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DITORIAL

Sabonner Copper Architecture Forum copperconcept.org

Consulter les anciens numros du magazine copperconcept.org

Contacter lquipe rdactionnelle [email protected]

Tlcharger votre projet sur le site copperconcept.org

Participer aux European Copper in Architecture Awards copperconcept.org

Couverture : Une plateforme pourles arts et la crativit, Guimares,Portugal (page 14).Photo : Joo Morgado

Copper Architecture Forum 34, mai 2013

Copper Architecture Forum fait par tie de la European Copper in Architecture

Campaign . Ce magazine est publi deux fois par an et tir 25 000 exemplaires.

Il est distribu aux architectes et aux professionnels de la construction en Europe et au-del en anglais, tchque, danois, finnois, franais, allemand, hongr ois,

italien, norvgien, polonais, russe, espagnol et sudois.

Rdacteur en chef : Robert Pinter

Rdacteur : Chris Hodson RIBA

quipe rdactionnelle : Lennart Engstrm, Ari Lammikko, Chris Hodson, GrBell, Hermann Kersting, Robert Pinter, Irina Dumitrescu, Herbert Mock

E-mail : [email protected]

Adresse : CAF, European Copper Institute,avenue de Tervueren 168 b-10, B-1150 Bruxelles, Belgiq ue

diteur : Nigel Cotton, ECI

Mise en page et production technique : Jorma Naula Grafisk Design, Sude

Impression : Strlins Grafiska AB 2013, Sude

Panel ditorial :Birgit Schmitz, De [email protected]

Kazimierz Zakrzewski, Pl kazimierz.zakrzewski@copp eralliance.pl

Marco Crespi, It [email protected]

Nicholas Hay, UK [email protected]

Nikolaos Vergopoulos, Gr [email protected]

Nuno Diaz, Es [email protected]

Olivier Tissot, Fr [email protected]

Paul Becquevort, Benelux paul.becquevort@ copperalliance.be

Pia Voutilainen, Se, No, Fi, Dk [email protected]

Robert Pintr, Hu, Cz, SVK robert.pinter@ copperalliance.hu

Vadim Ionov, Ru vadim.ionov@copper alliance.ru

Copper Architecture Forum 2013

En 1995, le premier numro de Koppar

Forum comptait peine quatre pages.

Nous commenons ce numro en adressant un chaleureux au revoir Lennart Engstrm quiquitte notre quipe rdactionnelle pour prendre sa retraite. Il est linstigateur du magazineCopper Forum il y a 18 ans et a jou un rle cl dans son dveloppement, depuis le premiernumro qui comptait quatre pages et sadressait aux architectes scandinaves jusquau magazinepaneuropen quil est devenu aujourdhui qui comprend quarante pages, est dit 25 000exemplaires et est publi en 13 langues. Chacun des membres de lquipe rdactionnelle aapprci sa sagesse, sa passion pour le cuivre en architecture et son naturel doux, mais nan-moins convaincant ; travailler avec Lennart a toujours t une partie de plaisir.

Bien entendu, des changements se sont produits tout au long des 33 dernires ditions. Lemagazine a fait lobjet damliorations continues la fois sur le plan de la forme et du contenuafin de rpondre aux attentes actuelles des architectes. outefois, les valeurs fondamentalesdes dbuts de Copper Architecture Forum sont restes inchanges : prsenter une architecturecontemporaine inspirante paralllement aux thmes dactualit qui concernent le design bassur le cuivre et ses alliages.

Nous saisissons lopportunit qui nous est donne pour prsenter le nouveau rdacteuren chef, Robert Pinter, et le nouveau rdacteur, larchitecte Chris Hodson. ous deux fontpartie depuis un certain temps de lquipe rdactionnelle et disposent dune riche expriencedu cuivre dans le domaine de larchitecture et du btiment. En choisissant un architecte pourditeur, le magazine veut se rapprocher davantage des centres dintrt de nos lecteurs archi-

tectes et crer des liens plus troits avec eux particulirement par le biais de notre site web departenariat copperconcept.org.

Lors de la rdaction de Copper Architecture Forum, nous sommes toujours lafft desnouvelles tendances et des lments communs entre les projets. Dans ce numro apparaissentun certain nombre de thmes. out dabord, diffrents difices illustrent les nombreuses possi-bilits dutiliser des lments de faade en cuivre pour combiner protection solaire et trans-mission lumineuse. Les solutions vont des plaques perfores et maillages en cuivre, au grillagede profils en laiton en passant par des ailettes sculpturales convexes. Certains projets mettentgalement en valeur le cuivre en tant que matriau intrinsquement moderne qui singulariseles interventions contemporaines dans la rnovation de btiments plus anciens gnralementde vieux difices historiques classs. Enfin, le cuivre endosse un rle citoyen l o des projetsmajeurs contribuent modeler lenvironnement urbain en gnral.Nous esprons que vous apprcierez la diversit et lexcellence de la conception architecturaleexpose dans ce numro.

L quipe rdactionnelle

CHANGEMENT ET CONTINUIT

Lennart Engstrm, fondateuret rdacteur mrite de Copper

Architecture Forum

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3COPPER ARCHITECTURE FORUM 34/2013

34

49 1011

1213 1419

2023 2425

2630 3133

3435 3638 The Copperconcept App

Free & available for iPhone, iPad

and Android devices.

Inspiration and information combined in one app.

Reference projects

Architectural city maps

Design Awards

Copper Architecture Forum

Articles

Copper Architecture Forum 2013

CONTENU

2 Changement et continuit ditorial

49 Le cuivre emblmatique transformation de l ancien bureau de poste deGteborg en remarquable htel dot dun rle citoyen

1011 Architecture automobile glorification de lautomobile grce la rnovatides btiments Moscou

1213 Rinventer le pittoresque une nouvelle adaptation de larchitecture ruranormande voile de cuivre

1419 A Platform for Arts & Creativity brass regenerates one of Portugalsmost important historical city centres

2023 Opening up History modern copper alloy interventions updateMaidstones historic Museum

2425 Copper Context an interview with the architect of Warsaw Universitysnew Linguistics Department

2630 Seamless Articulation a new library for Worcester cloaked in skilfullydetailed copper alloy

3133 Solar Waves highly architectural brise soleil fins shield the glazed frontageof a new London school

3435 Coppers Contribution to Improving the EnvironmentalPerformance of Buildings life cycle assessments and buildingrating systems

3638 Copper Takes Control rotating perforated copper shutters characterisea new civic building in Lyon

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4 COPPER ARCHITECTURE FORUM 34/2013

CUIVRE

ICONIQUEAprs 20 ans dinactivit, le btiment central de laPoste de Drottningtorget Gothenburg (Sude) a tconverti en htel de 500 chambres, le Clarion HotelPost. Une raffectation qui sest accompagne dajoutsmodernes pour reflter les aspirations de cette villebouillonnante.

Le btiment dorigine a t conu entre 1918 et 1925 par lar-chitecte de Gothenburg, Ernst Torulf, dans un style classique

nourri dinfluences maniristes, avec des briques et pierresdornement, et des toits en ardoise mansards dont les d-tails en cuivre ont verdi avec le patinage du temps. La Posteest dsormais un difice inscrit au patrimoine national. Dap-parence toute simple, la stratgie des architectes Semrn& Mnsson a consist combler le vide du plan dorigineen forme de fer cheval par un nouvel ajout, lintrieur,pour occuper lancienne zone de chargement de la Poste. Lebtiment existant a t restaur et adapt pour remplir sanouvelle fonction, tout en respectant son caractre dorigine,ses dtails et son statut ddifice protg. Ce qui restait de lacour a galement t remplac par de nouvelles chambres

aux niveaux infrieurs. Un toit vitr inonde de lumire lesespaces communs.

Un nouveau point de repre pour la ville

TLa fermeture de la cour cre une nouvelle faade ouverteau public sur le ct est du btiment donnant sur kare-platsen et Odinsgatan. La construction comble la cour desdeux cts une aile revtue de cuivre, lautre dardoise, lesmmes matriaux que ceux utiliss pour lancienne Poste et saligne sur le niveau des toits dorigine. lendroit o lesailes se rejoignent, ces dernires se dressent telle une paire

de formes monolithiques spares par un clat de verre ver-tical. La tour de treize tages ainsi cre forme un nouveaupoint de repre dans la ville et renseigne galement uneentre subsidiaire de lhtel. Lentre principale, annoncepar sa mosaque en or opulente, est conserve sur la faadeouest du btiment existant et donne sur Drottningtorget, uneplace publique.

Les nouveaux ajouts respectent et refltent la grille horizon-tale de l ancien fentrage, mais rompent lalignement vertical

De Chris Hodson

simple des ouvertures. Les nouvelles faades sont conuestelles des panneaux carrs, comportant chacun des bandesde cuivre ou dardoise horizontales, ainsi quun vitrage af-fleurant, apparemment pos de manire alatoire. Daprsles architectes, cette surface plane strie et fronce a t enpartie inspire par lglise de Lajasalo en Finlande, avec sesbandes horizontales de cuivre pr-patin.

Mais ici, la verticalit est rintroduite par la jonction des pan-neaux, mise en valeur par les nuances de couleur des bandesde cuivre horizontales qui se rejoignent. Une approchemoderne des pierres angulaires ver ticales traditionnelles(observes sur le btiment dorigine) est applique pour lesangles, sous la forme dune fine bande de l paisseur des panneaux incorporant parfois un vitrage affleurantdans lensemble de cuivre. Lapparence de la faade restehomogne, malgr une terrasse sur le toit et une piscineextrieure surplombant Gothenburg.

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La faade dorigine du btiment et lentre de lhtel donnent sur une place publique.

Photo: Krister Engstrm

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Plan niveau 13

Plan niveau 9

Plan niveau 3

Plan niveau 2

Plan niveau 1

(niveau de la rue)

Image:Semrn&

Mnsson

Photos: Krister Engstrm

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Des surfaces en cuivre riches et vivantes

Ds le dbut, les architectes envisageaient un re-vtement en tle mince pour les nouvelles faade

Cette solution a impliqu des panneaux discrets,tous prfabriqus en usine, puis ajusts sur sitepour former une membrane externe de type murideau indpendante des planchers structurauxCela a permis de contrler troitement la complet de la conception des panneaux individuels surlensemble de lagencement de la faade, avec difrentes tailles de vitrages affleurant, et une surfacen cuivre varie, strie. Trois tailles de bandes decuivre ont t utilises 200, 250 et 300 mm ainque trois nuances de cuivre pr-patin, en faisantvarier la quantit de vert par rapport au fond brun

fonc. La combinaison de ces lments a permis cration de surfaces en cuivre riches et vivantes .

Architecte : Semrn & Mnsson

Installateur cuivre : Skandinaviska Glassystem AB

Produit cuivre : Nordic Green Living

Photos : Krister Engstrm

Photo: Chris

Photo: Lennart Hyse

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Section

Rle civique

Le site du Clarion Hotel Post bnficie dun emplacement privilgi aucur mme de Gothenburg, prs de la gare et du grand centre commercialNordstaden. La nouvelle tour joue un rle civique : icne urbaine de premierplan, elle relie les diffrents axes de la ville qui ont longtemps t dcon-nects. Clairement inscrite dans le prolongement dOdinsgatan, la tourdomine la vue de cette avenue rectiligne. Elle slve galement au-dessusde lancienne Poste lorsquon lobserve depuis la place publique ou dautresemplacements cls du centre.

Photo: Chris Hodson

Le cuivre occupait une placede choix dans la conception

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Linterview complte du Professeur Mnsson

peut tre lue sur le site copperconcept.org

INTERVIEWChris Hodson sest entretenu avec leProfesseur Magnus Mnsson, du bureaudarchitectes Semrn & Mnsson, propos du Clarion Hotel Post.

CH : Comment vous tes-vous retrouv impli-qu dans le projet Hotel Post ?

MM : Jai t charg par un promoteur detrouver un site pour lamnagement dungrand htel ici Gteborg, proximit de lagare centrale. Je travaillais dj sur la concep-tion dun autre htel et lanatomie de la typo-logie de construction tait importante pourmoi. Le btiment de la Poste a t transformen immeuble de bureaux la fin des annes1980. Mais en le voyant, jai immdiatementpens quil avait tout dun htel, rien que parla disposition de ses fentres ! Le promoteur at sduit par ma proposition dun projet spec-taculaire combinant tradition et modernit.

Ctait il y a huit ans.CH : Quels sont les dfis lis au travail sur unbtiment class aussi imposant ?

MM : Le premier combat a t celui livr au-prs des diffrentes autorits. Le btiment estclass et protg par le plus haut degr appli-cable en Sude. Nous avons d ngocier avecles autorits locales mais aussi avec lorganisa-tion nationale Stockholm et a na pas tfacile ! Nous ne pouvions absolument rienchanger la faade.

CH : Vous avez trois autres implantationsmais vous travaillez depuis vos bureaux deGteborg. Il sagit donc dun projet local. Cela

influence-t-il votre manire de travailler ?MM : Jespre que non. Bien sr, comme jepasse devant cet immeuble chaque jour pourme rendre au travail, ce projet me tient parti-culirement cur.

CH : Dun point de vue urbanistique, pen-sez-vous que lHotel Post joue un rle civiquemajeur ?

MM : Certainement. Le gouvernement su-dois a fait construire le bureau de Poste surdeux blocs alors quau dpart, une rue devaitsparer les btiments. Cette construction mas-sive a bloqu lexpansion naturelle de la villevers lest. Seule une rue, rendue encore plustroite par la circulation des trams, se faufilaitle long de limmeuble. Maintenant, vues dela vieille ville, les nouvelles tours de cuivre etdardoise marquent lentre de la nouvelle vil lequi stend lest. Elles seront aussi un pointfocal, au bout de lavenue lest et surplom-bant une nouvelle place lavant du btiment,dont nous dessinons actuellement les plans.

CH : Les deux tours de cuivre et dardoise ont-elles une valeur symbolique ?

MM : Pas en tant que telles. Initialement, lesplans prvoyaient une tour plus grande, mais

les autorits locales ont refus. Jai alors eu

lide dutiliser deux matriaux diffrentspour obtenir des proportions plus harmo-nieuses. Nous travaillons diffremment selonle matriau. La tour en ardoise contient moinsde fentres et celles-ci sont plus petites, don-nant un caractre monolithique lensemble.La tour en cuivre prsente pour sa part unefinesse propre au matriau. Il y a normmentde signes permettant dinterprter les diff-rences.

CH : Hormis la rfrence la toiture origi-nale du btiment, dautres raisons ont-elles

justifi l utilisation du cuivre et de lardoise ?

MM : Dans les annes 1920, tout tait trslocal. Ctait parfaitement naturel et noustions fiers davoir des matriaux comme lecuivre. Nous voulions dvelopper cet hritage laide dun langage matriel offrant un ca-ractre propre aux nouveaux lments tout enveillant ce quils sintgrent harmonieuse-ment au reste de la construction. Je considrele nouveau btiment comme un jeune parent,avec le mme ADN. Le cuivre occupait uneplace de choix dans la conception.

CH : Vous avez utilis des plaques de cuivredont la largeur et l intensit de la patine dif-

frent. Pourquoi cette approche ?

MM : Ctait un merveilleux moyen de tr

vailler les surfaces cuivres et je suis trs stisfait du rsultat. En fait, nous nous sommbass sur la dcoupe de lardoise pour struturer les plaques de cuivre afin de donnerlensemble une texture similaire et cet effet miroir horizontal que lon retrouve dans ouvrages de maonnerie traditionnels un ppartout dans la ville.

CH : En plus dtre la tte dun buredarchitectes comptant quatre implantationvous enseignez. Quand vous en avez loccsion, que faites-vous pour vous dtendre ?

MM : Je jongle en effet entre mes diffrenoccupations et nai pas beaucoup de temlibre. Mais lorsque je peux souffler un pe

je dessine.

Une nouvelle place stendra devant la faade est de lhtel, la tour surplombant lavenue en contrebas

Photo:Semrn&

Mnsson

Vues de la vieille ville, les nouvelles tours de cuivet dardoise marquent lentre de la nouvelle villequi stend lest

Photo: Chris Hodson

Photo: Chris Hod

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Euromotors nous a demand de mettre au point une nouvelleimage afin que le centre de services automobiles reflte lesvaleurs fondamentales de la marque : cohrence, fiabilit etservice de haute qualit. Lemplacement du btiment situau bord dune route trs frquente a inspir notre conceptarchitectural. La dynamique de la circulation des voitures leurs dplacements, lumires et carrosseries mtalliquesbrillantes est prise en compte : toutes ces images sont pro-

jetes sur la faade de l difice. Solidaire de lalle pitonne,la faade devait prendre la forme dune surface bidimen-sionnelle, tout en suggrant une troisime dimension et unmouvement horizontal.

ARCHITECTURE

AUTOMOBILE

Du cuivre brun fonc pr-oxyd a t choisi en guise de ma-triau. Ce mtal noble et fiable mettait en lumire le statutdEuromotors et son thique du service dans lentretien devoitures de haute qualit. Lutilisation de panneaux de cuivreperfors a permis dtoffer larchitecture et de donner lillusiondune surface changeante lorsque lon se dplace le long du b-timent, lextrieur. En plein jour, les perforations confrent lafaade une profondeur particulire en raison des jeux dombreset de lumire. Pendant la nuit, l effet dynamique est accentu parle reflet des lumires des voitures sur la surface, mais gale-ment par des clairages spciaux qui traversent les panneaux enformant des motifs horizontaux, tels des phares de voitures.

Grce une faade en cuivre perfore, la transformationdun btiment sovitique inesthtique rig au milieu du20e sicle permet de redcouvrir une typologie architec-turale qui rend hommage lautomobile. Pavel Khegay etAmir Idiatulin (IND Architects) expliquent leur concept.

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11COPPER ARCHITECTURE FORUM 34/2013 11

Photo:AndreyMarshal

Andrey Kulagin de PacificStroy (conception techniqueet installation) nous parle de lexcution du concept

Il sagissait du premier projet, en Russie, de faade suspen-due en panneaux de cuivre per fors avec rtroclairage. Ceprojet impliquait un certain nombre de dfis lis la concep-tion technique et linterprtation des plans darchitectes etvisualisations 3D, notamment pour dissimuler les lumires,supports et autres lments dans le vide de la faade. Entravaillant avec des matriaux naturels tels que le cuivre, lonse sent toujours investi dune responsabilit spciale, et plusinspir. Si nous avons pu viter les cueils pendant la phasedinstallation, cest grce au souci du moindre dtail, dcriten outre dans la documentation technique.

La perforation des panneaux en mtal affecte la rigidit. Cespourquoi nous avons dispers les trous en chiquier et ajustlpaisseur du cuivre. Les bords des panneaux nont pas tperfors, afin de pouvoir les fixer aux supports en acier inoxydable laide de rivets en cuivre. La faade qui en rsulte est limage de lapproche commerciale dEuromotors et permedes associations dides avec lautomobile et lingnierie de

pointe. Le motif perfor ressemble au radiateur de certainesvoitures vintage et les assemblages rivets font penser aurevtement dun avion.

En Russie et dans dautres pays, les centres de servicesautomobiles sont en gnral hbergs dans des btimentsindustriels ordinaires, mais Euromotors se dmarque avecson architecture unique en cuivre.

La faade blanche et sans vie du btimentdorigine a t remplace par un revtementen cuivre perfor, dy namique et vivant.

Photo: Andrey Marshal

Architecte : IND ArchitectsConcepteurs et installateurs du revtement en cuivre : PacificStroy (KrovExpoProduit cuivre : Nordic Brown

Photo: Evgeniy Golytki

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Le nouveau centre culturel et mdia de la ville de Gour-nay en Bray, au cur de la Normandie rurale du nordde la France, sinspire des formes des btiments locauxamnags de faon moderne, qui se caractrisent par dessurfaces en ardoise et des vitrages voils par des feuillesde cuivre expans.

Le projet comprend deux ailes distinctes, relies au centre par unespace daccueil. Laile est, de 65 m de long, contient une biblio-thque multimdia pour adultes et enfants ; laile ouest est quant elle plus longue 75 m et abrite une cole de musique et unecole de danse. Les architectes ont vis une construction contem-

poraine au cur de la parcelle pour redfinir la relation nourrieavec lenvironnement naturel (jardins, alles, murs en pierre)et les constructions existantes (difices et maisonnettes tradi-tionnels). Ils ont conu le plan des diffrents espaces culturelscomme sils se dveloppaient sous la forme dun rhizome, relisau niveau de l espace daccueil. Ici, une surface intgralementvitre plonge le visiteur dans la nature, avec vue sur les prairiesde fleurs sauvages entre les deux ailes.

Les toits fortement inclins des btiments existants sont re-pris dans ce nouvel ensemble, mais la continuit moderne dessurfaces en ardoise violette est interrompue par des surfaces

maillage transparent en feuilles de cuivre expans, pr-oxyd,surplombant de larges surfaces v itres. Lentre du complexedepuis la rue est annonce par une ruption dmatrialise debtiments vernaculaires, galement voils par un maillage encuivre.

Architecte : AAVP ARCHITECTURE / Vincent Parreira ArchitectChef de projet (Project Manager) Marie Brodin Architect

Produit cuivre : TECU Oxid

Photos : Luc Boegly

De Chris Hodson

RINVENTERLARCHITECTURE VERNACULAIRE

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A Platformfor Arts & CreativityA thoroughly contemporary intervention is at the heart

of the regeneration of the ancient centre of Guimares,

one of Portugals most important historical cities and a

UNESCO World Heritage Site. Locally based architects

Pitgoras discuss their vision and the key role played

by brass profile facades in its realisation.

The buildings that make up the municipal market and thespace contained by them commonly referred to as thesquare together form the urban character of the city ofGuimares. Before being relocated, the old municipal marketenjoyed a privileged and very central location with excel-lent access, very close to the Toural Square and the historiccentre.

MULTIFUNCTIONAL SPACENow, the transformation of the marketplace into a multi-functional space dedicated to artistic, economic, cultural andsocial activities appropriate to the citys European Capital ofCulture 2012 status, has reintegrated the area into the urbanfabric, so recovering a key area of the city. In addition, theproject extended out to adjacent building plots, enabling theregeneration of the interior space of the block previously acharacterless area used for marble processing.

The program provided a clear concept and defined theobjectives to be achieved, listing a series of activ ities andspaces which defined the functions of both new and existingbuildings, as well as the adjacent plots of land. Three majorprogram areas were identified:

6gi8ZcigZl]^X]]djhZhi]ZeZgbVcZci8daaZXi^dcd[

Jos Guimares, a temporary exhibition area, a multi-

purpose space for additional activities, performances

VcYh]dlh!VcYXdbeaZbZciVgnhZgk^XZh#

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Architects: Pitgoras

Copper Fabricator/Installer: Casais-Engenharia Construo, S.A. /

Combitur S.A. / C.C.Lobo e Filhos

Photos: Joo Morgado - Architecture Photography

8gZVi^kZAVWhWjh^cZhhhjeedgid[XZh[dgi]ZgZXZei^dc

and installation of activities related to creative industries,

Vaadl^c\i]ZYZkZadebZcid[Wjh^cZhhegd_ZXih#

Ldg`h]dehidHjeedgi:bZg\^c\8gZVi^k^inXdch^hi^c\d[

ldg`heVXZh[dgndjc\XgZVidgh ckVg^djhVgZVh!]de^c\id

YZkZadeegd_ZXihdcViZbedgVgnWVh^h#

The program also sought to recover the existing building onthe eastern side by trying to promote the installation of ad-ditional multidisciplinary commercial activities. The wholestructure, according to the program, would complementexisting facilities in the city, as well as those under develop-ment as part of the European Capital of Culture.

When interpreting the program, we aimed to allow for thepossibility of each one of its components functioning inde-pendently and simultaneously, by creating accesses to eachof the various services and support areas, as well as to theoutdoor square and garden.

We opted for a methodology of intervention that involvedthe rehabilitation of the existing building to the east keeping the materials and textures but redoing the entireinterior at level 0. With the north building, the faadetowards the Avenue which characterises the build-ing was renovated but its interior and faade facing thesquare were the subject of almost complete demolitionand redesign. Although it was intended to maintain thescale and the existing formal relations, we proposed a

new solution for the building that promotes a strong rela-tionship with the square and emphasises the relationshipof this structure with the outer space.

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The new building takes a radically different approach to itssurroundings, both from the standpoint of architecturallanguage and image: discrete, repetitive, as well as by thesuccession of volumes, with full and empty, marked by the

juxtaposition of contrasting sur faces. The external coverings

a grid of brass profiles and tinted glazing over ventilated fa-ades accentuate a range of textures changing from denseand opaque on the majority of surfaces, to transparent whenpartially concealing the buildings few openings.

This series of dissonant elements resulted from the need tocreate a variety of different spaces in the exhibition area.It creates a tension manifested in the volumes of the buildingand the relationship with the space of the square, making itthe main feature of its design.

For the square, we formulated a design significantly moreclinical, using large concrete slabs which act as a counterpart

to the surrounding buildings. It is conceived as a large mul-tifunctional meeting area and obviously a public space byits very nature. It will remain intentionally sparsely equipped,with large trees to the east preserved and planting introducedalong the north building, but leaving most of the space freefor spontaneous or organised activities on the Plat form.

RADICALLY DIFFERENT APPROACH

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COPPER ARCHITECTURE FORUM 34/2013 17

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A TRANQUILBACKDROPIN BRASSThe architects choice of brass for the facadesof the new building was informed by the mate-rials ancient heritage, sustainability credentialsand ability to deliver a cost-effective solution tothe complexities of the program. Brass profiles,in conjunction with exposed glazed areas, ef-fectively dematerialise the massive geometricforms of the new building which is 150 m longand stands 8 m high sof tening its relationshipto the public square.

The consistent grid, made up of 20 x 10 mmrectangular brass profiled sections, matchesthe scale and proportions of the surroundingbuildings without overwhelming them. Despitethe regularity of the brass grid, it provides atranquil backdrop to the square, constantlychanging with the light then transformingfrom opaque to transparent at night.

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In the summer of 2006 Maidstone Borough Councillaunched an exciting and ambitious scheme to openup Maidstone Museums collections and transformits services and facilities for visitors. The East Wingproject forms the second phase of the Museums re-development programme, following the renovation of

the West Wing in 2003. The Museums core is a Tudormanor house dating from 1561. It was acquired byMaidstone Borough Council in 1855 and opened asa Museum in 1858. The Museum is a Grade II* listedbuilding protected by law.

More Public InvolvementThe collections of over 600,000 ar tefacts and speci-mens are outstanding in their diversity and quality,forming the largest mixed collections in Kent and oneof the largest in the South-East of England. Someelements such as the Japanese Art Collection are ofinternational significance. The East Wing projectskey aims were the long-term preservation of the col-lections, more public involvement and increased useof the Museum and its collections.

The new interventions allow greater public visibilityof the collections and also the Museums historicbuildings. There is now a visual reconnection toBrenchley Gardens, as originally intended by theMuseums Victorian founders, and better views of theMuseum from the town centre. Public facilities, easeof visitor flow through the building and accessibilityfor all have also been substantially improved.

Hugh Broughton Architects explain the project forthe upgrade of Maidstone Museum, a protectedhistoric building in the South-East of England,

dating back as far as the time of King Henry VIII.Their thoroughly contemporary design involvescrisply detailed golden copper alloy and glassrectilinear forms, interweaving amongst ancientbuildings to create new vistas from both insideand out.

Architect: Hugh Broughton Architects

Copper Installer: NDM (Metal roofing & Cladding)

Copper Product: TECU Gold

Photos: Hufton+Crow

Drawings: Hugh Broughton Architects

OPENING UP HISTORY

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Over time the shingles may loose their shine but not their beauty

The Japanese Art Collection

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Winning DesignOur competition-winning design is a direct response tothese key objectives. At the lower levels of the revitalisedEast Wing, a new entrance and orientation area faceMaidstones High Street and welcome visitors. A gallerycreated between an improved shop and the refurbishedstores provides a home for a Solomon Islands War Canoe the only example of its kind outside the Islands. V iewsfrom this gallery reveal a public courtyard and Tudorfaades unseen by the public for over 40 years.

A young learners education room is complementedat first floor level by a glazed meeting room, creatingdramatic views of St. Faiths Church and visually re-con-necting the museum with Brenchley Gardens. A dynamicnew gallery space above the reception, lit by curvaceous,north facing rooflights, provides a permanent homefor the collection of Japanese Art. The extensions werecomplemented by refurbishment and reorganisation ofthe existing galleries at the east end of the Museum,

increasing display space by 30 %.

New elevations combine frameless glazing with a diagridof golden copper alloy shingles, creating a contemporarycounterpoise to the existing brick faades. Over time theshingles may loose their shine but not their beauty.

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23COPPER ARCHITECTURE FORUM 34/2013 2323

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COPPER

CONTEXT

CH: How did you come to design the newuniversity building and what are the contex-tual impacts of its surroundings?

EK: Te Linguistic department buildingresulted from a competition in 2006, whichour office won. Te new building is located

in Powisle Plnocne Warsaws Latin Quar-

ter and home to the University of Warsaw

and the Academy of Fine Arts. Te area sits

at a lower level than the main University and

Academy buildings and the Old own: this

picturesque topography played an important

part in our design strategy. Immediatelyadjacent is the copper-clad University Library

(opened in 1999) which also influenced the

new building particularly its materiality.

CH: What was the strategy behind yourdesign and the different faade treatments in

particular?

EK: Our project was considered as a sort of

a promenade, linking the higher University

campus to the Library. Along this promenadewe situated all reading rooms demanded by

the programme of different faculties belong-ing to the Linguistic Department. In order

to connect the two new buildings we used a

glass wall along Dobra Street which reflects

the rich copper facade of the Library with its

engravings and texts in different languages.Te 140 m long southern wall along Lipowa

Street aims to give readers the impression ofbeing in a garden space where light flickers

through green leaves, creating a special, col-

oured light inside a sunny environment,

despite gloomy weather outside.

Tis is achieved using yellow, green and lime

foils on the double- skin glazed southern

facade.

CH: What are the reasons for the variety oftreatments and materials on the facades?

EK: Te whole project is in two phases andthe now-completed first phase represents only

a third of the whole complex. So the impres-

sion given by some facades is temporary.

When complete, the whole building will read

as having two wall finishes essentially, glass

and copper.

CH: Why did you choose pre-patinated copper?

EK:. We selected copper for a number of

Chris Hodson discusses the University of Warsawsnew Linguistics Department building with its architect,Professor Ewa Kuryowicz of Kurylowicz & Associates. The new Linguistics building faces the Libraryacross Dobra Street, continuing its green theme.

reasons. Firstly, to accentuate the character of

the district which is full of parks and close to

the river. But, of course, the green mood of

new architecture was previously introducedby the Library building. Although continu-ing down this line of thought, we choose a

different finish for the copper pre-patinated

with a living surface colour to differentiate

our building from the Library. But we also

wanted to show the variety of copper finishes

which are possible.

Copper is a living material, like nature. Itsappearance changes over the years, with the

weather, at different times of the day and in

different lighting conditions. Tis is demon-

strated on the Wislana Street faade which ismostly copper, including service door facings.

Also on this facade, the idea of introducing

yellow patches amongst the copper was to

enliven it with artificial sun-beams. Tere

is also a timber patch on this elevation,signalling a wooden terrace on the roof which

slides down the elevation. Te full effect

will become clear when the whole complex is

finished.

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Lipowa Street Elevation

Dobra Street Elevation

Wislana Street Elevation

Architect: Kurylowicz & Associates

Copper Installer: ME Wielkopolska CoCopper Product: Nordic Green LivingPhotos: Artur Biakowski (Grande)

The Wislana Street frontage is generally copper.

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SEAMLESS ARTICULATIONThe Hive, Worcesters recently opened Library and HistoryCentre certainly has a striking presence. A beacon for learn-ing, it is a key part of Worcesters river frontage, highly visiblefrom the rising ground to the south and west. The articulationof its unique external form resonates with the scale and grainof the setting: the roofline echoes the profile of the MalvernHills visible to the west, and recalls the Royal Worcester kilnswhich, with the Cathedral, once dominated the citys skyline.The iconic funnels are as fundamental to the interior of thebuilding as they are to its external appearance, providingnatural light and ventilation to the heart of the floor plates.

The Hive evolved from a groundbreaking partnership to create

a fully integrated public and university library, which is com-pletely new to the UK and highly innovative internationally.The building also includes the county archives and recordoffice, a local history centre, the countys archaeology serviceand a multi-agency customer service centre. The Hive is acultural, learning and information centre of excellence promoting lifelong learning, engendering social inclusionand raising aspirations in the broadest sense for the wholecommunity, regardless of age, background, or ability.

Reflecting Local Materials

The cladding of golden copper alloy shingles reflects the richpalette of colours and materials which characterise the citycentre - the red and gold of brick, terracotta and stone embel-lished with gilded filigree and finely decorated encaustic tiles.The elevational language of solid walls and punched openingsalso draws on the local vernacular: solid and void are balancedto optimise light, air and view, with care to avoid overheatingand glare, and the need for excessive mechanical systems tomaintain a comfortable environment.

The articulation of the roof form as a ser ies of irregular conesis designed to reduce the scale of this significant new publicbuilding to better relate to the fine grain of the historic city.

The distinctive roof cones are formed in solid laminated timberpanels that span between the eaves beam and a timber ringbeam at the top of each cone. The plinth, which varies in heightaround the perimeter, is clad in Forest of Dean Pennant stoneto match the paving to the public realm: the ochre streaks echothe golden cladding.

by Nick Hodges, Envelope Package Architect for Feilden Clegg Bradley Studios

Golden CloakThe copper alloy cladding was chosen to allow the use ofa single material to roof and elevations a golden cloakdraped over the form. The scale of the 600 x 600 mm tilesand the slight offset with which they are laid gives the im-pression of carapace of scales. As an architectural language,the copper shingles are articulated as thin expressedat the window reveals and soffits as 25 mm deep, with theremaining depth to the glazing finished with dark anodisedaluminium to match the curtain walling.

The shingles are intentionally overlapped rather than tightly

coursed to provide a natural element of variation thatallowed openings in the copper alloy to be more freely po-sitioned. It was felt that had the coursing been tighter thenthe resulting small cuts at openings would have been morenoticeable. It was calculated that the dif ference in additionalmaterial was around 1 % and this was considered acceptablein terms of ease of working on site. More critically it was feltthat the coursing of the copper should align from the walls tothe roof cones, so that there was a feeling of continuity.

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Articulation of the metal fabric was developed in the

detailing of the material at corners, eaves and windowcills. A critical part of the material expression was toensure that it appeared seamless and that cover piecesor horizontal elements of gold that might break up theshingle pattern were avoided. The design team wereaided by the excellent copper installers who mocked-up a number of the key detail junctions (some shownhere) for discussion and exploration ahead of the startof their site works.

As the installations progressed to site, the installersidentified potential difficulties with particular gutter

junctions early enough for the design team to discusspractical solutions on site. These conversations weresupported by sketches and formal drawings, and test-ing where necessary. The quality of the copper alloyskin, as part of the overall finished building, is evidenceof how well the design and installation team workedtogether.

At nearly 12,000 m2 it would be easy for the sheervolume of such a striking material to be the definingcharacteristic but, by developing the details togetherwith a dedicated and skilled installer, the claddingbecomes more than simply distinctive. Instead, the

prominence of the material is embellished and refined:the subtleties of the golden cloak demonstrated in itscareful stitching together.

Architect: Feilden Clegg Bradley Studios

Copper Installer: Norman and Underwood

Copper Product: TECU Gold

Photos: Hufton+Crow; Feilden Clegg Bradley Studios; Martin Quest

ArchitectonicDetailing

of Copper

Alloy Shingles

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Section detail showing eaves gutter

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30 COPPER ARCHITECTURE FORUM 34/20130 COP ER ARCHITECTUR F RU 34/201

The roof hip is subtly dif ferent to the elevation hip to

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SOLAR WAVESOne of Londons best-known public sector schools has been completely redeveloped witha single, state of the art building replacing a sprawling campus. The competition-winningdesign takes an innovative, highly architectural approach to controlling and optimisingsunlight with its brise soleil arrangement of copper, brass and bronze fins.

Opened in 1958, Holland Park School became the flagship forcomprehensive education in England, known as the social-ist Eton due to its impressive reputation. But by 2004, whenan architectural competition for redevelopment was insti-gated, the schools existing buildings were beyond economicrepair and failed to meet modern demands, with inflexibleaccommodation and tortuous circulation. The greatest chal-lenge for architects Aedas was to design a new building to bebuilt on the original site while the existing school remained inoperation and that allowed part of the site to be sold to fundthe construction but also left more usable external spacethan before.

Two Halves UnitedThe result is a new block, approximately 100 m long and30 m wide. A large, 7 m deep basement extends across theentire building footprint to a depth of 7 m, accommodating thesports hall and swimming pool as well as kitchen and dining

areas. The above-ground, five storey parts are conceivedas two distinct halves united by a central atrium stretchingits full length and linked by a series of walkways. The easthalf contains the more conventional teaching spaces andis constructed using in-situ concrete columns and flat slabconstruction. The west half is a more dramatic, steel A-framestructure enabling the larger teaching and assembly rooms.This structure then straddles the larger spaces within thebasement to create clear-span spaces.

Maximising natural lighting deep into the building with exten-sive glazing, while controlling glare and solar gain, provedcentral to the architects strategy for design of the facades.But reducing visual impact of the long block on its sensitivesurroundings close to Holland Park and with mature treeson site was also impor tant. The east elevation is finishedwith a gently undulating stainless steel mesh, passing overa central copper canopy signalling the main entrance.

by Chris Hodson

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Dynamic Three-dimensional Character

In contrast, the west facade is defined by a series of verticalfins in pre-oxidised copper, brass and bronze which take on astrong, dynamic three-dimensional character. The architectfor the project, Peter Runacres, explains the development oftheir design: Due to the buildings orientation, this eleva-tion receives more solar gain than the east side and vertical

fins are more effective in controlling glare while maximising

daylight. The initial design had an arrangement of broken up,

smaller fins but solar gain computer modelling revealed that

more were needed.

We then experimented using a physical model and found that

this arrangement created too much visual mass so, instead,

A copper canopy announces the main entrance on the east faade.

We selected the mix of copper and its alloys to give a natural richness, with timeless yetcontemporary qualities, as well as to deliver longevity and minimal maintenance.

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Viewed obliquely, the curved copper and alloy fins generate sinuous wave forms.

settled on full-height fins set at three - apparently random

spacings, continuing over the roof. A soft, sine curve was

developed for the fin profiles, which gives an organic feel

reflecting the mature trees both on the site and facing this fa-ade from the adjacent Holland Park. We selected the mix of

copper and its alloys to give a natural richness, with timeless

yet contemporary qualities, as well as to deliver longevity and

minimal maintenance.

The copper and copper alloy clad fins are thin in section,minimising the impact on views from inside the building. Buttheir depth acts as an effective barrier to glare and unwantedsolar gain from afternoon sunshine. Viewed from an angle,the fins come together to generate a stunning effect of dy-namic sinuous forms across the faade.

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The brise soleil fins appear randomly spaced and continue over the roof.

Architect: Aedas

Copper Installer: English Architectural Glazing

Copper Products: Nordic BrownTM, Nordic Brass, Nordic Bronze

Photos: Aedas/Daniel Hopkinson (except where stated otherwise)

The thin external fins have minimal impact on views towards Holland Park.

Section

Site Plan

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Improving the environmentalperformance of products forconsumers and the buildingconstruction sector is importantto the copper industry. EU initi-atives, such as the SustainableConsumption and Productionaction plan, emphasise greaterresource efficiency and thecommercialisation of environ-

mentally friendly products. Thecopper industry is at the fore-front of industries committedto reducing the environmentalimpact of its operations. Today,one third of the energy consump-tion of modern European coppermanufacturing is used to operate envi-ronmental protection measures.

Recently, the copper industry has de-veloped an environmental profile whichcovers around 90% of the EUs produc-tion of both copper metal and copper

products. A critical review by externalexperts has confirmed the high qual-ity, consistency and correctness of theresults. Based on ISO 14040/44, all as-pects of ore extraction, the productionof other raw materials, energy supplyand the production of the metal itselfare detailed. As such, it captures the fullimpact of the so-called cradle-to-gateapproach and shows where the greatestenvironmental impacts occur and whereimprovement actions would deliver themost benefits.

Whilst this profile is based on a cra-dle to-gate assessment, many of thebenefits to society derived from copperwill be found during the downstreamuse phase. The copper industry pro-vides support to those wishing to usethe LCI data in their own Life Cycle As-sessments including the use phase andend-of-life phases.

Only about 20% of the total impact aris-es from EU copper production sites,influenced mainly by technology, lo-cal authority permit requirements, thesource of energy supplying the produc-tion site and a companys own standards.Geologically, copper is associated with

other valuable metals, such as molybde-num, silver and gold. Since their naturalconcentrations are much lower, the oreneeds careful treatment. Modern miningtechniques require less energy than inthe past, making the recovery of smallamounts of metal possible.

Copper Construction Products inGreen Building Rating SchemesIn the last few years, sustainable archi-tecture has evolved from an add-on to anexpectation and societys understand-

ing of what a sustainable building is hasbecome more complex. Sustainablebuilding rating systems have respondedto this shift by expanding their focusfrom operational impacts towards amore holistic life cycle approach.

To date, various green building ratingschemes exist. They differ in their ap-proach to considering building product

sustainability in the context ofthe whole building. LCAs areprovided by the copper industryto represent the ecological per-formance of copper products(e.g. sheets, tubes and wire ofcopper) in a transparent way.Moreover, the copper industryhas developed EnvironmentalProduct Declarations (EPD)

based on LCAs for commu-nicating reliable quantitativeenvironmental data for prod-ucts based upon independentlyverified calculations.

Life Cycle Assessment (LCA) inBuilding Rating SchemesThe BRE Green Guide to Specification isa useful starting point for assessing thesustainability of architectural materialsand provides independent endorsementof the low environmental impact of both

copper roofing and cladding. It rates awide range of complete building elementsfrom A+ to E, using LCA techniques.Ratings form an important part of theCode for Sustainable Homes and otherassessment tools such as BREEAM.

Various complete wall or roof build-upsare considered, each including materialsfor structure, insulation, moisture con-trol and finishes. All the copper-finishedroofs and most copper wall claddingspecifications included achieved A+ orA summary ratings. Even the few build-

ups with lower ratings could be improvedeasily with replacement components,without affecting the copper skin itself.Coppers longevity is a major strength,resulting from its complex patinationprocess that ensures extreme durabil-ity with no maintenance and resistanceto corrosion in virtually any atmosphericconditions.

by Nigel Cotton and Irina DumitrescuCoppers Contribution to Improvingthe Environmental Performance of BuildingsCopper based products improve the economic and environmental performanceof multiple applications in energy, transportation and buildings.

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But despite these high summary ratings,coppers life-span is one aspect that theGreen Guide simply underestimates. Itincludes unexpectedly low replacementintervals for copper cladding and roof-ing generally just 45 years that arenot justified either by experience or byscience. Many historic copper roofs have

survived for hundreds of years and some

are known to have performed well forover 700 years.

Below are some examples of gainingcredits in green building rating schemes,but there are many more opportunitiesto use copper to gain credits in buildingrating schemes not least in plumbing, re-

newables, heating and cooling.

The UKs Environmental AssessmentMethod for Buildings (BREEAM 2011)Credits are available for using specifi-cations for key building elements (e.g.external walls and roofs) with low embod-ied environmental impact as measuredby the Green Guide to Specification.Copper product manufacturers provingthat their product is better than the aver-age in terms of embodied impact of the60 year study period, because of reduced

impact in manufacture, reduced mate-rial or increased durability can obtainproduct specific Green Guide ratings byundertaking certification to BRE GlobalsEnvironmental Profiles Scheme.

For the responsible sourcing of ma-terials, credits can be achieved whenconstruction materials at least 80 % ofmaterials used - are responsibly sourced.Points are awarded depending on the type

of certification available for the materialsused in each building element.

The USs Leadership in Energy andEnvironmental Design (LEED)This system developed by the US GreenBuilding Council addresses: Sustain-able Sites; Water Efficiency; Energy &

Atmosphere; Material & Resources; In-door Environmental Quality andInnovation & Design. Life-cycleis not part of the current version(LEED 2009) but it will be incor-porated into the next one (LEEDV4) that will assess the buildingslife cycle impact reduction. LEEDcategories where copper cancontribute include:

MR Credit 1 Building reuse:credits can be achieved if build-

ing products can be reusedduring renovations, which is usu-ally possible due to the durabilityof copper.

MR Credit 2 Diversion fromlandfill: credits apply to end of

life of the building and its materials. Sinceit encourages the recycling of productsinstead of their disposal, credits can beachieved if materials such as copper areused in buildings which have a high valueas secondary materials and high recy-cling rates.

MR Credit 4 Recycling content: creditsare given if the recycled content of usedmaterials in the construction is high. Usu-ally, this is the case for copper products.

MR Credit 5 Regional materials: i.e.extracted, processed and manufacturedregionally. If copper products from re-gional processing or manufacturing sitesare used in buildings, additional creditscan be achieved.

SS Credit 7 Heat island effect: creditsare awarded depending on the Solar Re-

flection Index (SRI) of the roof, walls andsite paving area. If copper is used as a roofor cladding, manufacturers can providean initial SRI and one 3 years after instal-lation.

The German Sustainable BuildingCouncil (DGNB)This rating scheme addresses the threepillars of sustainability. It doesnt as-sess individual measures, but the overall

performance of buildings and an LCA caculation are mandatory.

ECO1.1 Life cycle costs (LCC): the manufacturing costs of faade and roof havto be considered. No maintenance costduring use phase. Please note, the end olife scenario is not part of the LCC calculation.

SOC1.6 Exterior quality: this criterioevaluates the design of outdoor areas.The goal of the criterion is to maximizthe roof area by integration of technicastructures in the building and reductioof fascia/parapets. Special outdoor area

(balcony, loggia, terraces, etc.) gain morpoints in this criterion.

TEC1.6 Ease of dismantling and recyclingcopper is a non-toxic, recyclable material, which is a requirement for a gooevaluation of this criterion. The effort odismantling and sorting is low and thvalue is high, which helps ensure the reuse of copper metal at the end of its life.

To learn more about the copper Life Cyclevisit our dedicated website www.copperlife-cycle.org. The site provides importan

information on aspects related to the usof life cycle data and the methodologieused for copper, and also provides a linfor practitioners to contact our experts.

IN THE NEXT ISSUE:

The Building Sector Leads theWay in Copper Recycling.

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COPPER TAKES CONTROL

The Prfecture du Rhne building designedby architects GARBIT & BLONDEAU is theadministrative centre for the Rhne depart-ment, demanding a strong public presence. Itreplaces a previous building on a corner plotin the central Third Arrondissement of Lyon,the departments capital city. Its plan-form isstraightforward with six storeys plus a set-back penthouse and external roof areas, anda 2-storey basement.

Copper Clad Volumes

The two main facades are articulated asdistinct, copper-clad volumes aligning withthe typical Mansard-roofed blocks eitherside. The volumes are separated on the westfront by an inset cloak of suspended stainlesssteel mesh reaching up to the penthouse andsignaling the buildings entrance. Copper wasthe architects first choice and its sustainable

credentials a consideration. Opaque claddingis generally pre-oxidised copper, selected forits more regular brown shade than mill finishmaterial.

The defining external features of the newbuilding are vertical shutters clad in perfo-rated, pre-oxidised copper. In conjunction

This new, civic building in the southern French city of Lyon is characterisedby rotating copper brise soleil shutters within its deep facades, controllingsolar gain and optimising natural lighting.

with the suspended stainless steel meshscreens at street level, the perforated cop-per gives transparency but the motorised,pivoting shutter arrangement also animatesthe facades. This brise soleil arrangementallows direct response to external condi-tions, controlling solar gain and glare, whilstmaximizing potential for daylighting deepinto the building. This strategy is thoroughlysustainable in terms of both environmentalperformance and choice of materials.

West Elevation

by Chris Hodson

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SectionthroughEntrance

South Elevation

Rue Moli

Architect: GARBIT & BLONDEAU

Copper Installer:SAS Alain LE NY

Copper Product: Nordic Brown

Photos: Studio Erick Saillet

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Environmental Control with CopperThe external copper shutters each pivot centrally and areoperated in groups by electric motors, enabling local re-sponse to external conditions in combination with openingwindows for ventilation. Even when closed, the shutters allowfiltered natural light into the building and, at night, internal

lighting transforms the building when seen from outside.The purely architectural impact of the design can be judgedby comparison with the new facades before the brise soleilwere installed.

Vertical faade sectionshowing stainless steelmesh below perforatedcopper brise soleil.

Motorised pivoting coppershutter arrangement.

Vertical detail ofpivoting coppershutter.

Brise soleilbuild-up.

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ARCHITECTURALAWARDS 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 entrJes mVst Jncorporate facaEes roomnH or otIer arcIJtectVral

elements of copper or copper alloys. Any scale or type of projectcan Ce entereEo from major lanEmarLCVJlEJnHs to moEest scIemes.

ArcIJtects anE crJtJcsEraXn from a panel JnclVEJnH some of tIe

most JnnVentJal EesJHners Jn &VropeXJll jVEHe all tIe entrJes on

tIeJr arcIJtectVral RValJtJes from HrapIJc sVCmJssJons.

Final deadline for receipt of entries: 31st May 2013

'or more JnformatJon on enterJnH tIe AXarEs anE on preWJoVs

aXarEs entrJes anE resVltsWJsJtwww.copperconcept.org/awards

Awards Ceremony

and Exhibition of all projects

will take place in partnership

withBATIMAT

on 04 08 November 2013

in Paris Nord Villepinte

Visit us at:

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