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EDITORIALE
Copper Architecture Forum n. 32, aprile 2012 Copper Architecture Forum parte della Campagna Europea sul Rame in Architettura. pubblicato due volte allanno e ha una tiratura di 25.000 copie. La rivista distribuita agli architetti e professionisti del settore edilizio in Belgio, Danimarca, Finlandia, Francia, Germania, Grecia, Italia, Norvegia, Paesi Bassi, Polonia, Regno Unito, Repubblica Ceca, Russia, Spagna, Svezia, Ucraina e Ungheria.
Redazione: Lennart Engstrm, Ari Lammikko, Chris Hodson, Hannele Kuusisto, Hermann Kersting, Robert Pinter, Irina Dumitrescu E-mail: editorialteam@copperconcept.org Indirizzo: CAF, European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium Editore: Nigel Cotton, ECI Layout e produzione tecnica: Naula Grafisk Design, Sweden Stampa: Strlins Grafiska AB 2012, Sweden Collaboratori: Birgit Schmitz, De Kazimierz Zakrzewski, Pl Marco Crespi, It Nicholas Hay, UK Nikolaos Vergopoulos, Gr Nuno Diaz, Es Olivier Tissot, Fr Paul Becquevort, Benelux Pia Voutilainen, Se, No, Fi, Dk Robert Pintr, Hu, Cz, SVK Vadim Ionov, Ru birgit.schmitz@copperalliance.de kazimierz.zakrzewski@copperalliance.pl marco.crespi@copperalliance.it nick.hay@copperalliance.org.uk nick.vergopoulos@copperalliance.gr nuno.diaz@copperalliance.es olivier.tissot@copperalliance.fr paul.becquevort@copperalliance.be pia.voutilainen@copperalliance.fi robert.pinter@copperalliance.hu vadim.ionov@copperalliance.ru
copertina: Il Centro visitatori della cattedrale di Lund (p. 4-7). Foto: ke E:son Lindman
www.copperconcept.org
contattaci subito. Noi abbiamo bisogno di sentire da te sia i commenti su Copper Architecture Forum, sia i suggerimenti per i progetti o gli argomenti che possiamo coprire in futuro. Basta inviare una e-mail alla redazione o al collaboratore locale elencato qui sopra.
IndIce
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2 4-7
un nuovo centro visitatori per la Cattedrale di Lund, Svezia ridefinire lAranceria della casa di campagna, Paesi Bassi - un moderno ampliamento in bronzo ringiovanisce un tradizionale magazzino di Londra la riqualificazione di uno spazio inutilizzato sui tetti, nel centro di Helsinki.
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Skyline di rame
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1821
a copper-clad intervention restructures an Italian villa for new uses Warsaws new water plant refers to neighbouring 19th century buildings additions to a traditional Luxembourg house are expressed in modern forms transforming a 1970s office building with a transparent copper skin returning a 19th century London church to religious and community use simplicity and permanence define additions to an ancient Spanish castle distinctive copper-clad forms redefine the urban role of a disused bath house in Italy
Timeless Copper
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INTERVENTO DIVINO
Un nuovo centro visitatori nella citt svedese di Lund utilizza forme sfaccettate rivestite in ottone per collegare tra loro edifici disuguali e per rigenerare la piazza di fronte al Duomo del XII secolo.
di Chris Hodson
Il progetto dellarchitetto Carmen Izquierdo, sviluppato a partire da un progetto vincente di un concorso, incentrato su un intervento profondamente contemporaneo con ottone e vetro, che si snoda tra numerosi edifici antichi, legandoli tra loro. Il fronte sulla via Kyrkogatan incorpora una tettoia in ottone, che continua semplicemente il piano del tetto delledificio adiacente, con un ingresso dal cortile sotto. Ledificio continua verso via Kungsgatan, quindi si estende poi verso la cattedrale con una forma espressiva lauditorium
che termina con una finestra a imbuto, che si protende simbolicamente verso le torri storiche.
le proporzioni e le linee degli edifici esistenti. Il motto del progetto vincitore era Portal e Atrium (Portale e atrio) e le ambizioni della proposta originaria si sono evolute in un programma completamente nuovo nel design finale.
sione era quella di creare un edificio contemporaneo che aggiunge un nuovo livello agli strati storici che compongono il centro di Lund. Il nuovo edificio cerca di fondersi con il paesaggio urbano in maniera naturale cogliendo
Ottone ... un materiale naturale che offre una ricca superficie vibrante, che si addolcisce con let per fondersi con il paesaggio urbano
Internamente, lo spazio dominante la hall dingresso, servita sia dalla piazza della cattedrale che dalla Kungsgatan. Con il suo atrio a doppia altezza, un luogo di incontro conviviale utilizzato per ricevimenti, mostre e rinfreschi, sovrastato dagli uffici al piano superiore. Qui, la solidit dei muri (i cui rilievi sono stati ottenuti pressando assi di legno sul cemento fresco), contrasta con lapertura creata da partizioni completamente di vetro. Lespressivo auditorium concepito come uno spazio unico con la sua caratteristica finestra trapezoidale a imbuto, che incornicia la vista sulle guglie della cattedrale
Architetto: Carmen Izquierdo Installatore del rame: Malm Pltservice AB Rame: Nordic Brass Foto: ke E:son Lindman
DEPOT
GROUP ROOM
OFFICE
PASSAGE
OFFICE
DEPOT / STORE
YARD STAIRWELL CONFERENCE
RESTROOM
OFFICE
ELEV. STAFF
DEPOT
WAITING
EXHIBITION
YARD KUNGSGATAN
INFORMAL MEETINGPOINT
CHECKROOM
RESTROOM
REPRO/ PRINTING
CLEANING
ENVIRONMENTAL ROOM
REFRESHMENT
OFFICE GROUP ROOM
DEPOT / STORE
TECHNIQUE
STAIRS
Piano terra
Piano superiore
Si sviluppato un dialogo tra vecchio e nuovo. La casa originale principalmente definita dallintonaco bianco, con vetro come materiale collaterale, mentre la nuova Aranceria efficacemente costruita in vetro con elementi secondari interni, resi come elementi bianchi intonacati. Il tetto dellintera Aranceria coperto in rame, cos come le caratteristiche bay window curve della casa originale. Per formare le porte principali del prospetto est vengono utilizzati schermi forati di rame pre-patinato, aggiungendo un senso di trasparenza allAranceria.
Kim Zwarts
Kim Zwarts
Rame trasparente Grazie alla trasparenza del vetro, alle facciate in rame forato ed alla sua separazione fisica, lAranceria si distingue dalla casa principale ed il paesaggio circostante si riversa dentro il suo spazio. Per diffondere ulteriormente la transizione dallinterno verso lesterno, il pavimento di pietra interno si estende al di fuori fino a seguire la linea della proiezione del tetto. Un pavimento in legno si sviluppa oltre la pietra, per dare pi ampiezza al lato sud e in modo da formare una bella terrazza.
Kim Zwarts
La funzione principale del piano terreno dellAranceria il Meet & Greet (Incontra & Saluta), ampiamente dentro larea ristorante. In pi, sono situati qui un auditorium separato, parte esterno ed interno, ed una sala conferenze. Il primo piano ospita due uffici open-space cos come uffici singoli, mentre gli spazi secondari sono allinterno degli spazi bianchi. Sopra di essi, sul lato nord, il tetto in rame si solleva per ospitare lo scarico dellaria.
Architetti: Braaksma & Roos Architectural Office www.braaksma-roos.nl INSTALLATORI Tetto: Ridder Metalen Dak- en Wandsystemen BV, Schermi: Non Ferro BV PRODOTTI IN RAME Tetto: TECU Patina Schermi: TECU Patina Mesh Foto: Paul Becquevort, Kim Zwarts
Rame In dettaglIo
DETAILS
Dettaglio di sezione
DETAILS
Dettaglio, sezione trasversale
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UNA FUSIONE DI
VECCHIO E NUOVO
Questo progetto un esempio di come si possa creare nuova vita per vecchi edifici e loro strutture, che cos possono venire incontro alle esigenze del XXI secolo, pur nel rispetto e nella valorizzazione della loro integrit. Un nuovo ampliamento rivestito in bronzo sia una dichiarazione spettacolare sia un intervento delicato al tempo stesso: il tutto unarmoniosa fusione di vecchio e nuovo.
Situato nellarea sotto vincolo architettonico di Abbey Road Riverside nella zona est di Londra, lungo il fiume Roding, il Granaio locale monumento nazionale - era stato abbandonato e chiuso da molto tempo e aveva urgente bisogno di un restauro completo per riportarlo in funzione. Nel 2009 la licenza edilizia stata concessa ad un progetto di Schmidt Hammer Lassen (SHL) per un nuovo Quartiere delle Industrie Creative, centrato sullex Granaio e Maltificio.
e dopo il completamento.
Architetti: Pollard Thomas Edwards architects - www.ptea.co.uk Progetto iniziale: Schmidt Hammer Lassen Installatore del rame: Roles Broderick Roofing Ltd Prodotto: TECU Bronze Foto: Tim Crocker
Lingresso porta direttamente nellatrio, che si espande verticalmente tra le due parti.
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INTERVISTA
Chris Hodson discute il design del rivestimento in bronzo di questo progetto con Andrew Stokes, progettista alla Pollard Thomas Edwards architects. CH: Come ha sviluppato il progetto della estensione prismatica? AS: Inizialmente, in collaborazione con SHL, abbiamo utilizzato tecniche quali studi sul rapporto pieni-vuoti per esplorare forme, disposizione delle finestre e controllo della luce solare. CH: Come si arrivati alla scelta del bronzo come rivestimento per il nuovo edificio? AS: La proposta iniziale di SHL utilizzava acciaio Corten, ma ci si orientati verso il rame a causa delle preoccupazioni dei clienti sullazione degli agenti atmosferici e sui dettagli di impermeabilizzazione. Abbiamo allora rivisto rame, bronzo, ottone e vari altri materiali metallici di rivestimento, ma alla fine stato scelto il bronzo. Lintenzione progettuale era per un estetica e particolari moderni da porre dinamicamente in contrasto con il contesto storico, ma riconoscendo nel contempo questa stessa storia, attraverso lutilizzo di un materiale delledilizia tradizionale come bronzo o rame.
CH: Ha anche preso in considerazione i cambiamenti del materiale nel corso del tempo? AS: Proprio i cambiamenti dovuti agli agenti atmosferici sono stati la chiave, dal momento che il tetto o la parete inclinata - molto visibile e reagir in modo diverso rispetto alle superfici verticali. Siamo stati informati che nel breve-medio termine il bronzo cambia leggermente, in modo pi uniforme. CH: Cosa si pu dire delle considerazioni di carattere ambientale e di sostenibilit? Sono state importanti? AS: S, sicuramente. Come il rame, il bronzo ha credenziali solide e provate di sostenibilita in termini di durata eccezionale e di ciclo di vita; che praticamente esente da manutenzione e che pu essere completamente riciclato. CH: Come stato raggiunto il progetto particolareggiato e apprezzato delle facciate? AS: Abbiamo usato modellini per esplorare modi diversi di esprimere il rivestimento metallico: per esempio, la forma e le dimensioni del pannello, e i giunti verticali, orizzontali o inclinati. La forma delledificio ha richiesto un approccio pi tridimensionale, in quanto il tetto essenzialmente una parete inclinata, e questi modelli ci hanno permesso di capire linterazione di elementi chiave come finestre,
lucernari e gronde con le varie configurazioni del pannello metallico. I modelli ci hanno permesso di esplorare soluzioni per mantenere lintegrit della forma prismoidale, creando un aspetto simile su tutte le facce delledificio, non solo in termini di rivestimento, ma nella figura, forma e dettagli delle finestre e dellilluminazione dallalto, che abbiamo ritenuto dovesse essere espressa come finestre nel tetto piuttosto che lucernari tradizionali. CH: Come si sente riguardo al rivestimento, completato, in bronzo? AS: Siamo molto soddisfatti della realizzazione finale. Il bronzo ben resistente agli agenti atmosferici; i dettagli dei bordi, delle rientranze e degli angoli sono nitidi e puliti; il formato orizzontale dei pannelli e i loro giunti verticali sfalsati si integrano bene con le dimensioni casuali delle finestre casuale. Le lievi ondulazioni dei pannelli alleggeriscono e ammorbidiscono la novit dellampliamento, che si sposa bene con la patina del tempo che abbiamo cercato di lasciare evidente sugli edifici storici. E stata fatta unattenta riflessione, insieme al fornitore del rivestimento, su tutte le giunzioni dei materiali con il rivestimento, i particolari e limpostazione di tutti i fissaggi, il che ha dato i suoi frutti nel look finale delledificio.
Come il rame, il bronzo ha buone e collaudate credenziali di sostenibilit, in termini di eccezionale durata e di ciclo di vita.
Modellini tridimensionali.
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SKYLINE
DI RAME
La rigenerazione delle aree sopra i tetti di un Centro Commerciale nella citt di Helsinki offre una soluzione sostenibile per fornire spazi ad uso ufficio, sempre pi richiesti. In questo particolare intervento edilizio, luso estensivo di una copertura in rame prepatinato si aggiunge al tradizionale rame verde presente nello skyline della citt.
La torre degli uffici della Evli Bank un edificio nuovo in una posizione insolita, costruito sulla sommit del grande centro commerciale nel cuore della citt di Helsinki, che ospita un misto di uffici e negozi. Evli Bank ha gi operato da vari siti nel centro commerciale, ma ha voluto avere il suo intero staff sotto lo stesso tetto. E quasi impossibile trovare terreno edificabile libero nel centro di Helsinki e la costruzione di un nuovo ufficio presso il vecchio indirizzo familiare al di sopra del centro commerciale ha fornito una soluzione netta. Il nuovo edificio di cinque piani usa il pi possibile lo spazio vuoto sul tetto, comprendente i vecchi parcheggi auto. Ledificio, con un deciso stile commerciale, giace in un ambiente lastricato, parzialmente
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chiuso dagli elementi alti preesistenti del centro commerciale. Ledificio, rivestito in rame e a forma di L, definisce un nuovo cortile interno completamente vetrato, inondando di luce le finestre interne. Questo spazio si incanala verso il basso, allinterno delledificio originale, introducendo la luce del giorno e fornendo circolazione verticale.
merciale avevano facciate in rame. Le facciate della Evli Bank utilizzano rame pre-patinato con chiazze di verde che fanno trasparire un po dellossido scuro sottostante, donando una superficie varia e vivace. Questo materiale viene poi utilizzato in due forme: lastre a profilo curvato come una superficie continua, modulata ed un sistema orizzontale di lamelle sagomate che creano trasparenza. Queste lamelle, aventi sezioni profonde 90mm, sono fissate su profili di assemblaggio che hanno una superficie scura di rame ossidato, e utilizzano rivetti a prova di acido. Le combinazioni di facciate profilate e con lamelle, valorizzate dalle loro vivaci superfici in rame pre-patinato, aggiungono un ricco strato di verde allo storico skyline di Helsinki.
Sezione del centro commerciale che evidenzia la posizione del nuovo edificio sopra il tetto.
Architetti: Arkkitehtitoimisto CJN Oy Installatori di rame: Suomen Ohutlevyasennus Oy, Lai-Ters Oy (louvre system)
Prodotti di rame: Nordic Green Living profiled sheets and Nordic Green Living Louvred System Foto: Matti Kallio
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by Chris Hodson
Timeless
COPPER
In its inspirational rural setting at the foot of Italys Monferrato Hills, Rocca Civalieri was the summer sanctuary of Piedmontese nobles from the late Middle Ages. The villa and its associated buildings have now been restored, adapted and drawn together by a thoroughly contemporary, copper-clad intervention which fully respects the original building fabric, to create a convention centre, hotel and spa.
A timeless skin of pre-oxidised copper is used to express the new additions, starting as a rusticated base to the original classical villa. The horizontally stratified dark copper then develops into a new spa building which defines and divides separate external areas either side. The overall composition aims to create a place with clearly recognizable connotations respecting the existing architectonic and landscape values. As architect Stefania Masera explained: The demands of a building complex accommodating various different functions but still presenting itself as unitary whole suggested the creation of new circulation routes on two levels leading into a new addition. This addition then defines a new, open, main entrance courtyard to the complex. It also establishes, in conjunction with existing buildings now converted to bedrooms and suites, a more intimate courtyard characterised by a central, light timber pergola structure. The copper additions draw together the diversity of buildings and their spatial organisation, creating a place with clearly recognizable connotations.
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Alterations to the original fabric have been minimised and focused on the creation of flexible spaces to meet changing needs of the complex. On the ground floor, in addition to entrance, reception and bar, there are various communal and meeting rooms. The first floor houses a conference room with a small foyer and restaurant with kitchen and staff room, and hotel rooms and suites occupy the second floor.
Architects: Studio Baietto Battiato Bianco Associated Architects www.baiettobattiatobianco.com Copper Product: TECU Oxid Photos: Studio Baietto Battiato Bianco - Torino TO
Site plan
South-East facade
South-West facade
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by Chris Hodson
Copper Roofs
Commissioned in 1876, the Filtry Waterworks was designed by British engineer William Lindley, who had previously gained recognition working with railways and, particularly, municipal infrastructure projects in numerous European cities. He designed the first underground sewers in continental Europe and, together with his sons, he designed systems for cities in Germany and elsewhere including St. Petersburg, Budapest, Prague and Moscow also turning his attention to urban planning. At Warsaw, he created a water purification system that continued to operate until the latest regeneration work. Here, he also collaborated with the architect Julian Herde with a complex of buildings generally faced with red ceramic tiles and decorative sandstone elements. Roofs were metal sheet on structural steel and windows steel-framed. A key aspect of Filtrys success in its urban context is the green landscape covering about 70% of the site area. This unique and historic infrastructure complex is protected locally and listed as a UNESCO World Heritage Site.
Upgrading Performance
The well-loved landmark endured various changes after the 19th-century including additions in the 1970s which took no account of the local environment and attached no importance to the original buildings scale and form. In the mid-1980s, restoration of the original buildings began under the current architect, Richard Sobolewski of Dorjon International, including replacement of the zinc-coated iron plate roofs with copper. Technical and performance requirements have driven the latest, recently completed new treatment building. Water quality has now been improved within modern parameters and in line with European Union standards, and the use of chlorine dioxide for water disinfection and treatment has also been substantially reduced.
With thanks to Richard Sobolewski of Dorjon International for help with this article. Architect: Dorjon International Copper Products: Nordic Brown Light Copper Installer: Eurodach, Piaseczno Photos: Sebastian Taciak (new building exteriors), Richard Sobolewski (original buildings and interior)
Site Plan, showing the 30ha complex, with the new building highlighted red and original 19th century buildings black.
The regeneration of a remarkable 19th-century water treatment complex serving Warsaw takes a traditional approach with steeply-pitched copper roofs above brick walls, referencing without copying the style of the original architecture.
Original 19th century buildings (shown black on the Site Plan) have already been restored with copper roofs.
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The architects faced major challenges in accommodating the complex technical demands of the plant upgrade. From an architectural perspective, they have taken the original buildings as their reference point. They have rejected the notion of introducing modern forms and interventions as a contrast to the remaining fabric. Instead, they have embraced the architectural language of massive 19th century infrastructure buildings. Richard Sobolewski commented: We have not replicated the original architecture
ding dominate internally. Natural daylighting plays an important role where appropriate, via generous provision of rooflights and substantial vertical glazing.
but have developed a similar character for the new block using modern materials. Extensive copper roofing plays a central role here and gives the permanence that buildings of this type merit.
Key to the architects approach is the differentiation of architectural forms for individual building elements. For example, steeply pitched roofs with strongly expressed gables covering particular areas contrast with landscaped green roofs over the main filter hall. Dramatic interiors result from the large spaces generated by this type of infrastructure building, and brick and ceramic clad-
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Copper Cottage
Architects team31 explain the rationale behind contemporary interventions to a traditional Luxembourg village house.
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he owners of this 19th century cottage in a small village north of Luxembourg decided that they would retire there. The house, as it was, had the charm of an old cottage but did not offer the required comfort for a main
Photo: Paulo Lobo Luxedit
residence. The attached barn was being used as a garage and shed and the idea was to transform this huge empty volume into a new living room with a kitchen and to alter the existing cottage as little as possible. Various considerations influenced our design. The existing cottage has very small windows which give uninteresting views of neighbouring buildings, roofs and streets. The owners wanted views of their own property, gardens and the landscape. The existing stairs in the cottage were narrow, too steep and considered to be dangerous. It was decided that they should be replaced with wider and less steep staircases for safety and comfort.
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As the cottage will now be used by older people wishing to spend the rest of their lives there, it seemed obvious to design the layout in preparation for potential future mobility issues. As a result, it was necessary to locate a kitchen, living room, office, sanitary facilities and sleeping rooms all on the ground floor of the building, whilst retaining the possibility of a second, independent living space in necessary to clearly define the new parts of the building and the existing 19th century building. The owners wished to retain the authenticity of the existing cottage, which was probably built between 1805 and 1820.
Photo: Paulo Lobo Luxedit Photo: team31 Photo: Paulo Lobo Luxedit
Designers Response
Working with the interior designer, our analysis of the owners proposal rapidly revealed that the barn was not big enough to accommodate the new living room and kitchen. Moreover, there were not enough windows on the facade to allow sufficient light into the living room and they did not offer the desired views of the landscape and the property. It was therefore obvious that an extension was necessary. In accordance with the wishes of the owners, the forms of the new volumes signal a contrast between our way of living now and the way we lived some 200 years ago. As a result, the old and the new are interrelated - yet provide a contrasting effect. The transition from old to new does not operate on one precise borderline but rather by the effects of transparency and sightlines from old to new and vice versa. The new, very large plate glass windows open the perspectives up to the more set back location of the cottage. The old cottage has been kept in its original
state (almost), with its configuration of small rooms, low ceilings and exposed beams and old stone and parquet floors. The facades and roofs of the new volumes are characterised by a covering of copper used here as a modern material. It is both rustic and modern, and with a visual appearance that develops in sympathy with the rural setting in the north of the country.
Architects: team31 architecture office (Folmer/Rodesch/Weyland) www.team31.lu Interior Designer: Laurent Biever Copper Installer: KALBFUSS GMBH Copper Products: TECU Classic and TECU Zinn
Copper rustic and modern... developing in sympathy with the rural setting.
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BOX TOP
An undistinguished 1970s office building in the Netherlands has been transformed with a rooftop extension encased by a transparent copper skin enveloping the original building.
The building owners, Trinit Automation Uithoorn (NL), sought to office building. As well as upgrading with higher energy performance and other improvements, the project also needed to create more space. This was achieved with a rooftop extension providing a canteen and meeting rooms, as well as a large multi-purpose seminar room. Here, high, sloping ceilings give a distinctive character to the internal space.
Photo: Erik ten Hove
by Chris Hodson
Integrating Intervention
box-like form, firmly integrated into the existing building fabric and reacting with existing facades not just a new storey sat on top. The new box is completely covered in a transparent copper mesh skin, simply passing over windows, frames and solid walls behind, providing a seamless continuum expressing the geometric shape of the addition.
Cross section showing new roof level intervention.
Drawing: Erik ten Hove
coPPeR cloSe-UP
The designers, Architektenburo Ten Hove, commented:
We deliberately chose copper for the mesh skin, where the colour of the material naturally changes over time and therefore indicates the age of the building. Using a grid of equilateral triangles gives
freedom from the constraints of linear structures and, with the copper mesh, diffuses the box surfaces externally. But internally, the mesh screen still allows clear views to the outside while providing solar shading, and inward opening windows allow ventilation and cleaning.
-profiel
pro
fie l
-profiel
fie l
pro
Copper products: TECUClassic Mesh Photos: Hans van Nieuwkoop, Erik ten Hove
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St Georges Church in the Tufnell Park Conservation Area was built in 1867 as a historical, circular building based on a 5th Century Greek Church and modelled on Shakespeares Globe Theatre. The building has had a colourful past. Saved from demolition in 1973, actor George Murcell turned the church into the St Georges Theatre. More recently it fell into the hands of squatters and it was only when they were finally evicted in 2006 that the project was able to commence. As well as its primary function as a church, the building is also used as a community
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centre, adult learning centre, crche and a venue for other social events. To meet these demands, a new, copper-clad extension creates a contemporary architectural solution contrasting with the church aesthetic, yet remaining subservient to the original building and making no attempt to emulate its style. This modern 2-storey extension links the existing church and the bell tower and provides flexible multi-purpose spaces to meet the needs of both church and community. The new intervention is separated from the original fabric of the church by a continuous band of glazing.
Matching the contemporary materiality of the new building with the stone and slate of the existing church provided a welcome opportunity to explore solutions for an ever-occurring challenge. Copper, with timber cladding and glass, provided the answer with a naturally changing surface and an air of permanence. The designers endeavoured to minimise energy demand by considering the embodied energy of materials and using recycled materials wherever possible.
GENERAL NOTES. All dimensions to be che and/or preparation of any Sizes of and dimensions See structural engineers Sizes of and dimensions See service engineers d This drawing to be read specications and other
DO NOT SCALE F
Cons
PRAYER ROOM
FFL 38.440
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Architects: Paul Davis + Partners - www.pauldavisandpartners.com Copper Installer: Guaranteed Asphalt Ltd Copper Product: TECU Oxid
SECOND FLOOR TOWER
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LOBBY
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OFFICE
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SOUND
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C'BD
SHOWER ROOM
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PASTORS OFFICE
LIFT
Trusses
13 12 11 10 9 8
14 15 16
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FOYER
6 1 5 4 3 2
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STAIR
MEETING ROOM
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LOBBY
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Work In Progress
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project client
Genera
First Flo
Timeless
BRASS
Castle entrance approached via the straight staircase bridge with curved brass handrail.
A gradual regeneration is taking place to the ancient Ribadavia Castle in the Ourense area of north-west Spain, heralded by new brass elements transforming the entrances to the castle. Architect Miguel Angel Calvo Salve describes his approach to these interventions, which add an ageless simplicity and sense of permanence.
Since 1999 we have been working on a lengthy process of study, research, consolidation and retrieval of the remains of Ribadavia Castle. The remains are extremely fragile due to their abandonment and the neglect of local government in the past. Ribadavia Castle is located within the historic area of the village and was built incorporating the old wall and supported by a series of circular and square towers on a large rock outcrop. There is no record of the earliest human settlement, apart from the fact that a necropolis and a temple existed in the upper part of the town, where the castle now stands.
Architect: Miguel Angel Calvo Salve Copper Specialist: Aceros Argimiro Photos: Miguel Angel Calvo Salve
Establishing a Methodology
We believe that maintaining, transforming or reusing this historic building requires at least that we understand its physical and emotional realities, in its present state and throughout its history. Through very careful observation and systematic documentation, intensive research of historical sources, technical analysis, study of pathologies, identification of traces and memories, and finally a reflective intuition, we have established a methodology expressed in a Master Plan for this castle that will substantiate the basis for future interventions in the monument, thus creating the potential for its transformation and reuse.
The brass main doors appear impenetrable with a strong silhouette and square apertures reminiscent of a portcullis.
Smaller brass doors in the Necropolis share the open linear grid.
Simple, folded brass elements are used to hold information display boards.
The choice of brass was based on its qualities as a material that ages with time, developing a patina just as the stone walls have done.
The brass Necropolis door is more open in character with a linear grid highlighting the stone archway.
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URBAN SHELL
Architect Luisa Fontana explains how a shell-like copper and glass intervention regenerates a disused public bath house and reorientates the building to define a new urban square.
The original, early 20th century building had been unused for over 40 years and its previously hidden, undistinguished rear faade was exposed by the creation of a new public square in the 1980s. The restoration and expansion of the building provided an opportunity to redefine a new urban role. The European funded project is for a new Centre for Cultural Activities for Youth and is unique in Italy. It provides a link between the University and the World of Employment, creating an international focus to serve the local community.
Rear facade of the disused bath house before addition and renovation.
A Bold Approach
The regeneration carried out in conjunction with engineers Arup (structure and energy strategies) and Manens (installation) reflects a bold architectural and urban planning approach. It involves restoration of the original building and addition of a new volume, in the form of shell made of steel, copper and glass. The profile of the shell develops a close relationship with its urban context. It is
N E W S
closed next to the old buildings, forming an intimate interior space, then opening up with a large glazed front drawing in the new square. The main faade onto the square is completely glazed, with micropArchitect: Luisa Fontana / FONTANAtelier Copper Installer: Roberto Canova Copper Product: TECU Classic Photos: FONTANAtelier
erforated brise soleil that protect the interior from direct sunlight, and characterised by different heights. A second opening smaller and varying in shape, is on the north side, opposite the old buildings.
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Energy Independent
The building is also an example of smart design and energy self-sufficiency, to minimise energy consumption and carbon emissions. Dynamic thermal modelling software, developed for the Arup building energy simulation, enabled solutions to be optimized and energy saving benefits quantified. The project has achieved an A certification in the Eco Domus energy class with a system developed by VI. Energy. The result is an integrated organism, energy independent from the network, where climate and environment interact. Various renewable techniques are incorporated including geothermal energy, the pre-heating of primary air through an underground maze and self-generation of electricity using biodiesel. The design optimizes natural lighting and ventilation, while the building materials provide a high performance, thermal inertia envelope.
Cross Sections
Project Preview
Shown here is a competition visual for The Museum of the History of Polish Jews in Warsaw - but how will it look in reality? You can find out in our next issue. The competition-winning design, by Architects Lahdelma & Mahlamki (working in conjunction with Kurylowic & Associates in Poland) aims to create a lantern in the park. The design features a layered facade design using pre-patinated copper in combination with glazing. The play of advanced LED lighting behind the decorated glass on the green corrugated copper will play a key role in this luminescence.
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More information on these and all our initiatives can be found on the website www.copperconcept.org
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