1. art and entertainment
2. visual art and design
3. architecture

37
ENGLISH
COPPERCONCEPT.ORG 1
EDITORIAL
THE CHANGING FACE OF COPPER
Just a cursory glance at the Contents page opposite illustrates
the range of architectural expression enabled by copper and
the enthusiasm of designers in seeking out new possibilities
for the material. The growing diversity of surfaces and
manifestations of copper and its alloys is impressive. But its
enhancement of building typologies where copper may not
have been considered before is also revealing, as our first
project, a major sports stadium in Adelaide, Australia (page 4),
shows.
Other characteristics – notably transparency and
transformation, using perforated copper alloy facades –
are explored by both a modern infill building in historic
Copenhagen (page 8) and a model B&O store in Herning,
Denmark (page 12). Two residential projects, in Luebeck,
Germany (page 16) and Ghent, Belgium (page 18), exemplify the
flexibility of copper, allowing bold forms to be expressed with
material continuity. Interestingly, both designs resulted from
robust responses to local planning constraints.
Our interview with the architect of another infill within
an historic city streetscape, the UNESCO listed centre of
Amsterdam (page 22), reveals an intriguing approach to
contemporary design that respects its context without
compromise. Two more uncompromising designs, a museum
in Erding, Bavaria (page 26) and a theatre in Cergy Pontoise,
France (page 28), share an exploration of surface texture using
copper alloy shingles – an increasingly popular technique.
Our final two projects both focus on young people. A
community facility in Denbigh, North Wales (page 32)
maximises flexibility to provide a wide range of support
services and uses a distinctive copper façade to create a
strong local presence. In contrast, the design of a secondary
school near Oslo (page 36) exhibits a rigorous interpretation
of its programme, with a dark copper profile reflecting local
industrial heritage.
ARCHITECTURAL AWARDS LAUNCH
These projects clearly demonstrate that copper inspires
architects – something that is also apparent from the
growing number of impressive reference projects uploaded
to our website. To celebrate the role of copper in current
contemporary design, we are now launching the 17th iteration
of the European Copper in Architecture Awards. The deadline
for receipt of entries is 30th April 2015 and more details are
available on the back cover and on our website
copperconcept.org.
We look forward to your Awards entries!
The Editorial Team
Register for Copper Architecture Forum – copperconcept.org
Editor in Chief: Robert Pinter
View magazine back issues – copperconcept.org
Editor: Chris Hodson RIBA
Contact the Editorial Team – [email protected]
Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,
Hermann Kersting, Irina Dumitrescu, Robert Pinter
Upload your project to the website – copperconcept.org
See the European Copper in Architecture Awards – copperconcept.org
Copper Architecture Forum 37, November 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.
Front Cover: Museum addition, Erding, Bavaria (page 26)
Photo: Peter Franck
2 COPPER ARCHITECTURE FORUM 37/2014
E-mail: [email protected]
Address: CAF, European Copper Institute,
Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
Publisher: Nigel Cotton, ECI
Layout and technical production: ECI
Printing: Copy & Consulting Kft., Hungary
Editorial panel:
Birgit Schmitz, De
Kazimierz Zakrzewski, Pl
Marco Crespi, It
Nicholas Hay, UK
Nikolaos Vergopoulos, Gr
Nuno Diaz, Es
Olivier Tissot, Fr
Pia Voutilainen, Se, No, Fi, Dk
Robert Pintér, Hu, Cz, Svk, Ru
Yolande Pianet, Benelux [email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
[email protected]
© Copper Architecture Forum 2014
CONTENTS
37
2 The Changing Face of Copper – editorial comment
4 –7 Copper Oval – redevelopment of one of Australia’s most iconic sports venues, the Adelaide Oval
8 –11 A Modern Merchant’s House – an innovative, animated external skin transforms this conversion from day to night
12 –15 Sound Design – a new Bang & Olufsen store epitomises the company’s iconic brand and approach to product design
16 –17 Copper Villa – this apartment building is expressed as a single, contemporary unit, reflecting the scale of its neighbours
18 –21 Deconstructing the Vernacular – copper is key to this reinvention of the traditional house form
22– 25 Shadow Play – a new gabled town house takes a fresh approach to contemporary design in an important conservation area
26 – 27 Modern Surface Expression – this new extension to a museum optimises its constrained site
28 –31
Baroque Intervention – a bold new theatre, enriched by copper alloy shingle facades, unites neighbouring public buildings
3
2 – 35 Copper Presence – a bold copper façade creates an urban presence for this innovative facility for young people
3
6 – 39 A School of Thought – this competition-winning new school is characterised by a clearly defined spatial strategy
40 European Copper in Architecture Awards – launch
Read on iPad for free
© Copper Architecture Forum 2014
COPPERCONCEPT.ORG 3
COPPER OVAL
Bronze cladding and copper mesh help add an extra dimension of material
quality to the sports stadia typology at the newly redeveloped Adelaide Oval –
one of Australia’s most iconic sports venues, as Mee Kyong Kim of architects
WALTERBROOKE (in association with lead architect Cox Architecture) explains
4 COPPER ARCHITECTURE FORUM 37/2014
Photo: Chin Tan (Cox Architecture)
Internationally known as one of the most picturesque test
cricket venues in the world, the Adelaide Oval sits amongst
historical gardens and trees in the parklands on the northern
edge of the city’s central area, with a mound of fig trees,
a heritage scoreboard and the spires of St. Peter’s Cathedral
as a backdrop. The Adelaide Oval redevelopment now
provides 50,000 spectator seats and ancillary facilities for
cricket and Australian Rules football, as well as other sports
and entertainment.
The new south and east stands reflect the character of the
western grandstand redevelopment completed in 2010.
The design is conceived as a series of pavilions in a parkland
setting and the two new stands consist of strong precast
concrete bases, bronze and copper clad facades, glazed
curtain-walling, expressed precast concrete seating tiers
and diagrid PTFE roofs.
COPPERCONCEPT.ORG 5
Photo: Orange Lane
The palette of façade materials includes sandstone coloured
concrete, glass, bronze and copper. This palette was inspired
by the local context: bronze and copper from existing bronze
sculptures in the parkland, and the sandstone coloured
concrete from the masonry stone bases of historic buildings
nearby. The bronze and copper facades will gradually
weather to a dark reddish brown colour which will sit
comfortably within the park landscape.
The copper mesh wraps and meanders around the external
facades and stairs as a gentle, curved veil along the radial
grids. A series of solid bronze volumes protrude though
the veil and curtain-walled envelope. Each one is oriented
to optimise views to St. Peter’s Cathedral, the gardens, the
riverbank and central area, from the dining rooms and
members’ bars. This material language is also applied to the
internal atrium space.
Image: Cox Architecture
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SUBTLE VARIATIONS IN TONE
The distinctive façade of the William Magarey Room, above
the entrance and ticket office, is expressed with doublecurved geometry and is inclined in a sectional plane.
The overall scale of this façade dominates the south
elevation and announces the main entry to the south stand.
The curved form has been created from over 4,000 individual
interlocking bronze panels. Each segment is exposed to
different climatic conditions, generating subtle variations in
weathered surface tones.
The bronze cladding flows underneath to form a reflective
soffit to the entrance, then into the interior to define the
solid mass, while blurring inside and outside boundaries.
Copper mesh forms a secondary skin to fully glazed façades
offering privacy and screening internal spaces from the
harsh Australian sun. The rib profile mesh also provides
weather protection for the external egress stairs.
Architects: Cox Architecture as lead architect in association with
WALTERBROOKE and Hames Sharley
Copper Installer: Cladding & Roofing Contractors PTY
Copper Products: Nordic Bronze and TECU® Classic Rib Mesh
Photo: Chin Tan (Cox Architecture)
The construction details of the copper mesh were developed
to suit the local conditions with close collaboration between
the architectural team, contractor, cladding installer
and structural engineers. The main structural design driver
of the fixing methods was the extremely high summer
temperature in Adelaide. The stair screens were fabricated
as cassette panels while the screens in front of the glazed
facades were constructed as full height panels clamped
tightly with continuous copper strips along the vertical
panel edges.
The Adelaide Oval Redevelopment project is characterised
by its landscape context, expressive facades and roof forms,
and the application of rich, natural materials.
“The bronze and copper facade systems used
on the new pavilions add an extra level of
quality and finish that is atypical for stadia
projects, enabling the new buildings to age
gracefully in their parkland setting”
Photo: Chin Tan (Cox Architecture)
COPPERCONCEPT.ORG 7
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A MODERN
MERCHANT’S HOUSE
With this conversion of a 1960s office building, BBP Arkitekter have used articulated,
perforated golden copper alloy elements to animate and dramatically transform
the external skin to suit different operational and lighting conditions, as they illustrate here
Located in the Nyhavn district of central Copenhagen,
this conversion forms the new headquarters for the Danish
jewellery firm Trollbeads, who are known for their glass
and gold beads. It is a high security building, organised like
an Italian Renaissance merchant house with goods loaded
safely at the ground floor, stock and offices above, and – at the
highest level – a residence for the owner with a roof terrace.
Reconciling Modern and Historic
The challenge was to make a building that respects its
typology as a contemporary curtain-wall building, while
at the same time relating to the historic houses on either
side. How do you reconcile modern design with the scale
and character of an 18th century townhouse?
To achieve this, the original curtain wall was removed, the
existing concrete structure stripped, then extended 2.5 m
towards the street and a new skin of glass and perforated
copper alloy added to cover the facade, roof and a small
courtyard at the back. The building is defined by the two party
walls, which have been raised and reshaped so as to follow
the line of the neighbouring mansard roof. Typically of visible
party walls in the city, the exposed wall has a different logic
to the facade, with small, round windows forming a random
pattern.
Copper Alloy Curtain
Between the two curved party walls, a skin of glass is
stretched to cover the roof and facade. On the outside
a golden copper alloy ‘curtain’ is hung, making a kind
of inverted curtain-wall. Areas of the copper curtain can
simply fold up to generate a pattern of fenestration
matching that of the adjacent buildings and giving
continuity to the streetscape. When closed, the curtain
becomes homogenous and impenetrable – but then
dissolves to reveal the interior with lighting at night.
Architect: BBP Arkitekter
Copper Installer: Art Andersen Copenhagen & Hunter Douglas Architectural
Projects Scandinavia
Copper Product: TECU® Gold
Photos: Jens Markus Lindhe
COPPERCONCEPT.ORG 9
The new façade addresses the fractured street frontage of the original concrete
building. The converted building now respects the massing, scale and urban
context of its historic neighbours
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COPPER CLOSE-UP
ANIMATING ARCHITECTURE
Every morning half the curtain opens,
creating fenestration set into a ‘massive’
wall like the adjoining houses.
After working hours the curtain closes
automatically and the building is
transformed into a secure vault.
After dark dim lighting turns on inside,
revealing a modern glass house behind
a veil of translucent copper alloy.
The pattern of perforations in the
curtain was inspired by a hedge of
thorns guarding a treasure and was
developed by textile designer Lene
Toni Kjeld together with architect Ebbe
Wæhrens
Movable elements are hinged but when
the curtain is closed there is little
visible difference across the facades
At the third floor the curtain is folded
down to align with the roof cornice
of the adjacent house. The curtain
also lifts up at the entrance, forming
a canopy in line with a cornice on the
neighbouring buildings
COPPERCONCEPT.ORG 11
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SOUND
DESIGN
by Chris Hodson
The first new Bang & Olufsen store based on
the company’s latest retail design concept
epitomises this iconic brand with its deceptively
simple, golden copper alloy and glass form
A team headed by Johannes Torpe,
B&O’s Creative Director, was behind
the new store concept which aims
to deliver a fresh sensory experience
through sound and design.
The architectural interpretation
of this concept by Arkitec A/S for
a store in the Danish town of Herning,
is an understated, curved-edge box,
reminiscent of B&O’s minimalist
products. Although thoroughly modern,
the store’s design recognises its
sensitive location on the town’s central
square – dominated by the church –
with restraint and modest scale.
COPPERCONCEPT.ORG 13
Unique Visual Characteristics
After exploring a range of other high quality
façade materials alongside the generous
glazing, a consensus was reached on the
golden copper alloy for its sustainability and
unique visual characteristics, complementing
the warm brown brick prevalent around the
square and copper details on the church.
Without compromising the clean lines of
the building, an additional surface treatment
was applied to enrich the copper alloy’s
appearance and an apparently random
pattern of wavy lines added, generated by
varying circular perforations through the
material. At night, soft LED backlighting
shines through the perforated patterns,
dematerialising the building’s form.
Programmed to dim randomly, the glowing
façades create an intriguing rhythmic
animation and focal point to the town square.
Architect: Lars Sternberg, Arkitec A/S
Copper Installer: RMIG and AS Facader
Copper Product: TECU® Gold
Photos: ©Arkitec A/S – Lars Sternberg
14 COPPER ARCHITECTURE FORUM 37/2014
Different sized circular perforations create
random wavy patterns...
Photo: KME
...which then come alive at night with
animated LED backlighting
Photo: KME
COPPERCONCEPT.ORG 15
COPPER
VILLA
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Conceived as a modern villa,
this apartment building in Luebeck,
northern Germany, is an example
of a design informed by local
planning constraints – influencing
its positioning, proportions and
even roof pitches. The pre-patinated
copper superstructure above
a solid brick base and a creative
use of fenestration belie the linear
plan forms of the three apartments
stacked within. KBNK Architekten
describe their design
The site of the JWS 2b building in the St. Gertrud quarter,
not far from the historic city centre, offers a prime
location with exceptional views to the river Wankenitz.
Our design is a cubic form and a fresh interpretation
of the surrounding buildings. Sloping, gabled roofs,
a clear differentiation between ground and first floor
and a limited selection of high quality materials
underline the villa character of the building.
The ground floor facades, terrace, garage entrance
(serviced by a vehicle lift) and garden walls
are all united by a homogeneous brick texture.
The upper two floors use a copper-clad, lightweight
timber construction, enhancing sustainability.
Private outdoor areas are clearly differentiated from
open semi-public space such as the main entry and
garden to the north of the site.
The building is completely committed to the principles of
sustainability. By using optimized day-lighting, controlled
ventilation and established technologies, environmental
emissions and costs have been kept to a minimum.
Architect: KBNK Architekten
Copper Installer: Bauklempnerei Clemens Neumeister jun.
Copper Product: TECU® Patina
Photos: Markus Dorfmüller | Markus Kröger | Johanna Klier
COPPERCONCEPT.ORG 17
DECONSTRUCTING
THE VERNACULAR
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Local planning demands also influenced the design of this family home,
sparking a subversion of the ‘room in the roof’ house typology without
resorting to ubiquitous dormer windows or rooflights. Instead, an ingenious
deconstruction of a vernacular form has been generated, split open by fissures
of generous glazing providing discreet views to both levels. The copper skin –
unifying walls and roofs – proved central to the concept, explains Basile Graux
COPPERCONCEPT.ORG 19
DEVELOPING THE DESIGN
- RESPONDING TO SITE CONSTRAINTS
Skylights
Dormer windows
SITE
SINGLE STOREY
+ pitched roof
1
BUILDABLE AREA
2
BUILDING VOLUME
required area
MODIFICATION
of building volume
3
NEW building volume
Architect: GRAUX & BAEYENS architecten
Copper Installer: Platteau bvba
Photos: Filip Dujardin
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VIEWS
4
REINTEGRATED
into buildable area
This single, family house is located in Destelbergen, just
outside the Belgian town of Ghent. It is close to the remains of
a castle destroyed in the Second World War, although parts of
its surrounding wall still stand as a silent historical reminder.
House VDV appears simultaneously familiar and strange.
The basic volume, consisting of a ground floor and upper
level within a pitched roof, alludes to familiar archetypes
such as the rural farmhouse or barn. Yet, at the same time,
the simplicity of the volume is broken up by large glass
facades, establishing relationships with the surrounding
trees and listed castle wall.
Mandatory planning requirements for the plot made sure
that the house was conceived as a pavilion. Our solution is
essentially a garden-house with no front or rear but, instead,
two identical facades and a 360-degree experience of the
entire plot.
The untreated copper cladding will continuously change
colour over the years, from bright in the beginning to brown
and eventually green at the end. It gives the project a poetic
impermanence, which is echoed in the reflection of the
surrounding trees in the glass facades.
COPPERCONCEPT.ORG 21
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SHADOW
PLAY
Within the Seventeenth-Century Canal Ring
Area of Amsterdam – added to the UNESCO’s
World Heritage List in 2010 – is an intriguing
new building that respects the history of
its location while exploring contemporary,
deconstructive design. Architect Elsbeth Falk
discusses this modern take on the traditional
gabled merchant house with Chris Hodson
Chris Hodson: What is the story behind this project?
Elsbeth Falk: Bergstraat 6 was a small plot of derelict land
waiting to be developed for years. The original gabled house
from 1724 burned down in 1946. Then, in 2010, there was
at last an opportunity to develop the plot and reinstate the
streetscape.
CH: How did you approach the design?
EF: Our concept was to create a shadow of the building that
once stood there. It's a wink to the past, showing respect for
its context but in line with aspirations for the future.
A flat façade, completely covered with dark, pre-oxidised
copper and black aluminium window frames, provides
an abstract view of the former buildings. We wanted to create
a contemporary translation of a facade with traditional
proportions, seamlessly incorporated into the street.
CH: How did you know what the original facade looked like?
EF: Our research led us to original drawings of the street and
old photos of the building before demolition. This evidence and
the shadow concept using copper underpinning our design
were presented to the local municipality, convincing them that
this solution was right for such a sensitive, protected area.
COPPERCONCEPT.ORG 23
LONG SECTION
ATTIC
2ND FLOOR PLAN
1ST FLOOR PLAN
GROUND FLOOR PLAN
BASEMENT
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CH: How is the building used?
EF: It is now used as an office but the concept was that it
could also become a family home. A good design should be
able to handle both.
CH: Why did you choose pre-oxidised copper for the street
facade?
EF: It seemed a natural way of achieving the dark 'shadow'
finish we sought but also because we could design ‘flat’
details – almost as if there were no details at all. And we
really like the fact that copper ages slowly and gracefully.
CH: The copper façade appears disconnected from the rest of
the new building.
EF: Yes, this was our clear intention. The one visible side wall
is light grey mineral render with grey metal cladding to the
top floor and zinc roofs, providing a neutral backdrop for the
dark street façade surface to stand-out against.
CH: Although the street façade is conceived as two-dimensional,
it does have thickness.
EF: That’s true, although our detailing of the copper surface
aims to create a consistently thin, distinct façade element,
detached from the rest of the building.
Architect: Hund Falk Architecten
(project architects: Elsbeth Falk and Annelies Schellekens)
Client: ForReal Investments Amsterdam
Copper Installer: De Ridden geveltechniek
Copper Product: TECU® Oxid
Photos: de Beeldenmakers and Hans van Meerwijk
COPPER IN DETAIL
Y
X
X
Y
STREET ELEVATION
REALISING THE CONCEPT
The 'shadow' facade with its pre-oxidised copper surface (shown coloured
on the drawings) has been carefully detailed to create a completely flat 'shadow'
plane with only recessed joints between panels. The consistent thickness of the
copper facade element is expressed by shadow-gap details to the adjacent building
and rendered side wall. Simple, dark windows with copper reveals minimise visual
impact and copper shutters sit flush with the facade when closed.
VERTICAL SECTION Y-Y
HORIZONTAL SECTION X-X
COPPERCONCEPT.ORG 25
MODERN
SURFACE EXPRESSION
by Chris Hodson
The first of two projects characterised by bold forms and facades
enlivened with golden copper alloy shingles, this new addition to a Museum
in the Bavarian town of Erding makes the most of its constrained site
26 COPPER ARCHITECTURE FORUM 37/2014
COPPER SHINGLES
The new addition adjoins the eastern side of a protected
historic building – home to the Erdinger Museum’s collection
since 1986 and currently under renovation – with a glazed link
maintaining a respectful distance between them.
The taller, upper level main exhibition space is a simple,
flat-roofed cubic form. It is encased by unbroken surfaces,
relieved by the strong geometric texture of large interlocking
shingles manufactured from a golden copper alloy.
This bold, golden form floats above the generously glazed
lower level which houses a new entrance, café, training
rooms, offices and special exhibition spaces. The new
addition is thoroughly modern but does not attempt to
compete with its historic host.
Architect: Walbrunn Architekten
Copper Installer: Hermann Häckl & Sohn Spenglerei
Copper Product: TECU® Gold
Photos: Peter Franck
COPPERCONCEPT.ORG 27
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COPPER SHINGLES
BAROQUE
INTERVENTION
Our second golden shingle example
– this time in Cergy Pontoise, France –
takes an even bolder stance, explained by
its architects GPAA, based on their entry for the
2013 European Copper in Architecture Awards
Théâtre 95 is housed in the third building of the new town that
arose in the 1970s. This emblem of the town’s history was
once the home to the Cergy Pontoise School of Architecture
and Urban Planning, before becoming an arts school and
then being transformed into a theatre. The new addition is
a complex project, framed by more general considerations
about emerging social and urban developments and cultural
practices. The aim is to invite the wider public to discover new
strategies to reinvent the town.
The building’s pleated, gabled roof first strikes the visitor’s
eye: this is the outline that the new intervention has borrowed
to link old and new. The connection exists in a ‘semi-public’
hall-atrium, which follows the "Fil D'Ariane" – a public
footpath that winds its way, without interruption, from
the south-east to the north-west of the town and is thus
‘integrated’ into the building.
The saw-tooth outline of the existing roof is continued over
the hall-atrium volume, where it transforms into juxtaposed
strips creating shafts of light entering the hall. The pleated
forms are also echoed in the auditorium addition, facing
south. Here, they create a new rhythm, emphasizing the
orientation of the new structure out of line with Cergy's
traditional orthogonal grid. The pleated outline has become
the "crown" of the volume of the new auditorium.
The auditorium rises in an almost baroque posture, as if in
confrontation with what is already there. The existing building
conserves its identity, with the atrium linking it to the new
400-seat auditorium, setting up a ‘face-off’ relationship
between two visions that mix, stand in opposition and join
together in a boldly chaotic statement. The auditorium
addition is a blind mass, covered with golden scales that add
light to this fairly colourless urban environment.
Architect: Gaëlle Peneau architecte et associés (GPAA)
Copper Installer: RAIMOND SAS
Copper Product: TECU® Gold
Photos: 11h45, Paris
COPPERCONCEPT.ORG 29
4
1
3
2
3
2
2
PLAN 04
1- dressing rooms and artistic
annexes
2- storage area
3- auditorium
4- void over existing stage
5
3
4
7
6
8
9
10
6
1
SECTION OF THE ATRIUM TOWARDS THE NEW AUDITORIUM
2
PLAN 03
6- bridges in the atrium
7- collective dressing room
8- existing auditorium
9- bookshop
10- hall
1- auditorium
2- control room
3- caretakers room
4- technicians office
5- void over storage areas
SECTION OF THE ATRIUM TOWARDS THE EXISTING BUILDING
10
3
3
3
3
8
2
5
4
6
LONGITUDINAL SECTION OF THE HALL AND THE CONROL ROOM
9
1
4
7
1- auditorium
2- proximity dressing room
3- storage area
4- atrium
5- library
PLAN 02
6- bar
7- foyer
8- existing auditorium
9- hall
10- service area
30 COPPER ARCHITECTURE FORUM 37/2014
TRANSVERSE SECTION OF THE HALL TOWARDS THE CONTROL ROOM
COPPER SHINGLES
COPPERCONCEPT.ORG 31
COPPER PRESENCE
A long, pre-oxidised copper rain-screen detaches from its host building, creating
an impressive urban presence for this innovative community facility for young people
in North Wales. Julien Denis of John McCall Architects tells us more
32 COPPER ARCHITECTURE FORUM 37/2014
Architect: John McCall Architects
Client: Grŵp Cynefin
Contractor: Anwyl Construction
Copper Installer: Varla UK
Copper Product: Nordic BrownTM Light
Photos: John Garon Photography
Inclusive and Accessible
Hwb Dinbych is a multi-purpose facility for young people,
incorporating supported housing. It is located on the
outskirts of a housing estate and only a few yards from
the historic town centre of Denbigh. The building provides
learning spaces for vocational skills and gives access to
business advice, counselling and mentoring, as well as
supporting other services for young people, ranging from
11 to 25 years old. It also includes six self-contained 1-bed
apartments for affordable rental by 16–25 year olds.
The aim of the project was to create a centre that will provide
support to young people in general, particularly those at
risk of under-achieving in life, and to reduce homelessness
amongst the young. The project aims to be inclusive and
accessible to the whole community, attracting a broad crosssection of Denbigh residents, particularly young people.
The design concept, derived from the client’s aspirations,
provides openness, visibility and accessibility from the street,
as well as ‘ownership’ by the young. The building is flexible
and able to respond to different users’ needs, allowing local
training and support services to be delivered and links with
local businesses to be fostered.
COPPERCONCEPT.ORG 33
BREEAM Rated
Care has been taken to ensure that the ecological and
environmental impacts of the redevelopment are positive.
The building has achieved a BREEAM “excellent” rating
for energy use and “very good” rating for the overall scheme.
Copper and other materials were carefully selected for
recyclability and reduced environmental impact,
in line with ‘The Green Guide to Specification’.
In compositional terms, the design defines two main masses:
the copper-clad volume of the Youth Enterprise Centre/
College and the concrete-faced volume of the supported
housing block. The main entrance of the complex is through
a glazed atrium which links the two parts across a doubleheight reception space.
SECOND FLOOR PLAN
FIRST FLOOR PLAN
Summertime overheating is minimised by overhanging
the first floor and providing a colonnade along the front of
the building. Floor levels dictated by flood risk alleviation
resulted in the base of the building jutting out of the ground
as the site slopes downhill, giving the eastern end of the
building elevated views to the surroundings. Precast
concrete facades were selected to reference the local stone
and traditional pebbledash rendered houses, allowing
the building to blend in with its surroundings. The coppergreen coloured, V-shaped columns add a playful note to the
composition.
Copper Ribbon
The pre-oxidised copper rain-screen of the front elevation
extends past the glazed wall of the atrium to provide some
solar shading and to frame views of the nearby castle. Tall
windows in this copper ribbon also reflect the medieval
architecture of the castle. The prominent sign above the
entrance was also made of copper to match the main
elevation.
GROUND FLOOR PLAN
34 COPPER ARCHITECTURE FORUM 37/2014
Particular care was taken with the rhythm of the copper
standing seams to avoid formality and repetition, and give the
main street elevation a natural feel. This is further reinforced
by the use of box seams at corner junctions and at either
side of openings. Box seams were also employed on the end
elevation to highlight the location of curtain wall members on
the larger opening of the Arts & Crafts workshop.
COPPER IN DETAIL
EXAMPLE COPPER CLADDING PANEL WITHIN RECESSED BLOCKWORK ELEVATION
C
A
cavity tray over compartment
fire barrier
A
joint in copper at tray position
lintel over full width
of recessed panel
B
insulated steel lintel
B
helping hand bracket
vertical standing seam copper
continuous sill
continuous sill
C
SECTION C-C
helping hand bracket
140 mm insulation
50×50 mm vertical battens
18 mm plywood
membrane
vertical standing seam copper
PLAN A-A
aluminium window
copper returned into reveal
continuous sill
PLAN B-B
COPPERCONCEPT.ORG 35
36 COPPER ARCHITECTURE FORUM 37/2014
A SCHOOL OF THOUGHT
This compact, low energy secondary school for 450 students uses pre-oxidised, profiled
copper cladding to celebrate its locality. Thomas Landenberg, a partner in White arkitekter AB,
describes its competition-winning design and rigorous response to the programme
The new school – Bråtejordet skole – is situated in Strømmen,
an old industrial town around 20 km northeast of central
Oslo and considered a part of Greater Oslo. Strømmen has
its origins in sawmills along the local river and, later on, in
heavy industry. The school is built on top of sloping farmland,
right next to an old farmhouse. It is the first building in what
will be a new housing area and east of the school there will
be a new kindergarten. The view over the surrounding open
landscape is one of the main qualities of the site.
The client wanted a school with a hundred year life-span and
copper provided a long-term facade solution that combines
a living material, developing its beauty over time, with the
feeling of a lightweight box hovering over the plateau.
The pre-oxidised copper box’s impact is reinforced with
matching dark window frames and sun shades, and also by
the returning copper soffits above the entrance opening.
While the dark box blends with the landscape, it contrasts
with the interior, which is bright with a white terrazzo floor
forming the plateau.
The ‘green roof’ – covered with Sedum planting to
collect water – is formed from a series of wedge shapes,
maintaining a low height but avoiding snow and rain
problems. It incorporates a number of long rooflights,
providing natural lighting to the main space and stairs,
as well as adding to a sense of connection with the outside.
Together with the distinctive roof forms, the corrugated
copper façades are also contextual, connecting with the old
industrial sheds of Strømmen. But even more important is
the way the copper reflects light as students are welcomed
by the north-east façade glimmering in the morning sun.
COPPERCONCEPT.ORG 37
C
SECTION A-A
A
B
B
C
D
SECTION B-B
D
A
SECTION C-C
38 COPPER ARCHITECTURE FORUM 37/2014
SECTION D-D
The competition project was called “Rammer og Nivåer” or “Frames and Levels”. Our design concept was centred on a clearly
defined spatial hierarchy. This sequence from larger to smaller provides the structured teaching environment required by the
teachers and headmaster. It defines clear spatial thresholds:
YARD
- between the town and the school
A vegetated ‘filter’ with trees of different heights defines
the school yard. Passing through this filter you leave the
town and enter the school. The density and height of the filter
is adjusted to the view and surroundings. The yard itself
is divided into ‘fields’ – referencing the agricultural landscape
– serving different functions, including social spaces close
to the building and sports and play further away. The building
is located near the road, distancing itself from the old farm
and also sheltering the yard from road noise. The angled
building shape also creates a warm and sheltered microclimate in the yard.
PLATEAU
– between ground level
common areas and upper level units for each grade
The entrance is on a plateau, two metres above the new road,
creating a level change as you enter the building. Various
specialist rooms – including workshops, studios and the
library – and administration areas form an angle around the
school yard and the central space. This central space acts
as the entrance, meeting and assembly hall, as well as the
canteen. This space is extrovert, public and transparent –
connecting with the schoolyard to the south and views to the
north, and defined by full-height glazing, differentiating
it from the upper level: the box.
BOX
– between the units
The classroom level is a raised, introverted copper box.
Inside there are different spaces for study, work and
concentration, again forming an angle around the main
space. The three different grades are located in each corner
of the building and every grade has its own area with
a teacher’s room, distinct social space and separate stairs
down to the entrance level. Every classroom is connected
to a smaller room for working in groups, as well as a toilet,
so that students do not have to leave the teaching area:
one of the programmatic demands of the competition.
ROOM
– between the classes
All the classrooms are orientated north, avoiding direct
sunlight but with views over the surrounding open landscape.
This is where students and teachers spend much of their
time, so most of the classrooms have high ceilings following
the angular roof, as well as concrete walls, giving them
a spacious and distinctive character.
Architect (and Landscape Architect): White arkitekter AB
Contractor: Betonmast AS
Copper Installer: Storo Blikkenslagerverksted AS
Copper Product: Nordic BrownTM Light
Photos: Ivan Brodey
COPPERCONCEPT.ORG 39
WINNER 2009
WINNER 2011
WINNER 2007
2015
ARCHITECTURAL
AWARDS LAUNCH
Entries are invited for the 2015 European
Copper in Architecture Awards – a showcase
for architects designing with copper
and its alloys to promote their work to an
international audience.
Final deadline for receipt of entries: 30th April 2015
WINNER 2013
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.
For more information on entering the 2015 Awards-17 and on
previous awards entries and results, visit:
www.copperconcept.org/awards
COPPERCONCEPT.ORG