openings. The Gym is
a privileged observation point of the
park and the training grounds.
FOOTBALL
Cross Section the green-roofed building has a timber-framed pergola in
front with the brass-clad angled wing beyond.
Floor Plan the building acts as a focus for circulation around the whole site,
merging inside and outside spaces.
Roof Plan the main, green roof is Sedum planted, while the lower roof of
the angled wing is clad in brass.
Location Plan the new gym acknowledges the existing building on this
prominent site, then turns towards the sports fields.
A prefabricated timber construction
system enabled construction on site
within a 60-day summer break in the
sporting calendar. Without plasterboard,
the entire wooden structure is visible
giving a material honesty and defining
a hybrid space between inside and
outside. Indeed, the project could also be
considered as a landscape scheme.
To the south the Gym is clearly defined
with a solid wall keeping out street
noise. But to the north, toward the
training grounds, the wood structure and
generous openings blur the buildings
perception. New bamboo and pre-
existing trees merge in front of and
behind the scenes, and are reflected and
amplified by the buildings brass skin.
MACHINES
FOR LIVING
Social housing
for migrants
60 studios
Social housing
for young workers
120 studios
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Clearly inspired by Le Corbusiers Unit dHabitation
buildings, this high density community for young
workers and migrants provides homes envisioned
as machines for living, as its architects explain.
Here, a golden copper alloy acts as a rich
counterpoint to the buildings dominant brick mass.
The Zac des lilas project provides 240 studios, a 66-place
crche and other communal facilities for RIVP, one of the
major players in social housing in Paris. Located just outside
the priphrique ring road, the building aims to link Paris
with the Les Lilas area. Immersed in a complex three-
dimensional environment (the priphrique, local topography
and the terrace of an art-house cinema), the building
references the changing levels, creating its own system
of urban balconies that converse with the various strata.
The street level is principally occupied by the crche, but we
chose to design all the other public spaces (library, gym and
communal kitchen) on the upper level R+3. This makes them
more accessible to residents, facilitates monitoring and creates
an open feel to the building. Here, activity boxes are arranged
freely, creating outdoor spaces facing the terrace of the cinemas
(on the same level). Complementing the horizontal split in the
building is a vertical fault in the facade onto avenue du Docteur
Gley, bringing natural light into the building and creating a
convivial atmosphere on each floor. Similarly, stairwells are all
naturally lit and we wanted to encourage maximum use of these
spaces (at the expense of installing an elevator, for example).
Photo: David Foessel
Photo: Luc Boegly
Photo: Luc Boegly
Copper Counterpoint
The overall volume is treated with a homogeneous skin
of brick, promoting sustainability and low maintenance.
The horizontal and vertical breaks in the facade are clad
in a golden copper alloy. The luminosity and reflective
quality of this material contrasts with the velvet texture
of the anthracite brick.
The apartment typology is seen as a machine for living,
designed to make full use of the available volume and provide
versatility and flexibility in organising spaces (for example with
bespoke furniture, a mobile wall that can close off the kitchen
and a fixed frame that allows natural light into the bathroom).
The compactness of the facade permits large, 2m2m
glazed openings for each 18m studio. Perforated metal
shutters (repeating the pattern of the brick) are installed
on all windows, assuring good thermal comfort.
Photo: Samuel Lehude
Photo: Luc Boegly Photo: Luc Boegly
The luminosity and reflective quality of
the copper alloy contrasts with the velvet
texture of the anthracite brick
Architects: Avenier&Cornejo and Chartier-Dalix
Copper Installer: RAIMOND SAS
Gold
COPPERCONCEPT.ORG

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