Caf38 Eng PDF

38
ENGLISH
COPPERCONCEPT.ORG1
CONTENTS
EDITORIAL
COPPER COMPARISONS
38
One of this magazines strengths is its ability

to offer comparisons of different architectural
approaches to a single material - copper.
Our first two buildings share sculptural, symbolic responses
to historical contexts: a citys ancient links with fire in Poland
(page 4) and a fierce Roman battle in Lower Saxony (page
8). The latter also begins a triptych of buildings exploring
dialogues between copper and timber initially as opposing
armies, then reinforcing the shoreline of an Austrian lake
(page 10) and finally expressing the glacial forces that formed
Icelands natural landscape (page 12).
Change is the defining theme of two very different cultural
buildings where transformations subvert the permanence
of their traditional roles. The Paris Conservatoire Claude
Debussy comes to life with a copper faade animated
by perforated folding shutters (page 16). In Gdansk, the
massive, copper-clad roof of the new Shakespearean Theatre
can be opened to the sky or closed, in conjunction with
various internal arrangements, to give different theatrical
experiences (page 20).
Our next two projects are exemplars of the skilful
reconciliation of technical, architectural and cultural
demands defined by their typologies. The ubiquitous sports
hall is handled with deceptive simplicity and style in Villach,
Austria, characterised by a transparent copper facade (page
24). Meanwhile in Lyon, a new municipal archive provides
the environmental conditions needed to protect documents
whilst maximising public access and generating a real sense
of civic pride (page 28).
Photo: Basalt Architecture architects / Sergio Grazzia
2COPPER
COPPERARCHITECTURE
ARCHITECTUREFORUM
FORUM38/2015
38/2015
2
straddles the shore of an Austrian lake
12 15 Copper and Timber Nature another visitor centre, this time in

Iceland and inspired by its dramatic surroundings
16 19 Wrap Music this new Paris music school comes alive with

motorised shutters in perforated copper
20 23 Reaching for the Sky a new theatre in Poland features a

remarkable openable copper roof
24 27 Copper Box a deceptively simple but elegant and sophisticated
copperconcept.org/awards
interpretation of the sports hall typology
28 31 Civic Pride reconciling the technical demands of archiving with
Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,
Hermann Kersting, Irina Dumitrescu, Robert Pinter
Front Cover:
Conservatoire Claude Debussy, Paris, France (page 16)
All the shortlisted projects will be on exhibition at the

Vision event from 2nd 3rd June at Olympia in London,
where visitors can also vote. All the Awards winners will be
announced later this year and covered in the next issue of
Copper Architecture Forum.
E-mail: editorialteam@copperconcept.org
Publisher: Nigel Cotton, ECI

Layout and technical production: ECI
London cultural and community centre
3
4 36 Sustainable Learning a childrens nursery for the University of
Printing: Copy & Consulting Kft., Hungary

birgit.schmitz@copperalliance.de
kazimierz.zakrzewski@copperalliance.pl
marco.crespi@copperalliance.it
nick.hay@copperalliance.org.uk
nick.vergopoulos@copperalliance.gr
nuno.diaz@copperalliance.es
olivier.tissot@copperalliance.fr
pia.voutilainen@copperalliance.se
robert.pinter@copperalliance.hu
yolande.pianet@copperalliance.eu
Copper Architecture Forum 2015
public accessibility, in style
3
2 33 A House with Many Doors brass is a defining element of this
Address: CAF, European Copper Institute,

Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
Editorial panel:
Birgit Schmitz, De
Kazimierz Zakrzewski, Pl
Marco Crespi, It
Nicholas Hay, UK
Nikolaos Vergopoulos, Gr
Nuno Diaz, Es
Olivier Tissot, Fr
Pia Voutilainen, Se, No, Fi, Dk
Robert Pintr, Hu, Cz, Svk, Ru
Yolande Pianet, Benelux
Germany celebrates a major archaeological discovery
10 11 Copper and Timber Shoreline a cleverly designed boathouse
As this issue goes to press, judging of the 2015 European

Copper in Architecture Awards comes to an end. The
shortlisted projects will be announced on 1st June on our
website, where you can vote to select the Public Choice
Award winner until 30th August.
Contact the Editorial Team editorialteam@copperconcept.org
The magazine is distributed to architects and building professionals

throughout Europe and beyond in English, Czech, French, German,
Hungarian, Italian, Polish, Russian and Spanish languages.
ARCHITECTURAL AWARDS PUBLIC CHOICE
Editor: Chris Hodson RIBA
Copper Architecture Forum is part of the European Copper In Architecture

Campaign. It is published twice a year and has a circulation of 25.000 copies.
Polish exhibition pavilion
8 9 Copper and Timber Confrontation this visitor centre in
The Editorial Team
Editor in Chief: Robert Pinter
Copper Architecture Forum 38, June 2015
Bringing this issue to a close are three buildings from the

UK showcasing copper and its alloys while demonstrating
excellent sustainability credentials. Particular care was
taken with the finish of brass panels on a new community
centre in London, which achieved a BREEAM Excellent
rating (page 32). Finally, it is fascinating to compare two
projects, both designed by the same architects and both for
the University of Edinburgh: a new childrens nursery facility
(page 34) and The Edinburgh Centre for Carbon Innovation
(page 37).
View magazine back issues copperconcept.org
See the European Copper in Architecture Awards copperconcept.org
2 Copper Comparisons editorial comment
4 7 Dancing Flames a beacon of copper flames greets visitors to this
Register for Copper Architecture Forum copperconcept.org
Upload your project to the website copperconcept.org
Edinburgh has a firm sustainability agenda
3
7 39 Carbon Innovation with Copper a bronze intervention is at the

heart of this regeneration creating a new university facility
COPPERCONCEPT.ORG
Read on iPad for free
COPPERCONCEPT.ORG3
CONTENTS
EDITORIAL
COPPER COMPARISONS
38
One of this magazines strengths is its ability

to offer comparisons of different architectural
approaches to a single material - copper.
Our first two buildings share sculptural, symbolic responses
to historical contexts: a citys ancient links with fire in Poland
(page 4) and a fierce Roman battle in Lower Saxony (page
8). The latter also begins a triptych of buildings exploring
dialogues between copper and timber initially as opposing
armies, then reinforcing the shoreline of an Austrian lake
(page 10) and finally expressing the glacial forces that formed
Icelands natural landscape (page 12).
Change is the defining theme of two very different cultural
buildings where transformations subvert the permanence
of their traditional roles. The Paris Conservatoire Claude
Debussy comes to life with a copper faade animated
by perforated folding shutters (page 16). In Gdansk, the
massive, copper-clad roof of the new Shakespearean Theatre
can be opened to the sky or closed, in conjunction with
various internal arrangements, to give different theatrical
experiences (page 20).
Our next two projects are exemplars of the skilful
reconciliation of technical, architectural and cultural
demands defined by their typologies. The ubiquitous sports
hall is handled with deceptive simplicity and style in Villach,
Austria, characterised by a transparent copper facade (page
24). Meanwhile in Lyon, a new municipal archive provides
the environmental conditions needed to protect documents
whilst maximising public access and generating a real sense
of civic pride (page 28).
Photo: Basalt Architecture architects / Sergio Grazzia
2COPPER
COPPERARCHITECTURE
ARCHITECTUREFORUM
FORUM38/2015
38/2015
2
straddles the shore of an Austrian lake
12 15 Copper and Timber Nature another visitor centre, this time in

Iceland and inspired by its dramatic surroundings
16 19 Wrap Music this new Paris music school comes alive with

motorised shutters in perforated copper
20 23 Reaching for the Sky a new theatre in Poland features a

remarkable openable copper roof
24 27 Copper Box a deceptively simple but elegant and sophisticated
copperconcept.org/awards
interpretation of the sports hall typology
28 31 Civic Pride reconciling the technical demands of archiving with
Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,
Hermann Kersting, Irina Dumitrescu, Robert Pinter
Front Cover:
Conservatoire Claude Debussy, Paris, France (page 16)
All the shortlisted projects will be on exhibition at the

Vision event from 2nd 3rd June at Olympia in London,
where visitors can also vote. All the Awards winners will be
announced later this year and covered in the next issue of
Copper Architecture Forum.
E-mail: editorialteam@copperconcept.org
Publisher: Nigel Cotton, ECI

Layout and technical production: ECI
London cultural and community centre
3
4 36 Sustainable Learning a childrens nursery for the University of
Printing: Copy & Consulting Kft., Hungary

birgit.schmitz@copperalliance.de
kazimierz.zakrzewski@copperalliance.pl
marco.crespi@copperalliance.it
nick.hay@copperalliance.org.uk
nick.vergopoulos@copperalliance.gr
nuno.diaz@copperalliance.es
olivier.tissot@copperalliance.fr
pia.voutilainen@copperalliance.se
robert.pinter@copperalliance.hu
yolande.pianet@copperalliance.eu
public accessibility, in style
3
2 33 A House with Many Doors brass is a defining element of this
Address: CAF, European Copper Institute,

Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium
Editorial panel:
Birgit Schmitz, De
Kazimierz Zakrzewski, Pl
Marco Crespi, It
Nicholas Hay, UK
Nikolaos Vergopoulos, Gr
Nuno Diaz, Es
Olivier Tissot, Fr
Pia Voutilainen, Se, No, Fi, Dk
Robert Pintr, Hu, Cz, Svk, Ru
Yolande Pianet, Benelux
Germany celebrates a major archaeological discovery
10 11 Copper and Timber Shoreline a cleverly designed boathouse
As this issue goes to press, judging of the 2015 European

Copper in Architecture Awards comes to an end. The
shortlisted projects will be announced on 1st June on our
website, where you can vote to select the Public Choice
Award winner until 30th August.
Contact the Editorial Team editorialteam@copperconcept.org
The magazine is distributed to architects and building professionals

throughout Europe and beyond in English, Czech, French, German,
Hungarian, Italian, Polish, Russian and Spanish languages.
ARCHITECTURAL AWARDS PUBLIC CHOICE
Editor: Chris Hodson RIBA
Copper Architecture Forum is part of the European Copper In Architecture

Campaign. It is published twice a year and has a circulation of 25.000 copies.
Polish exhibition pavilion
8 9 Copper and Timber Confrontation this visitor centre in
The Editorial Team
Editor in Chief: Robert Pinter
Copper Architecture Forum 38, June 2015
Bringing this issue to a close are three buildings from the

UK showcasing copper and its alloys while demonstrating
excellent sustainability credentials. Particular care was
taken with the finish of brass panels on a new community
centre in London, which achieved a BREEAM Excellent
rating (page 32). Finally, it is fascinating to compare two
projects, both designed by the same architects and both for
the University of Edinburgh: a new childrens nursery facility
(page 34) and The Edinburgh Centre for Carbon Innovation
(page 37).
View magazine back issues copperconcept.org
See the European Copper in Architecture Awards copperconcept.org
2 Copper Comparisons editorial comment
4 7 Dancing Flames a beacon of copper flames greets visitors to this
Register for Copper Architecture Forum copperconcept.org
Upload your project to the website copperconcept.org
Edinburgh has a firm sustainability agenda
3
7 39 Carbon Innovation with Copper a bronze intervention is at the

heart of this regeneration creating a new university facility
COPPERCONCEPT.ORG
COPPERCONCEPT.ORG3
DANCING
FLAMES
4 COPPER ARCHITECTURE FORUM 38/2015
A beacon of copper flames now welcomes visitors

to ory in Upper Silesia, Poland, a potent symbol
of the citys historical links with fire. Architects
Barbara and Oskar Grabczewski explain the
project and its conception.
A SHOWCASE FOR ORY

The programme for this project was an exhibition pavilion to
showcase and promote ory to newcomers and tourists, as
well as partners and investors. The pavilion was to be built
in an open and prominent location close to the main access
road into the city. This site presented a number of challenges,
especially extensive underground infrastructure that left only
a strange, irregularly shaped piece of land to build on.
We spent some time exploring different options but decided

to revisit the programme and seek out a defining theme for
the building. The name ory means fire, burnt or flames
and there are several references to fire in the citys history.
Forests were burnt in the XII century, when ory was founded,
to create space for the new city and it subsequently suffered
sieges and fires over the years. Residents still celebrate a
Festival of Fire each summer to protect the city and its logo is
a small flame.
COPPERCONCEPT.ORG5
DANCING
FLAMES
A beacon of copper flames now welcomes visitors

to ory in Upper Silesia, Poland, a potent symbol
of the citys historical links with fire. Architects
Barbara and Oskar Grabczewski explain the
project and its conception.
A SHOWCASE FOR ORY

The programme for this project was an exhibition pavilion to
showcase and promote ory to newcomers and tourists, as
well as partners and investors. The pavilion was to be built
in an open and prominent location close to the main access
road into the city. This site presented a number of challenges,
especially extensive underground infrastructure that left only
a strange, irregularly shaped piece of land to build on.
We spent some time exploring different options but decided

to revisit the programme and seek out a defining theme for
the building. The name ory means fire, burnt or flames
and there are several references to fire in the citys history.
Forests were burnt in the XII century, when ory was founded,
to create space for the new city and it subsequently suffered
sieges and fires over the years. Residents still celebrate a
Festival of Fire each summer to protect the city and its logo is
a small flame.
COPPERCONCEPT.ORG5
THE IDEA CRYSTALLIZED

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

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

Copper Installer: DachTom, Kutno
Copper Product: Nordic Standard
Photos: Tomasz Zakrzewski / archifolio
The new Museum is surrounded by extensive landscaping.

Building and landscape work together creating a synthesis of
spaces, with pedestrian routes running through the pavilion
and green walkways. A further outdoor exhibition space is
anticipated that will be used during the Festival of Fire.
SECTION
1 Hall
2 Reception / Information
3 Multifunctional hall
GROUND FLOOR LEVEL
1 Exhibition space
2 Outdoor underground exhibition
UNDERGROUND LEVEL
COPPERCONCEPT.ORG7
THE IDEA CRYSTALLIZED

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

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

Copper Installer: DachTom, Kutno
Copper Product: Nordic Standard
Photos: Tomasz Zakrzewski / archifolio
The new Museum is surrounded by extensive landscaping.

Building and landscape work together creating a synthesis of
spaces, with pedestrian routes running through the pavilion
and green walkways. A further outdoor exhibition space is
anticipated that will be used during the Festival of Fire.
SECTION
1 Hall
2 Reception / Information
3 Multifunctional hall
GROUND FLOOR LEVEL
1 Exhibition space
2 Outdoor underground exhibition
UNDERGROUND LEVEL
COPPERCONCEPT.ORG7
COPPER AND TIMBER

CONFRONTATION
by Chris Hodson
Visible from nearby main roads, the Information Pavilion
Rmerschlacht am Harzhorn celebrates a major
archaeological discovery in Lower Saxony that changed
perceptions of Roman history in Germany. More than 1800,
mainly military artefacts attest to a fierce battle between
the Romans and the Germans in the 3rd century AD. The
Harzhorn battlefield lies at the edge of a hill range running
from the Harz mountains.
The new pavilion is conceived as two angular forms one
clad in rustic oak, the other golden copper alloy shingles
emerging from the ground like two warring forces
confronting each other. A narrow path forces its way between
the two, echoing an ancient trade route pass cutting through
the adjacent hills. The pavilion will house an exhibition and
is the starting point for tours. The golden copper alloy also
identifies information displays at key points around the
battlefield site.
Architect: K17 Steingrber Architekten

Copper Installer: Henkel Bedachungen
Copper Product: TECU Gold
Photos: Tim Grimme
COPPERCONCEPT.ORG9
COPPER AND TIMBER

CONFRONTATION
by Chris Hodson
Visible from nearby main roads, the Information Pavilion
Rmerschlacht am Harzhorn celebrates a major
archaeological discovery in Lower Saxony that changed
perceptions of Roman history in Germany. More than 1800,
mainly military artefacts attest to a fierce battle between
the Romans and the Germans in the 3rd century AD. The
Harzhorn battlefield lies at the edge of a hill range running
from the Harz mountains.
The new pavilion is conceived as two angular forms one
clad in rustic oak, the other golden copper alloy shingles
emerging from the ground like two warring forces
confronting each other. A narrow path forces its way between
the two, echoing an ancient trade route pass cutting through
the adjacent hills. The pavilion will house an exhibition and
is the starting point for tours. The golden copper alloy also
identifies information displays at key points around the
battlefield site.
Architect: K17 Steingrber Architekten

Copper Installer: Henkel Bedachungen
Copper Product: TECU Gold
Photos: Tim Grimme
COPPERCONCEPT.ORG9
Photo: paul ott photografiert
COPPER AND TIMBER

SHORELINE
by Chris Hodson
This cleverly designed boathouse on the shore of Austrias
Millsttter See lake divides land and water with its rigorous
use of materials. Over the lake, the simple box form is clad in
varying width horizontal slats of Siberian larch. At the lower
level, folding door elements are integrated within the facades,
doubling-up as access decks when open to reveal the boat
store and other outside activity areas. The land-side is clearly
defined by a veil of expanded copper panels. Both materials
were selected for their natural weathering characteristics.
Detailing of the copper facades is almost rustic in character.
The expanded metal was simply folded around an aluminium
frame, forming panels that were then directly screwed
onto the substructure. The expanded copper also forms an
external handrail with integrated LED strip lighting, as well
as sliding window shutters on the timber facade. The material
language continues inside, including expanded copper
staircase ballustrading and entrance door cladding.
Photo: Christoph Theurer
Architect: MHM architects, Vienna

Copper Installer: Lendorfer Schmiede
Copper Product: TECU Classic_mesh
COPPERCONCEPT.ORG11
Photo: paul ott photografiert
COPPER AND TIMBER

SHORELINE
by Chris Hodson
This cleverly designed boathouse on the shore of Austrias
Millsttter See lake divides land and water with its rigorous
use of materials. Over the lake, the simple box form is clad in
varying width horizontal slats of Siberian larch. At the lower
level, folding door elements are integrated within the facades,
doubling-up as access decks when open to reveal the boat
store and other outside activity areas. The land-side is clearly
defined by a veil of expanded copper panels. Both materials
were selected for their natural weathering characteristics.
Detailing of the copper facades is almost rustic in character.
The expanded metal was simply folded around an aluminium
frame, forming panels that were then directly screwed
onto the substructure. The expanded copper also forms an
external handrail with integrated LED strip lighting, as well
as sliding window shutters on the timber facade. The material
language continues inside, including expanded copper
staircase ballustrading and entrance door cladding.
Photo: Christoph Theurer
Architect: MHM architects, Vienna

Copper Installer: Lendorfer Schmiede
Copper Product: TECU Classic_mesh
COPPERCONCEPT.ORG11
COPPER AND TIMBER

NATURE
The building form is inspired by the eternal creative force of

the glacier: how it breaks its way through terrains or retreats,
then carves new, ever changing natural wonders into the
landscape. These creations provide models for the spaces
and forms found in the building.
Defined by an X-shaped plan, the building is divided into three

parts so that it can be utilized in different ways, depending
on the season. Its main exhibitions and education axis is
raised above both sides and creates a framework for an
exhibition space and a library. This axis rises up from a Rock
Foundation like a living and ever changing glacier. The Rock
Foundation, or service axis, crosses the exhibition axis and
houses a caf and restrooms in addition to staff facilities.
Weaving through the two axes is the information path,
terminating in an outdoor amphitheatre.
Another visitor centre - this time in Iceland and

described here by ARKS ARCHITECTS - is also
highly sculptural but draws its inspiration directly
from a dramatic natural landscape.
Snfellsstofa Visitor Centre communicates the dignity of the
surrounding nature and is closely connected to its immediate
surroundings. Its unique appearance and location attracts
visitors for indoor and outdoor activities. It is intentionally
positioned at a pronounced change in elevation, so that the
building gently glides out over the terrain. Its location was
selected to ensure shelter from winds, ample daylight and
mountain views.
COPPERCONCEPT.ORG13
COPPER AND TIMBER

NATURE
The building form is inspired by the eternal creative force of

the glacier: how it breaks its way through terrains or retreats,
then carves new, ever changing natural wonders into the
landscape. These creations provide models for the spaces
and forms found in the building.
Defined by an X-shaped plan, the building is divided into three

parts so that it can be utilized in different ways, depending
on the season. Its main exhibitions and education axis is
raised above both sides and creates a framework for an
exhibition space and a library. This axis rises up from a Rock
Foundation like a living and ever changing glacier. The Rock
Foundation, or service axis, crosses the exhibition axis and
houses a caf and restrooms in addition to staff facilities.
Weaving through the two axes is the information path,
terminating in an outdoor amphitheatre.
Another visitor centre - this time in Iceland and

described here by ARKS ARCHITECTS - is also
highly sculptural but draws its inspiration directly
from a dramatic natural landscape.
Snfellsstofa Visitor Centre communicates the dignity of the
surrounding nature and is closely connected to its immediate
surroundings. Its unique appearance and location attracts
visitors for indoor and outdoor activities. It is intentionally
positioned at a pronounced change in elevation, so that the
building gently glides out over the terrain. Its location was
selected to ensure shelter from winds, ample daylight and
mountain views.
COPPERCONCEPT.ORG13
01
02
03
04
05
06
07
Wooden terrace
Entrance
Foyer
Coffee
Shop / Library
Meeting area
Staff coffee
08
09
10
11
12
13
14
Office
Office
Staff entrance
Staff lavatory
Staff hallway
Exhibition computers
Exhibition area
15
16
17
18
19
20
21
Wooden terrace
Kitchen
Hallway
Lavatories
Accessible lavatory
Storage
Wooden terrace
North
05
glacier
01
02
03
06
21
20
19
16
18
17
15
08
09
12
13
04
rock
rock
07
14
10
11
ACCESSIBILITY AND
SUSTAINABILITY
The building stands alone and vehicles are kept to the side
and screened by planting and landscaping walls. Visitors
walk up to the building, much like climbers experiencing
the glaciers grandeur. Enjoyment of the exterior spaces is
encouraged, focused on accessibility and universal design.
Pedestrian paths, ramps and decks are built from local
wood and their forms steer the approach of visitors up to
the building. Staff facilities such as workshop, garage and
technical rooms are located so that they are not visible from
the approach.
A clear and straightforward palette of largely local materials
was chosen for the building including larch boarding, turf roof
and landscaping walls of rock. The nearby forest will become
apparent in the buildings texture.
The Rock Foundation is in situ concrete with insulation and

wood board texture both inside and out. In addition, larch
panels break up the concrete walls internally and externally.
The exhibition and education axis, the Ice Stream, is a timber
framed and clad in dark-brown pre-oxidised copper with
timber inside. Crossing and connecting the two axes is the
information path.
The plan form and generous ceiling heights allow for
permanent exhibitions in parts of the exhibition space and
temporary exhibitions in other parts. Spaces can easily
be combined and connected, both indoor and outdoor. For
example, the meeting room and central hall can be opened
up to the external amphitheatre, as can the caf onto the
exterior deck. Indoor and outdoor lighting is informed by the
buildings location and designed to minimize light pollution,
while maximizing use of daylight. The visitor centre has been
designed with special emphasis on sustainable design and is
undergoing BREEAM assessment.
Architect: ARKS ARCHITECTS

Copper Installer: Sjrnublikk
Photos: Sigurgeir Sigurjnsson
COPPERCONCEPT.ORG15
01
02
03
04
05
06
07
Wooden terrace
Entrance
Foyer
Coffee
Shop / Library
Meeting area
Staff coffee
08
09
10
11
12
13
14
Office
Office
Staff entrance
Staff lavatory
Staff hallway
Exhibition computers
Exhibition area
15
16
17
18
19
20
21
Wooden terrace
Kitchen
Hallway
Lavatories
Accessible lavatory
Storage
Wooden terrace
North
05
glacier
01
02
03
06
21
20
19
16
18
17
15
08
09
12
13
04
rock
rock
07
14
10
11
ACCESSIBILITY AND
SUSTAINABILITY
The building stands alone and vehicles are kept to the side
and screened by planting and landscaping walls. Visitors
walk up to the building, much like climbers experiencing
the glaciers grandeur. Enjoyment of the exterior spaces is
encouraged, focused on accessibility and universal design.
Pedestrian paths, ramps and decks are built from local
wood and their forms steer the approach of visitors up to
the building. Staff facilities such as workshop, garage and
technical rooms are located so that they are not visible from
the approach.
A clear and straightforward palette of largely local materials
was chosen for the building including larch boarding, turf roof
and landscaping walls of rock. The nearby forest will become
apparent in the buildings texture.
The Rock Foundation is in situ concrete with insulation and

wood board texture both inside and out. In addition, larch
panels break up the concrete walls internally and externally.
The exhibition and education axis, the Ice Stream, is a timber
framed and clad in dark-brown pre-oxidised copper with
timber inside. Crossing and connecting the two axes is the
information path.
The plan form and generous ceiling heights allow for
permanent exhibitions in parts of the exhibition space and
temporary exhibitions in other parts. Spaces can easily
be combined and connected, both indoor and outdoor. For
example, the meeting room and central hall can be opened
up to the external amphitheatre, as can the caf onto the
exterior deck. Indoor and outdoor lighting is informed by the
buildings location and designed to minimize light pollution,
while maximizing use of daylight. The visitor centre has been
designed with special emphasis on sustainable design and is
undergoing BREEAM assessment.
Architect: ARKS ARCHITECTS

Copper Installer: Sjrnublikk
Photos: Sigurgeir Sigurjnsson
COPPERCONCEPT.ORG15
WRAP MUSIC
Basalt Architecture discuss their new Paris
Conservatoire Claude Debussy, defined by
its external cloak of perforated copper which
comes to life with motorised, folding brise soleil
shutters.
Located between two high-rise buildings, the conservatory
stands at the interface between architectural scripts
linked to the citys built heritage on the edge of the 17th
arrondissement. To the south, Haussmann style buildings
look across at social housing of a more recent period.
The new music school is located strategically, as the 17th

arrondissements history is closely linked with French music,
and building this new edifice has to be worthy of this past.
It is also on the rue de Courcelles, an important corridor
into the city with its sight-line extending from the Boulevard
Priphrique ring-road, between two architectural eras and
styles. And it acts as a catalyst for a new building fringe on
the rue de Courcelles.
Aligned along the rue de Courcelles, the project is an
oscillation from down to up through the play of external
surfaces. It sends a strong signal through the city, a
20-metre-high landmark within a green alley dominated by
vegetation. Visible from the Priphrique, it is identified by its
architectural treatment, setting it apart from the landscape
of publicity that predominates along the Parisian ring-road.
Given its appearance and location, it is in constant dialogue with the city.
COPPERCONCEPT.ORG17
WRAP MUSIC
Basalt Architecture discuss their new Paris
Conservatoire Claude Debussy, defined by
its external cloak of perforated copper which
comes to life with motorised, folding brise soleil
shutters.
Located between two high-rise buildings, the conservatory
stands at the interface between architectural scripts
linked to the citys built heritage on the edge of the 17th
arrondissement. To the south, Haussmann style buildings
look across at social housing of a more recent period.
The new music school is located strategically, as the 17th

arrondissements history is closely linked with French music,
and building this new edifice has to be worthy of this past.
It is also on the rue de Courcelles, an important corridor
into the city with its sight-line extending from the Boulevard
Priphrique ring-road, between two architectural eras and
styles. And it acts as a catalyst for a new building fringe on
the rue de Courcelles.
Aligned along the rue de Courcelles, the project is an
oscillation from down to up through the play of external
surfaces. It sends a strong signal through the city, a
20-metre-high landmark within a green alley dominated by
vegetation. Visible from the Priphrique, it is identified by its
architectural treatment, setting it apart from the landscape
of publicity that predominates along the Parisian ring-road.
Given its appearance and location, it is in constant dialogue with the city.
COPPERCONCEPT.ORG17
PLEATED SKIN OF COPPER

The dance studios in the upper floors, signalled by their
expansive windows, stand out from the city with a dedicated
volume that responds to the apartment buildings to the
north. On the other side to the south, the buildings pleated
skin of perforated copper creates a dialogue with the sturdy
architecture of the classic Haussmann-style buildings.
Our project was designed from the inside out; we conceived
the conservatory as a place for exchange and emulation
- a crossroads of practices. This is the idea that drove the
project, from the auditorium at its heart to the music rooms.
A place where people play, learn, dance and create. Sounds
and movement emerge from this swirl of activities, this
school of practice.
Reflecting these activities, the building also comes to life: a
skin perforated by the beat of the melody that emerges and
takes shape in the outer walls. The script is there with the
surfaces folding and undulating in the light and the beat of
the perforations that enliven it by day and by night.
The interior and exterior volumes shimmer and move,

reinforced by the play of passageways and aerial walkways;
the materials sometimes reflecting, sometimes absorbing
the light like the superb acoustics of the place. Although the
exterior volume is intended to be monolithic, it is wrapped
with folds much like a Christo installation and we have
sought to dematerialise the core interior space to render it
impalpable and vital.
Dance studio
Music room
Reception
desk
Music room
Auditorium
/ Concert hall
SECTION
Dance studio
Computer lab
C.A.M.
Concert hall
Dance studio
Singing room
Music room
Control room
Dance studio
Drama
classes
Organ room
Music room
3RD FLOOR
1ST FLOOR
Orchestra
hall
Music
appreciation
workshop
Music
classes
Concert hall
Music
classes
Jazz hall
Administration
Drum room
GROUND FLOOR
Reception desk
Music
classes
2ND FLOOR
Architect: Basalt Architecture
Copper Installer: Antonangeli SA
Copper Product: TECU Classic
Photos: Basalt Architecture architects / Sergio Grazzia
COPPERCONCEPT.ORG19
PLEATED SKIN OF COPPER

The dance studios in the upper floors, signalled by their
expansive windows, stand out from the city with a dedicated
volume that responds to the apartment buildings to the
north. On the other side to the south, the buildings pleated
skin of perforated copper creates a dialogue with the sturdy
architecture of the classic Haussmann-style buildings.
Our project was designed from the inside out; we conceived
the conservatory as a place for exchange and emulation
- a crossroads of practices. This is the idea that drove the
project, from the auditorium at its heart to the music rooms.
A place where people play, learn, dance and create. Sounds
and movement emerge from this swirl of activities, this
school of practice.
Reflecting these activities, the building also comes to life: a
skin perforated by the beat of the melody that emerges and
takes shape in the outer walls. The script is there with the
surfaces folding and undulating in the light and the beat of
the perforations that enliven it by day and by night.
The interior and exterior volumes shimmer and move,

reinforced by the play of passageways and aerial walkways;
the materials sometimes reflecting, sometimes absorbing
the light like the superb acoustics of the place. Although the
exterior volume is intended to be monolithic, it is wrapped
with folds much like a Christo installation and we have
sought to dematerialise the core interior space to render it
impalpable and vital.
Dance studio
Music room
Reception
desk
Music room
Auditorium
/ Concert hall
SECTION
Dance studio
Computer lab
C.A.M.
Concert hall
Dance studio
Singing room
Music room
Control room
Dance studio
Drama
classes
Organ room
Music room
3RD FLOOR
1ST FLOOR
Orchestra
hall
Music
appreciation
workshop
Music
classes
Concert hall
Music
classes
Jazz hall
Administration
Drum room
GROUND FLOOR
Reception desk
Music
classes
2ND FLOOR
Architect: Basalt Architecture
Copper Installer: Antonangeli SA
Copper Product: TECU Classic
Photos: Basalt Architecture architects / Sergio Grazzia
COPPERCONCEPT.ORG19
What you see here is the remarkable openable

roof of the new Gdansk Shakespearean Theatre
in Poland - two wings of pre-patinated copper
turning skywards from a massive, black
brick base. Renato Rizzi tells us more about
his competition-winning design (executed in
partnership with Pro.Tec.O.).
Two fundamental assumptions converge in the project:
historical nature and political-cultural nature. Historically,
the Baltic city had already known at the beginning of the
seventeenth century the wooden building of the Elizabethan
Theatre. About four centuries later, the new theatre is built
in the same place but in a completely different urban and
landscape context, restarting from the archaeological traces
found of that far away presence.
Politically, in 2004 Poland joined the European Union in the
same year as the international competition for the design
of the new Elizabethan Theatre. It was as if the new theatre
had to represent on the stage of Gdansk the reversal of the
political horizon.
The theatre building is divided formally and functionally into
three main parts: the walkway around the outer edges, the
theatre itself and the administrative area including offices,
restaurant and dressing rooms.
Photo: Dekar
The outer edges are public passageways leading around the

whole complex. This new pedestrian urban platform lies 6
metres above the entrance level. This height offers a new
viewpoint over the historic and modern city with its contrasts
and compositional counterpoints. Functionally, the edges
ensure escape ways from the theatre and pedestrian links
with all levels of the complex, including the basement, five
metres below level ground.
REACHING
FOR THE SKY
About the architect - Professor Renato Rizzi

After graduating in Venice, Renato Rizzi worked with
Peter Eisenman in the United States for several years
before returning to Italy. He is involved with teaching,
research and design as an integrated approach to
architecture, and has won numerous awards and
competitions.
COPPERCONCEPT.ORG21
What you see here is the remarkable openable

roof of the new Gdansk Shakespearean Theatre
in Poland - two wings of pre-patinated copper
turning skywards from a massive, black
brick base. Renato Rizzi tells us more about
his competition-winning design (executed in
partnership with Pro.Tec.O.).
Two fundamental assumptions converge in the project:
historical nature and political-cultural nature. Historically,
the Baltic city had already known at the beginning of the
seventeenth century the wooden building of the Elizabethan
Theatre. About four centuries later, the new theatre is built
in the same place but in a completely different urban and
landscape context, restarting from the archaeological traces
found of that far away presence.
Politically, in 2004 Poland joined the European Union in the
same year as the international competition for the design
of the new Elizabethan Theatre. It was as if the new theatre
had to represent on the stage of Gdansk the reversal of the
political horizon.
The theatre building is divided formally and functionally into
three main parts: the walkway around the outer edges, the
theatre itself and the administrative area including offices,
restaurant and dressing rooms.
Photo: Dekar
The outer edges are public passageways leading around the

whole complex. This new pedestrian urban platform lies 6
metres above the entrance level. This height offers a new
viewpoint over the historic and modern city with its contrasts
and compositional counterpoints. Functionally, the edges
ensure escape ways from the theatre and pedestrian links
with all levels of the complex, including the basement, five
metres below level ground.
REACHING
FOR THE SKY
About the architect - Professor Renato Rizzi

After graduating in Venice, Renato Rizzi worked with
Peter Eisenman in the United States for several years
before returning to Italy. He is involved with teaching,
research and design as an integrated approach to
architecture, and has won numerous awards and
competitions.
COPPERCONCEPT.ORG21
The arms of the theatre are raised up to the sky in invocation, for a prayer, as
a gesture of hope and grace.
TRANSVERSE SECTION
ENTRY LEVEL
OPENABLE ROOF
On the outside, the theatres silhouette is characterised
by three general aspects: volumes, masonry ribs, and an
openable roof. From the volumes profile, two very distinct
parts emerge. The first belongs to the Elizabethan theatre
and sets the height of the building at 12 metres. The second
belongs to the 18 metre high scenic tower. Technical, systems
related and symbolic requirements make it the highest
panoramic point.
When the theatre roof is open, the view from the tower
includes the interior of the theatre. Masonry ribs in the outer
walls characterise the volumes of the theatre and scenic
tower. On the outside, they indicate the rhythm of the modular
indoor structure. They are needed to absorb the pressure
that the open wings of the roof exert on the walls below in
order to counteract the force of northerly winds.
The openable roof derives from typological and symbolic

needs. With its wings opened straight up, the edges reach a
height of 24 metres, concluding the vertical progression of
levels (6, 12, 18, 24m). In plan, the whole assumes the figure
of a diapason or tuning fork with the main axis oriented eastwest. The scenic tower transversely divides the theatre area
from the administrative one. Its central position restricts the
pathways of the outer pedestrian edges.
Situated within the perimeter of the diapason (3.6 metres
thick) are all the horizontal and vertical walkways. This
figuratively autonomous part is set back from the outer edges
precisely in order to express the spatial hierarchy between
the different formal systems.
COPPER CONTEXT
Selection of the material for the roof wings - green prepatinated copper - was always guided by the nearby Cathedral
of St. Mary: a mountain of dark bricks in the historic city
centre, from which rise towers with their spires. Tall and thin,
and copper clad, the spires appear like sensitive antennas
seeking out even the faintest theological signal transmitted to
the world. By the same analogy, the open wings of the theatre
act like radar, with their rhomboid structures as receivers not so much of magnetic fields but rather the infinite spiritual
shades of our inner singularity.
Architect: Renato Rizzi in partnership with Pro.Tec.O.

Copper Installer: NDI
Copper Product: Nordic GreenTM
Photos: Matteo Piazza - unless marked otherwise
COPPERCONCEPT.ORG23
The arms of the theatre are raised up to the sky in invocation, for a prayer, as
a gesture of hope and grace.
TRANSVERSE SECTION
ENTRY LEVEL
OPENABLE ROOF
On the outside, the theatres silhouette is characterised
by three general aspects: volumes, masonry ribs, and an
openable roof. From the volumes profile, two very distinct
parts emerge. The first belongs to the Elizabethan theatre
and sets the height of the building at 12 metres. The second
belongs to the 18 metre high scenic tower. Technical, systems
related and symbolic requirements make it the highest
panoramic point.
When the theatre roof is open, the view from the tower
includes the interior of the theatre. Masonry ribs in the outer
walls characterise the volumes of the theatre and scenic
tower. On the outside, they indicate the rhythm of the modular
indoor structure. They are needed to absorb the pressure
that the open wings of the roof exert on the walls below in
order to counteract the force of northerly winds.
The openable roof derives from typological and symbolic

needs. With its wings opened straight up, the edges reach a
height of 24 metres, concluding the vertical progression of
levels (6, 12, 18, 24m). In plan, the whole assumes the figure
of a diapason or tuning fork with the main axis oriented eastwest. The scenic tower transversely divides the theatre area
from the administrative one. Its central position restricts the
pathways of the outer pedestrian edges.
Situated within the perimeter of the diapason (3.6 metres
thick) are all the horizontal and vertical walkways. This
figuratively autonomous part is set back from the outer edges
precisely in order to express the spatial hierarchy between
the different formal systems.
COPPER CONTEXT
Selection of the material for the roof wings - green prepatinated copper - was always guided by the nearby Cathedral
of St. Mary: a mountain of dark bricks in the historic city
centre, from which rise towers with their spires. Tall and thin,
and copper clad, the spires appear like sensitive antennas
seeking out even the faintest theological signal transmitted to
the world. By the same analogy, the open wings of the theatre
act like radar, with their rhomboid structures as receivers not so much of magnetic fields but rather the infinite spiritual
shades of our inner singularity.
Architect: Renato Rizzi in partnership with Pro.Tec.O.

Copper Installer: NDI
Copper Product: Nordic GreenTM
Photos: Matteo Piazza - unless marked otherwise
COPPERCONCEPT.ORG23
COPPER
BOX
This deceptively simple copper and glass box in

Villach, Austria is an elegant and sophisticated
interpretation of the sports hall typology. Dietger
Wissounig Architekten describe their awardwinning design.
The new sports hall is used by the adjoining secondary

school, as well as various sports clubs, and is suitable
for international ball game tournaments. The elongated
structure runs almost parallel to the street which gives
it a strong public presence, shields the outdoor sports
ground behind it and retains existing parking spaces on the
northwest side.
At the front of the building is the main entrance with a small

forecourt. A row of trees and additional parking spaces serve
as a buffer zone to the busy street. The three-storey building
is sunk four metres below street level in order to create a
direct underground access to the school and also to give the
main hall a total height of 11.8 metres in a form that meets
urban development requirements.
COPPERCONCEPT.ORG25
COPPER
BOX
This deceptively simple copper and glass box in

Villach, Austria is an elegant and sophisticated
interpretation of the sports hall typology. Dietger
Wissounig Architekten describe their awardwinning design.
The new sports hall is used by the adjoining secondary

school, as well as various sports clubs, and is suitable
for international ball game tournaments. The elongated
structure runs almost parallel to the street which gives
it a strong public presence, shields the outdoor sports
ground behind it and retains existing parking spaces on the
northwest side.
At the front of the building is the main entrance with a small

forecourt. A row of trees and additional parking spaces serve
as a buffer zone to the busy street. The three-storey building
is sunk four metres below street level in order to create a
direct underground access to the school and also to give the
main hall a total height of 11.8 metres in a form that meets
urban development requirements.
COPPERCONCEPT.ORG25
CROSS SECTION
Photo: Jasmin Schuller
ELEVATION
GROUND FLOOR
Architect: Dietger Wissounig Architekten

Copper Installer: Reinhard Eder Blechbau
Copper Product: TECU Classic_punch
Photos: paul ott photografiert - unless marked otherwise
BASEMENT
LIGHT COLOURED INTERIOR

Contrasting with the transparent copper faade on a black
background, the interior is dominated by light colours: the
floor and walls of the gym are oak-paneled, while all other
surfaces - even the floors - are cream white. This creates
a friendly atmosphere where sports equipment and the
lighting system on the underside of the ceilings remain in the
background. The entire ventilation technology is integrated
into the walls.
Geothermal preheating of supply air, a heat recovery
ventilation system and a corresponding insulation ensure
high levels of energy efficiency, resulting in an annual heating
demand of 16.9 kWh/m.
COPPERCONCEPT.ORG27
CROSS SECTION
Photo: Jasmin Schuller
ELEVATION
GROUND FLOOR
Architect: Dietger Wissounig Architekten

Copper Installer: Reinhard Eder Blechbau
Copper Product: TECU Classic_punch
Photos: paul ott photografiert - unless marked otherwise
BASEMENT
LIGHT COLOURED INTERIOR

Contrasting with the transparent copper faade on a black
background, the interior is dominated by light colours: the
floor and walls of the gym are oak-paneled, while all other
surfaces - even the floors - are cream white. This creates
a friendly atmosphere where sports equipment and the
lighting system on the underside of the ceilings remain in the
background. The entire ventilation technology is integrated
into the walls.
Geothermal preheating of supply air, a heat recovery
ventilation system and a corresponding insulation ensure
high levels of energy efficiency, resulting in an annual heating
demand of 16.9 kWh/m.
COPPERCONCEPT.ORG27
CIVIC PRIDE
This beautifully executed municipal building
in Lyon, France - for the safekeeping of the
Rhne Departments history - is an assured
reconciliation between the technical demands of
document conservation and a cultural drive for
public accessibility, described by its designers
gautier+conqut.
Little by little, France's departmental authorities are
rediscovering their heritage and, consequently, their archives.
Archives represent the collective memory of a department
and the buildings housing them become showcases. We have
moved away from technical and empirical archiving towards
a more publicly accessible methodology, located in the city
centre and with user-friendly environments.
The building must also reconcile architectural considerations

with the storage of documents kept in protective conditions.
Here, the challenge is to enable air renewal while maintaining
good hygrothermic stability and minimising energy
consumption.
The new building must also express the heritage of the
city, accommodate the public and encourage them to visit,
and promote knowledge. In short, it must form part of a
cultural and urban approach. Locating the project in a
currently evolving district, close to the universities and easily
accessible by tram, kept this approach in mind. In particular,
the project will become part of a cultural corridor with
flourishing public and cultural facilities helping to enrich
the district and increase its population. The specific site between an up-and-coming urban boulevard and the highspeed railway line connecting Lyon with Europe places it
very much in the spotlight.
Collect, classify, communicate, conserve: the four functions of an archive
COPPERCONCEPT.ORG29
CIVIC PRIDE
This beautifully executed municipal building
in Lyon, France - for the safekeeping of the
Rhne Departments history - is an assured
reconciliation between the technical demands of
document conservation and a cultural drive for
public accessibility, described by its designers
gautier+conqut.
Little by little, France's departmental authorities are
rediscovering their heritage and, consequently, their archives.
Archives represent the collective memory of a department
and the buildings housing them become showcases. We have
moved away from technical and empirical archiving towards
a more publicly accessible methodology, located in the city
centre and with user-friendly environments.
The building must also reconcile architectural considerations

with the storage of documents kept in protective conditions.
Here, the challenge is to enable air renewal while maintaining
good hygrothermic stability and minimising energy
consumption.
The new building must also express the heritage of the
city, accommodate the public and encourage them to visit,
and promote knowledge. In short, it must form part of a
cultural and urban approach. Locating the project in a
currently evolving district, close to the universities and easily
accessible by tram, kept this approach in mind. In particular,
the project will become part of a cultural corridor with
flourishing public and cultural facilities helping to enrich
the district and increase its population. The specific site between an up-and-coming urban boulevard and the highspeed railway line connecting Lyon with Europe places it
very much in the spotlight.
Collect, classify, communicate, conserve: the four functions of an archive
COPPERCONCEPT.ORG29
COPPER IN DETAIL
HIERARCHY OF BOXES
ACTIVE FACADES
The public entrance is at street level, with a dramatic raised

central cube offering access to visitors. The spacious reading
room, located between two cubes, is unencumbered by the
structure of the upper levels and enjoys plenty of natural
light, engendering respect and silence. Archiving calls for
the careful and skilled boxing up of documents. The boxes
should be well designed and attractive, signalling by their
very nature the value of their contents. Our city-scale project
comprises three such boxes, containing another layer of
boxes - the archive rooms - themselves encompassing yet
smaller boxes - the archives.
The external skin plays an active role, based on the principles

of Thermos flasks. A lightweight insulating faade, clad with
the golden copper alloy panels, is installed around 80 cm
from the structural concrete walls, creating an empty space
or plenum. This enables slow circulation of the air ventilating
the archive rooms and ensures excellent protection in terms
of light, hygrothermics and security.
The building boxes are therefore made of valuable materials:

stone, copper and glass. The stone base is split black granite
in horizontal layers. The central spaces containing the
archives are clad with golden copper alloy sheets, embossed
to add texture. This durable alloy will retain its colour over
time. The offices form the crown of the building, sheltered by
a ventilated double-skin glass faade, like a protective lid on a
precious treasure casket.
Ventilation
Administration
Administration levels
Double skin, single glazing steel subframe
Sun protection
Horizontal venetian blinds
Offices
Low emission double glazing
Aluminium framing with thermal break
Opening panels for natural ventilation
Dual flow air system with heat

recovery
Reversible chilled beam ceiling
terminal
High efficiency lighting
Administration
2
Ventilation controlled by centralised

energy management system
7TH FLOOR
ARCHIVE LEVEL
GROUND FLOOR
1
2
3
4
5
1 Archive storage
2 Sorting area
3 Intern office
1
2
3
4
5
6
Offices
Plant room
Break room
Meeting room
Workshops
Reading room
Entrance and reception
School group area
Auditorium
Administration
Service and delivery area
5
7TH FLOOR
Document storage
Air plenum
Ventilation grill with fire damper

3
Document storage
Load bearing reinforced concrete wall
Wall complex
Document conservation area
Copper aluminium panel
TYPICAL ARCHIVE LEVEL
External steel panel

Thermal insulation
Internal skin steel decking
5
Document storage
3
4
SECTION THROUGH THE LECTURE ROOM
GROUND FLOOR
Atmospheric treatment of the

document conservation rooms
Air supply from the perimeter
plenum
Temperature and hygrometry
controlled by an all air system
with recycling, completed by air
handling units with a dual flow air
system and heat recovery
Architect: gautier+conquet architects et paysagistes

Subcontractors: Dumetier Design / Squences Architecture
Copper Installers: Alain Le NY (copper roofing); SMAC (copper faades)
Copper Products: TECU Gold / Nordic RoyalTM
Photos: Renaud Araud
COPPERCONCEPT.ORG31
COPPER IN DETAIL
HIERARCHY OF BOXES
ACTIVE FACADES
The public entrance is at street level, with a dramatic raised

central cube offering access to visitors. The spacious reading
room, located between two cubes, is unencumbered by the
structure of the upper levels and enjoys plenty of natural
light, engendering respect and silence. Archiving calls for
the careful and skilled boxing up of documents. The boxes
should be well designed and attractive, signalling by their
very nature the value of their contents. Our city-scale project
comprises three such boxes, containing another layer of
boxes - the archive rooms - themselves encompassing yet
smaller boxes - the archives.
The external skin plays an active role, based on the principles

of Thermos flasks. A lightweight insulating faade, clad with
the golden copper alloy panels, is installed around 80 cm
from the structural concrete walls, creating an empty space
or plenum. This enables slow circulation of the air ventilating
the archive rooms and ensures excellent protection in terms
of light, hygrothermics and security.
The building boxes are therefore made of valuable materials:

stone, copper and glass. The stone base is split black granite
in horizontal layers. The central spaces containing the
archives are clad with golden copper alloy sheets, embossed
to add texture. This durable alloy will retain its colour over
time. The offices form the crown of the building, sheltered by
a ventilated double-skin glass faade, like a protective lid on a
precious treasure casket.
Ventilation
Administration
Administration levels
Double skin, single glazing steel subframe
Sun protection
Horizontal venetian blinds
Offices
Low emission double glazing
Aluminium framing with thermal break
Opening panels for natural ventilation
Dual flow air system with heat

recovery
Reversible chilled beam ceiling
terminal
High efficiency lighting
Administration
2
Ventilation controlled by centralised

energy management system
7TH FLOOR
ARCHIVE LEVEL
GROUND FLOOR
1
2
3
4
5
1 Archive storage
2 Sorting area
3 Intern office
1
2
3
4
5
6
Offices
Plant room
Break room
Meeting room
Workshops
Reading room
Entrance and reception
School group area
Auditorium
Administration
Service and delivery area
5
7TH FLOOR
Document storage
Air plenum
Ventilation grill with fire damper

3
Document storage
Load bearing reinforced concrete wall
Wall complex
Document conservation area
Copper aluminium panel
TYPICAL ARCHIVE LEVEL
External steel panel

Thermal insulation
Internal skin steel decking
5
Document storage
3
4
SECTION THROUGH THE LECTURE ROOM
GROUND FLOOR
Atmospheric treatment of the

document conservation rooms
Air supply from the perimeter
plenum
Temperature and hygrometry
controlled by an all air system
with recycling, completed by air
handling units with a dual flow air
system and heat recovery
Architect: gautier+conquet architects et paysagistes

Subcontractors: Dumetier Design / Squences Architecture
Copper Installers: Alain Le NY (copper roofing); SMAC (copper faades)
Copper Products: TECU Gold / Nordic RoyalTM
Photos: Renaud Araud
COPPERCONCEPT.ORG31
3
2
GROUND FLOOR
1 Youth centre
2 Multipurpose hall
3 Hub
4 Cafe / Bar
5 Screening room
A HOUSE WITH
MANY DOORS
Brass is a defining element - both inside and out
- for this new London cultural and community
complex, described here by architects Lifschutz
Davidson Sandilands.
The JW3 is a new, award-winning community centre to serve
the Jewish population in London. It aims to bring together
the organisations many and diverse activities into a single
building - a meeting point for Jews and non-Jews alike. The
proposition of a house with many doors neatly sums up
a central challenge of JW3: to create an attractive place
for all Londoners interested in creativity; a building that is
cool irrespective of whether it is used by grandparents or
grandchildren.
The response was to equip the building with spaces for

multiple activities, programmed for different audiences at
different times whether music, dance, art, writing, theatre
or debate. Uniting these various spaces and activities are
the ground floor piazza, caf and restaurant a forum for
all to mix and to meet. Fourteen apartments in a campanile
tower provided welcome revenue for the charity, and have
impressive views over north London.
The building has been designed to be easy to navigate,
accessible to all, and very environmentally friendly, with
natural ventilation, a brown roof to encourage biodiversity,
rainwater harvesting and solar panels. JW3 has achieved a
BREEAM Excellent rating.
PATINATED BRASS
JW3 uses a restrained palette of materials, with patinated
brass bringing a warmth to the exterior of the building where
it contrasts with cast stone and brickwork all durable
materials that are common to the area and found in Londons
most appealing civic buildings. This is continued internally
where brass details have been used in tactile locations such
as the ironmongery, handrails and the main bar.
Careful consideration was put into the finish of the brass

throughout the building, with particular attention to the
external cladding. A project-specific finish was developed
with Italian specialists, utilising a combination of chemical
patination for texture and a wax topcoat to enhance the depth
of colour.
Architect: Lifschutz Davidson Sandilands
Copper Installer: Colorminium
Copper Product: TECU Brass
Photos: KME
COPPERCONCEPT.ORG33
3
2
GROUND FLOOR
1 Youth centre
2 Multipurpose hall
3 Hub
4 Cafe / Bar
5 Screening room
A HOUSE WITH
MANY DOORS
Brass is a defining element - both inside and out
- for this new London cultural and community
complex, described here by architects Lifschutz
Davidson Sandilands.
The JW3 is a new, award-winning community centre to serve
the Jewish population in London. It aims to bring together
the organisations many and diverse activities into a single
building - a meeting point for Jews and non-Jews alike. The
proposition of a house with many doors neatly sums up
a central challenge of JW3: to create an attractive place
for all Londoners interested in creativity; a building that is
cool irrespective of whether it is used by grandparents or
grandchildren.
The response was to equip the building with spaces for

multiple activities, programmed for different audiences at
different times whether music, dance, art, writing, theatre
or debate. Uniting these various spaces and activities are
the ground floor piazza, caf and restaurant a forum for
all to mix and to meet. Fourteen apartments in a campanile
tower provided welcome revenue for the charity, and have
impressive views over north London.
The building has been designed to be easy to navigate,
accessible to all, and very environmentally friendly, with
natural ventilation, a brown roof to encourage biodiversity,
rainwater harvesting and solar panels. JW3 has achieved a
BREEAM Excellent rating.
PATINATED BRASS
JW3 uses a restrained palette of materials, with patinated
brass bringing a warmth to the exterior of the building where
it contrasts with cast stone and brickwork all durable
materials that are common to the area and found in Londons
most appealing civic buildings. This is continued internally
where brass details have been used in tactile locations such
as the ironmongery, handrails and the main bar.
Careful consideration was put into the finish of the brass

throughout the building, with particular attention to the
external cladding. A project-specific finish was developed
with Italian specialists, utilising a combination of chemical
patination for texture and a wax topcoat to enhance the depth
of colour.
Architect: Lifschutz Davidson Sandilands
Copper Installer: Colorminium
Copper Product: TECU Brass
Photos: KME
COPPERCONCEPT.ORG33
COPPER & SUSTAINABILITY
Materials were chosen that are renewable, have low embodied energy and a
minimal carbon footprint
ROOF PLAN
SUSTAINABLE
LEARNING
Architect: Malcolm Fraser Architects

Copper Installer: CLM
Copper Product: Nordic RoyalTM
Photos: Angus Bremner
Externally, each age groups playroom is clearly identifiable

as a welcoming, domestic but also contemporary - form,
creating a sense of belonging and ownership for each age
group. The roof forms and some facades are clad in a golden
copper alloy which gives a visual lightness and warmth while
adding a presence appropriate to the historic university
location.
The new building provides early-years education for over

100 children aged from six weeks to five years and has been
designed to facilitate a free-play concept, whilst ensuring
the children are safe and easily supervised. It was conceived
as a free-flowing series of interconnected spaces that could
be opened-up or closed-off to suit the activities of the day,
with the focus not solely being one playroom per age group,
but a series of additional spaces - such as shared messy
and art rooms, a childrens kitchen, raised cosy mezzanine
spaces for quieter times, and a music and reading room.
These are all connected at the heart of the building with
a flexible welcome and circulation space, used for many
functions including dining and coat storage.
These three pavilions are then linked together by a single

storey building, with large rooflight views to the tree canopy
above. The desire to respect the faade of the adjacent listed
Joseph Black chemistry building led to a more compact
footprint, with raised mezzanines for the children and a first
floor area for offices, staff and a family room. The different
trapezoidal roof forms of the pavilions reflect the varied
internal spaces.
The Arcadia Nursery is the first of two projects

within the historic campuses of the University
of Edinburgh designed by Malcolm Fraser
Architects, characterised by a copper alloy and
with a firm sustainability agenda in mind - as its
designers explain.
LEVEL 00 PLAN
SECTION A-A
SECTION B-B
COPPERCONCEPT.ORG35
Materials were chosen that are renewable, have low embodied energy and a
minimal carbon footprint
ROOF PLAN
SUSTAINABLE
LEARNING

Copper Installer: CLM
Copper Product: Nordic RoyalTM
Photos: Angus Bremner
Externally, each age groups playroom is clearly identifiable

as a welcoming, domestic but also contemporary - form,
creating a sense of belonging and ownership for each age
group. The roof forms and some facades are clad in a golden
copper alloy which gives a visual lightness and warmth while
adding a presence appropriate to the historic university
location.
The new building provides early-years education for over

100 children aged from six weeks to five years and has been
designed to facilitate a free-play concept, whilst ensuring
the children are safe and easily supervised. It was conceived
as a free-flowing series of interconnected spaces that could
be opened-up or closed-off to suit the activities of the day,
with the focus not solely being one playroom per age group,
but a series of additional spaces - such as shared messy
and art rooms, a childrens kitchen, raised cosy mezzanine
spaces for quieter times, and a music and reading room.
These are all connected at the heart of the building with
a flexible welcome and circulation space, used for many
functions including dining and coat storage.
These three pavilions are then linked together by a single

storey building, with large rooflight views to the tree canopy
above. The desire to respect the faade of the adjacent listed
Joseph Black chemistry building led to a more compact
footprint, with raised mezzanines for the children and a first
floor area for offices, staff and a family room. The different
trapezoidal roof forms of the pavilions reflect the varied
internal spaces.
The Arcadia Nursery is the first of two projects

within the historic campuses of the University
of Edinburgh designed by Malcolm Fraser
Architects, characterised by a copper alloy and
with a firm sustainability agenda in mind - as its
designers explain.
LEVEL 00 PLAN
SECTION A-A
SECTION B-B
COPPERCONCEPT.ORG35
SUSTAINABILITY IN PRACTICE
Along with a requirement to achieve a BREEAM Excellent
rating, the client was keen from the outset to create a
highly sustainable building. We also felt the buildings
use leant itself as an educational tool in its own right, to
teach children about the varying aspects of approaching
life in a sustainable manner. It was also of foremost
importance that a healthy, calm environment was created
for the children. The cross-laminated timber structure
provided the perfect combination of creating a warm,
tactile interior, whilst also using a natural, sustainable
product that could structurally achieve the clear roof
volumes required to ensure the mezzanines spaces were
not compromised.
The specification of all materials was carefully
considered. Materials were chosen that are renewable,
have low embodied energy and a minimal carbon footprint
criteria that the copper alloy easily met - whilst also
creating a vapour-open, breathable building fabric
with high air-tightness. This ensured that a high indoor
air quality was achieved by minimising or eliminating
products which emit low level toxicity. The design stage
BREEAM assessment achieved a high score of 82.2%, with
material and pollution sections achieving a 100% score.
COPPER FOR SUSTAINABLE

BUILDINGS
The BRE Green Guide to Specification is a useful guide
for assessing the sustainability of architectural materials
and provides independent endorsement of the low
environmental impact of both copper roofing and cladding.
It rates a wide range of complete building elements from
A+ to E, using Life Cycle Assessment techniques.
Ratings form an important part of BREEAM and credits
are available for using specifications for key building
elements (e.g. external walls and roofs) with low embodied
environmental impact. Various complete wall or roof buildups are considered, each including materials for structure,
insulation, moisture control and finishes. All the copperfinished roofs and most copper wall cladding specifications
included achieved A+ or A summary ratings. Even the few
build-ups with lower ratings could be improved easily with
replacement components, without affecting the copper
skin itself.
Coppers longevity is a major strength, resulting from
its complex patination process that ensures extreme
durability with no maintenance and resistance to corrosion
in virtually any atmospheric conditions.
This topic is covered in more detail in Copper Architecture
Forum 34 (pages 34-35), available from copperconcept.org
CARBON INNOVATION
WITH COPPER
With the second of their projects for the
University of Edinburgh, Malcolm Fraser
Architects begin by focusing on sustainability.
As a world-class interdisciplinary research and teaching
facility focused on key climate related challenges facing
society, it was important that The Edinburgh Centre
for Carbon Innovation (ECCI) demonstrated the highest
sustainability credentials. It has been designed to achieve
an exceptionally low energy demand, in particular given that
it involves the refurbishment of an existing and protected
historic building. ECCI has achieved BREEAM Outstanding at
design stage. This is the first refurbished or listed historic
building to achieve a BREEAM Outstanding rating (with the
construction stage confirmation awaited).
We need to focus on maintaining and upgrading our existing

building stock before creating new. Significantly, ECCI is the
reuse of an existing building in a historic city centre location.
It is possible - with careful consideration - to work with the
historic fabric and provide a building which accommodates
current day user requirements, while acknowledging the
importance of sustainable materials and low energy demand.
For example, the choice of faade material on the upper
levels of new construction is bronze an alloy of copper
and tin. It is light in weight, which reduces demand on the
structure and copper is a material which itself generally
contains a high proportion of recycled material from scrap. It
is also a durable and a recyclable material.
COPPERCONCEPT.ORG37
SUSTAINABILITY IN PRACTICE
Along with a requirement to achieve a BREEAM Excellent
rating, the client was keen from the outset to create a
highly sustainable building. We also felt the buildings
use leant itself as an educational tool in its own right, to
teach children about the varying aspects of approaching
life in a sustainable manner. It was also of foremost
importance that a healthy, calm environment was created
for the children. The cross-laminated timber structure
provided the perfect combination of creating a warm,
tactile interior, whilst also using a natural, sustainable
product that could structurally achieve the clear roof
volumes required to ensure the mezzanines spaces were
not compromised.
The specification of all materials was carefully
considered. Materials were chosen that are renewable,
have low embodied energy and a minimal carbon footprint
criteria that the copper alloy easily met - whilst also
creating a vapour-open, breathable building fabric
with high air-tightness. This ensured that a high indoor
air quality was achieved by minimising or eliminating
products which emit low level toxicity. The design stage
BREEAM assessment achieved a high score of 82.2%, with
material and pollution sections achieving a 100% score.
COPPER FOR SUSTAINABLE

BUILDINGS
The BRE Green Guide to Specification is a useful guide
for assessing the sustainability of architectural materials
and provides independent endorsement of the low
environmental impact of both copper roofing and cladding.
It rates a wide range of complete building elements from
A+ to E, using Life Cycle Assessment techniques.
Ratings form an important part of BREEAM and credits
are available for using specifications for key building
elements (e.g. external walls and roofs) with low embodied
environmental impact. Various complete wall or roof buildups are considered, each including materials for structure,
insulation, moisture control and finishes. All the copperfinished roofs and most copper wall cladding specifications
included achieved A+ or A summary ratings. Even the few
build-ups with lower ratings could be improved easily with
replacement components, without affecting the copper
skin itself.
Coppers longevity is a major strength, resulting from
its complex patination process that ensures extreme
durability with no maintenance and resistance to corrosion
in virtually any atmospheric conditions.
This topic is covered in more detail in Copper Architecture
Forum 34 (pages 34-35), available from copperconcept.org
CARBON INNOVATION
WITH COPPER
With the second of their projects for the
University of Edinburgh, Malcolm Fraser
Architects begin by focusing on sustainability.
As a world-class interdisciplinary research and teaching
facility focused on key climate related challenges facing
society, it was important that The Edinburgh Centre
for Carbon Innovation (ECCI) demonstrated the highest
sustainability credentials. It has been designed to achieve
an exceptionally low energy demand, in particular given that
it involves the refurbishment of an existing and protected
historic building. ECCI has achieved BREEAM Outstanding at
design stage. This is the first refurbished or listed historic
building to achieve a BREEAM Outstanding rating (with the
construction stage confirmation awaited).
We need to focus on maintaining and upgrading our existing

building stock before creating new. Significantly, ECCI is the
reuse of an existing building in a historic city centre location.
It is possible - with careful consideration - to work with the
historic fabric and provide a building which accommodates
current day user requirements, while acknowledging the
importance of sustainable materials and low energy demand.
For example, the choice of faade material on the upper
levels of new construction is bronze an alloy of copper
and tin. It is light in weight, which reduces demand on the
structure and copper is a material which itself generally
contains a high proportion of recycled material from scrap. It
is also a durable and a recyclable material.
COPPERCONCEPT.ORG37
This would be the first refurbished or listed historic building to achieve the
BREEAM Outstanding rating
BRONZE HEART
The ECCI involved a major alteration and extension of the
protected Old High School building, Infirmary Street. The
brief included consideration of adjoining buildings and
proposals to reinvigorate the land within the High School
Yards, to the boundary of Infirmary Street at the front and the
enclosed space of Surgeons Square to the rear. High School
Yards has always been a significant architectural site and
has gone through many incarnations since its beginnings as
Blackfriars Monastery from 1230.
Due to the piecemeal fashion of the many changes that had
occurred over the years, the existing building as a whole
was lacking a sense of cohesion and its circulation was
not clear. By removing the linking stair that connected
the two significant front and rear buildings, it has been
possible to create a generous central heart and circulation
space. From this atrium, all accommodation spaces have a
direct connection and their presence is visually legible. In
response to the clients brief, this circulation space is a focus
for interaction between a variety of building users and will
provide informal break out space for small post graduate
student groups, staff and businesses.
Bronze cladding defines the new intervention running

through the building and uniting the historic parts. The
accommodation spaces throughout the building have been
reconfigured to provide well-proportioned and suitably sized
spaces which can be used as flexibly as possible, as office,
teaching or meeting areas.
Specific decisions were made to provide varying degrees of
services for ventilation and IT within different spaces, so that
the building, as a whole, can suit changes in the future and
also cater on a day-to-day basis for a variety of events. The
accommodation now includes refurbished teaching/seminar
space, lecture/conferencing facilities; meeting rooms; staff
offices; a Masters student hub; caf and external landscaped
areas.

Copper Product: TECU Bronze
Photos: Dave Morris Photography
Existing building
arrangement with various
additions to the Old High
School made between 1830
- 1970
Link stair to be removed
ATRIUM CROSS-SECTION
New resolved connection

between front and rear
buildings; new Caf to
south and ancillary spaces
to north
Massing of roofscape
articulated
LEVEL 02/03 PLAN
COPPERCONCEPT.ORG
COPPERCONCEPT.ORG3939
This would be the first refurbished or listed historic building to achieve the
BREEAM Outstanding rating
BRONZE HEART
The ECCI involved a major alteration and extension of the
protected Old High School building, Infirmary Street. The
brief included consideration of adjoining buildings and
proposals to reinvigorate the land within the High School
Yards, to the boundary of Infirmary Street at the front and the
enclosed space of Surgeons Square to the rear. High School
Yards has always been a significant architectural site and
has gone through many incarnations since its beginnings as
Blackfriars Monastery from 1230.
Due to the piecemeal fashion of the many changes that had
occurred over the years, the existing building as a whole
was lacking a sense of cohesion and its circulation was
not clear. By removing the linking stair that connected
the two significant front and rear buildings, it has been
possible to create a generous central heart and circulation
space. From this atrium, all accommodation spaces have a
direct connection and their presence is visually legible. In
response to the clients brief, this circulation space is a focus
for interaction between a variety of building users and will
provide informal break out space for small post graduate
student groups, staff and businesses.
Bronze cladding defines the new intervention running

through the building and uniting the historic parts. The
accommodation spaces throughout the building have been
reconfigured to provide well-proportioned and suitably sized
spaces which can be used as flexibly as possible, as office,
teaching or meeting areas.
Specific decisions were made to provide varying degrees of
services for ventilation and IT within different spaces, so that
the building, as a whole, can suit changes in the future and
also cater on a day-to-day basis for a variety of events. The
accommodation now includes refurbished teaching/seminar
space, lecture/conferencing facilities; meeting rooms; staff
offices; a Masters student hub; caf and external landscaped
areas.

Copper Product: TECU Bronze
Photos: Dave Morris Photography
Existing building
arrangement with various
additions to the Old High
School made between 1830
- 1970
Link stair to be removed
ATRIUM CROSS-SECTION
New resolved connection

between front and rear
buildings; new Caf to
south and ancillary spaces
to north
Massing of roofscape
articulated
LEVEL 02/03 PLAN
COPPERCONCEPT.ORG
COPPERCONCEPT.ORG3939
Copper
Architecture
Forum
COPPER ARCHITECTURE FORUM
38

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38

One of this magazines strengths is its ability

Photo: Basalt Architecture architects / Sergio Grazzia

straddles the shore of an Austrian lake

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

Iceland and inspired by its dramatic surroundings

motorised shutters in perforated copper

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

remarkable openable copper roof

24 27 Copper Box a deceptively simple but elegant and sophisticated

interpretation of the sports hall typology

28 31 Civic Pride reconciling the technical demands of archiving with

All the shortlisted projects will be on exhibition at the

Publisher: Nigel Cotton, ECI

London cultural and community centre

Printing: Copy & Consulting Kft., Hungary

Copper Architecture Forum 2015

public accessibility, in style

Address: CAF, European Copper Institute,

Germany celebrates a major archaeological discovery

10 11 Copper and Timber Shoreline a cleverly designed boathouse

As this issue goes to press, judging of the 2015 European

Contact the Editorial Team editorialteam@copperconcept.org

The magazine is distributed to architects and building professionals

ARCHITECTURAL AWARDS PUBLIC CHOICE

Editor: Chris Hodson RIBA

Copper Architecture Forum is part of the European Copper In Architecture

Polish exhibition pavilion

8 9 Copper and Timber Confrontation this visitor centre in

The Editorial Team

Editor in Chief: Robert Pinter

Copper Architecture Forum 38, June 2015

Bringing this issue to a close are three buildings from the

View magazine back issues copperconcept.org

See the European Copper in Architecture Awards copperconcept.org

2 Copper Comparisons editorial comment

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

Register for Copper Architecture Forum copperconcept.org

Upload your project to the website copperconcept.org

Edinburgh has a firm sustainability agenda

heart of this regeneration creating a new university facility

Read on iPad for free

Copper Architecture Forum 2015

One of this magazines strengths is its ability

Photo: Basalt Architecture architects / Sergio Grazzia

straddles the shore of an Austrian lake

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

Iceland and inspired by its dramatic surroundings

motorised shutters in perforated copper

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

remarkable openable copper roof

24 27 Copper Box a deceptively simple but elegant and sophisticated

interpretation of the sports hall typology

28 31 Civic Pride reconciling the technical demands of archiving with

All the shortlisted projects will be on exhibition at the

Publisher: Nigel Cotton, ECI

London cultural and community centre

Printing: Copy & Consulting Kft., Hungary

Copper Architecture Forum 2015

public accessibility, in style

Address: CAF, European Copper Institute,

Germany celebrates a major archaeological discovery