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EUROPEANCOPPER IN ARCHITECTUREAWARDS 16


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INTRODUCTION

The biennial European Copper in Architecture

Awards programme continues to grow in stature, not

only celebrating exemplary and innovative uses of

copper and its alloys in contemporary design but also

exposing to a wide international audience projects

of real quality - some of which might otherwise go

unrecognised.

The 2013 judging panel, which met in London,

consisted of four architects, all recipients of previous

Copper in Architecture Awards:

1. Einar Jarmund (Jarmund/Vigsns, Norway)

2. Craig Casci (Grid Architects, UK)

3. Davide Macullo (Davide Macullo Architects,

Switzerland)

4. Anu Puustinen (Avanto Architects, Finland).

They assessed all the entries from photographs,

drawings and descriptions submitted by architects.

2 INTRODUCTION I copperconcept.org Photo: Joo Morgado - Architecture PhotographyPhotos: Chris Hodson

1. 2.

3. 4.

EUROPEAN COPPER IN ARCHITECTURE AWARDS 16


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INTRODUCTION I 3

This sixteenth iteration of the Awards generated a

record 82 entries from around Europe, presenting the

judges with a daunting task. They were impressed by

the high standard demonstrated across the entries

generally, with many examples of good buildings

delivering their programmes well and contributing to

their surroundings.

Firstly, they settled on ten shortlisted projects that

stood out from the rest, revealing a real diversity of

typologies and approaches, and excellent architectural

qualities. Each of the ten shortlisted entries was then

fully debated and compared with the others, initially

revealing differing opinions, which ebbed and owed

amongst the four judges. Eventually, a clear consensus

was reached revealing three particularly strong and

very different - schemes meriting Commendation

and a clear winner of exceptional quality (shown here

and on the covers, as well as on pages 4-7. Photos:

Joo Morgado - Architecture Photography).


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4 WINNER I copperconcept.org

ARCHITECTS DESCRIPTION - SUMMARY

The buildings of the market square - and the space

dened by them - characterise the urban landscape

of Guimares. The transformation of the marketplace

into a multifunctional space dedicated to artistic,

economic, cultural and social activities - within the

scope of the European Capital of Culture 2012 -

allowed for its reintegration into the urban fabric as a

key area of the city space.

Although it was intended to maintain the scale and

existing formal relations, a new solution was proposed

for the building that promotes a strong relationship

with the square and beyond. The new building uses

a radically different language to its surroundings, with

a succession of volumes marked by the juxtaposition

of contrasting surfaces. The external skin - a grid

of metal proles in brass on ventilated faades and

glazing - accentuates a range of textures. The brass

proles pass in front of partly-concealed windows,

transforming the faades from opaque to translucent.

WINNERPLATFORM OF ARTS AND CREATIVITY, GUIMARES, PORTUGALARCHITECT

PITGORAS ARQUITECTOS

Photos: Joo Morgado - Architecture Photography


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WINNER I 5

This series of volumes and dissonant elements,

resulting from decomposition of the basic masses,

originated from the need to create a variety of different

spaces in the exhibition area, creating a tension evident

in the volume of the building and the relationship with

the space of the square, making it the main feature of

the design. For the square, a proposal was formulated

using large concrete slab paving, as a counterpoint

to the surrounding buildings, characterized as a large

multifunctional meeting area a natural public space.

Photo: Joo Morgado - Architecture Photography


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6 WINNER I copperconcept.org


JURY COMMENTS

Pitgoras Aquitectos regeneration of the ancient

centre of one of Portugals most historically important

cities is dened by unifying abstract cubic forms, veiled

by a grid of brass proles. The judges spent time

discovering the numerous qualities of this inscrutable

entry on several levels. The more they looked, the

more was revealed.

The design is a condent response to the challenges

of working within a UNESCO and City of Culture

site. Pulling together a diversity of old buildings, the

regeneration gives a new civic heart to the city

looking to the future as well as the past. It is telling that

the project was designed by locally based architects.

WINNERPLATFORM OF ARTS AND CREATIVITY, GUIMARES, PORTUGALARCHITECT

PITGORAS ARQUITECTOS

Photos: Joo Morgado - Architecture Photography


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WINNER I 7

Externally, the brass prole grid dematerialises

the buildings mass, adding an extra, translucent

dimension, while the exible, white internal spaces

ow gracefully one into the other. The design takes

a clever, fresh approach which the judges described

simply as fantastic. Of all the entries, this is the project

that all the judges most want to visit and explore - a

worthy Winner.

Photo: Joo Morgado - Architecture Photography


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The key point of reference for the new library design

was its location in the important environment of

the civic centre created by Aalto - a masterpiece of

modern architecture. The aim was to initiate a dialogue

between the new and the old parts.

Dividing the new building into three sculpture-like

sections was an important insight that helped to

reconcile its large volume with the scale of the Aalto

centre. The new library thus relates to its surroundings.

On the other hand, it discreetly keeps distance from

the outlines and materials of the old civic centre.

The multifarious interior spaces merge into each other

in an open plan, revealing carefully designed views.

At the core of the new buildings interior design is a

large central reading terrace, a venue for events and a

place for spending time, which leads the visitor to the

collections downstairs and, through a subterranean

passage, to the old library.

The faade of the new library is realized primarily

in copper, in a conscious effort to create separation

between the project and the white volumes of Alvar

Aaltos cultural and administrative centre. The material

is not entirely new to the area, but has thus far been

restricted mainly to the roofscape of Aaltos buildings.

In the new library, copper has been used extensively

throughout the skin of the building, creating the

impression of a sculpted, unied whole. A new copper

cassette with a shingle-like appearance was designed

specically for the project and gives the buildings

surface its unique character.


8 COMMENDED I copperconcept.org

COMMENDEDSEINJOKI CITY LIBRARY, FINLANDARCHITECT

JKMM ARCHITECTS

Photo: Mika Huisman


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COMMENDED I 9

JURY COMMENTS

The judges applauded this assertive but respectful,

thoroughly contemporary addition to the most

extensive cluster of Alvar Aalto buildings in the world.

The massive, pristine white frames to openings

mirroring the colour of Aaltos buildings - work well

in counterpoint to the rustic feel of the naturally

weathering pre-oxidised copper of the external skin.

A centrifugal plan form with changing levels generates

lively, open spaces that will prove popular with users.

The building sits comfortably amongst its illustrious

neighbours while retaining its individuality a real

achievement that justies its Commendation.

Photo: Mika Huisman


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The project consists of two bronze and glass

structures that cover the unique runic stones and

preserve them for the future. The Jelling runic stones

mark Denmarks transition to Christianity in the year

965 and the monument is also known as Denmarks

birth certicate. The monument is classied

UNESCO World Heritage and is one of Denmarks

most valuable sites.

The architectural composition allows spectators to get

very close to the stones without damaging them and

forms a stylized dialogue between the two stones,

which represent the rst two kings of Denmark Gormand Harald Bluetooth.

The bronze angles form one wall and the roof for

each runic stone, while the other sides are fully gazed.

The objective was to accentuate the runic stones

curved forms by contrasting them with the straight

lines of the coverings which, in a metaphorical sense

hold protective hands over them. The cast bronze

contrasts with the texture of the ancient stones and

highlights their grey and reddish granite surfaces. The

casting was carried out following the traditional cire

perdu method.

A specially designed heating and ventilation system,

which ensures a frost-free climate around the runic

stones, is integrated within the structures. Articial

lighting has been discreetly added using bre-

optic light sources integrated in the roof. The lights

emphasize the runic scripture and visual motifs, and

highlight the shape of the runic stones.

COMMENDEDCOVERING OF THE RUNIC STONES IN JELLING, DENMARKARCHITECT

NOBEL ARKITEKTER

Photo: Linette Bekhj

Photo: NOBEL Arkitekter


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JURY COMMENTS

In terms of programme, the judges considered

this project to be a one-line poem but found itexquisite nonetheless and certainly deserving of a

Commendation. In this deceptively simple design,

everything has been cleverly reduced down to a pure

beauty. The interventions to this ancient site can

be seen as a pair of perfectly crafted jewel boxes

of real quality, substantially enhancing the visitors

experience of the runic stones that they so carefully -

but discreetly - protect.

COMMENDED I 11Photo: Jens Lindhe


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The building is located on a hillside in the Dolomites,

at the edge of a residential area. Its form has beendeveloped mainly from its function of hosting 6

independent apartments with one common circulation:

through a cut that marks the main access and the

division of the units, splitting the volume. This incision

becomes the main dening element of the building:

from the cut, at either side a copper strip unfolds that

forms the balustrade of a generous covered balcony

and ends in the surrounding topography. Following

the steep natural hillside with each oor, the strips and

the faade jump back.

The design generates a volume which grows out

of its natural surrounding topography and blends

with it, by limiting materials to a very local, almost

vernacular code: larch wood and pre-oxidised copper.

Both are subject to a natural change of colour by the

atmospheric inuence of sun, rain and snow.

Local larch timber denes both internal and external

living areas. Floor to ceiling glazing allows the

maximum view and winter solar gain from the

south, while external sun blinds and the overhangs

of the balconies above minimise overheating during

summertime. The dark copper surrounds the building

on all sides. The form of the roof itself derives from local

planning regulation which allows only a pitched roof in

this specic building plot: reinterpreted, it merges with

the design intention and also the traditional typology

of pitched roofs - not simply copying but rather by

exploring what new potentials of a traditional typology

can be.



COMMENDEDDOLOMITENBLICK, SEXTEN/SESTO (BZ), ITALYARCHITECT

PLASMA STUDIO

Photo: Hertha Hurnaus


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COMMENDED I 13

JURY COMMENTS

The judges were seduced by the brilliant photographs

and presentation of this entry, effortlessly displayingits strong sense of form and context. The design of

this luxury apartment building echoes both Alpine

topography and traditional roof forms, redening the

local vernacular. The rigorous use of copper and

timber, both inside and out, to dene the sculpted

mass is impressive. This is a building designed and

completed with conviction, justifying its recognition

with a Commendation.

Photo: Hertha Hurnaus


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This educational and cultural centre consists of seven elements organised around a single

space, comprising: a school with kindergarten and elementary school, building restoration, a

nursery, a library and a function room.

The main building is strategically located at the heart of the site and the layout creates a public

square. The project focuses on the complementary aspects of the individual programs for the

seven elements, as well as the shared nature of the entrance courtyard and pedestrian route.

The project distributes the various entities across the site from the forecourt to the function

room beyond a river.

The general facade treatment reinforces the theme of a functional whole with the use of

materials. Protruding concrete slabs spin from one building to another, forming oors, walls

or roofs. Within the folds of concrete are facade elements, transparent or perforated: joinery

sets lacquered black, vertical sun-screens and slatted wood. Only the library building differs

from the others with its golden copper alloy skin in folded or perforated strips. Using a micro-perforated metal gives the interiors a soft light while providing transparency of the surrounding

city.

JURY COMMENTS

The judges enjoyed the formal language and playful interaction of interweaving concrete

ribbons, in-lled with almost oating - timber and copper alloy slab-like forms, with varying

degrees of transparency. This is a good project with well-designed spaces both inside and out.

14 SHORTLISTED I copperconcept.org

SHORTLISTEDPLE DUCATIF ET CULTUREL, PAU, FRANCEARCHITECT

MARJAN HESSAMFAR & JOE VERONS ARCHITECTES ASSOCIES

Photo: David Helman


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SHORTLISTED I 15

JURY COMMENTS

The judges applauded the sensitivity with which the architects have approached such a difcult

project. Several symbolic and design ideas have been combined here but, ultimately, the simple

concept of the delicate pierced copper alloy installation, sheltering the remains of the site of the

tragedy, is both dignied and emotionally uplifting.

The Memorial is dedicated to the victims of the hostage drama

in the Beslan School during September 2004. The schools

gymnasium - the centre of hostage taking was chosen as the

central place for remembrance. An elliptically shaped mourning

wreath commonly found in the Beslan area - served as a model

for the new buildings shape, containing the partly-destroyed

gymnasium. The remaining building fabric, with all its traces of

the drama, is an essential aspect to preserve the authenticity of

the place.

The new memorial building, consisting of 106 ligree concrete

columns, encloses and protects the ruined gymnasium. Inclined,

metal-clad hollow sections are located on the outside of the

concrete columns and are occasionally xed to them. Tissue-

like, perforated golden copper alloy sheets are clamped between

the concrete columns and the hollow sections, wrapping the

building.

The decorative perforation of the copper alloy uses a motif,

based on a ower (Helleborus orientalis) which grows in the

Caucasus and is a symbol of virginity and innocence. At selected

locations, full-height openings give access to the internal

walkway between the new memorial building and the ruined

gymnasium. An elliptical glass skylight is located symmetrically

above the gymnasium.

SHORTLISTEDBESLAN MEMORIAL, REPUBLIC OF NORTHOSSETIA-ALANIA, RUSSIA

ARCHITECT

DR KREKELER GENERALPLANER GMBH

Photo: Dr Krekeler Generalplaner GmbH


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SHORTLISTEDRADIO-LOG STRAHLENTHERAPIE, HOF, GERMANYARCHITECT

HIENDL_SCHINEIS ARCHITEKTEN

JURY COMMENTS

What interested the judges most about this project were the seductive, shiny copper surfaces

reecting nearby trees - despite their transient nature, with changes anticipated over time. The

design distances itself from the traditions of copper cladding with its crisply detailed, pristine

surfaces. A fascinating use of material - all about copper and its qualities.

A simple cubic form, the building breaks free of its restrictions and

plays with the angled lines of the facade panel sections. Clusters

of trees grow around the building, sometimes producing shadow,

accentuating the verticality of the design. The faade is divided

into non-parallel sections that develop a lively interplay with the

surrounding trees.

The material used for the curtain-walling is copper, which will

age with time. The changing seasons are reected in the subtle

colour changes which will occur in the metal, from luminous bright

copper to a warm red-brown - from shiny to matt. The curtain-

wall faade is applied using a specially developed adhesive

system to give a completely at surface with crisp edges. The

shimmering green glass breaking up the copper facade scatters

light internally and, at night, spreads light from inside to out,

bringing the building to life.

Photo: Hiendl_Schineis Architecten


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SHORTLISTED I 17

The building is a graft onto the complexity of the Venetian urban system facing Piazzale Roma,

the car-entrance space into the city of Venice. At the same time it becomes the infrastructure

which brings an existing 19th century factory complex (Ex-Manifattura Tabacchi) to a

contemporary use: in fact it houses the technological systems serving the whole.

The scale of the building is measured on the huge void of Piazzale Roma facing the bridge of

Santiago Calatrava, on the opposite side. A new program proposes a hybrid typology being,

at the same time, both a building and infrastructure as the new structure, together with some

law-court ofces and archives, houses all the systems which enable the urban system of the

Ex-Manifattura Tabacchi to work again, regaining for the city its system of public spaces.

Facing the urban skyline of Piazzale Roma, the simple and compact shape of the new volume

connects the skyline of the multi-storey parking lots to the smaller Venetian urban texture. On

Piazzale Roma the volume doesnt touch the ground: a 5m long cantilever draws the pedestrian

ows inside. With the pre-oxidation process of the copper which wraps the building (copperin Venice represents institutional buildings) the action of time in architecture is explored and

initiated. So, the building becomes a shadow belonging both to history and the present.

JURY COMMENTS

The judges were intrigued by the monolithic gabled shape presenting a distinctive, dark prole

indeed, almost a shadow - borrowing from Venices industrial buildings. But there the local

references end and the building presents an excellent example of good, modern design

almost Scandinavian in avour.

SHORTLISTEDLCV LAW-COURT OFFICES, VENICE, ITALYARCHITECT

C+S ARCHITECTS

Photo: Pietro Savorelli


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Clarion Hotel Post is located close to the central train station in Gothenburg. In 2005 the

idea of transforming the old post ofce building into a modern, 500-bed hotel was born. The

original building from 1925, by architect Ernst Torulf, is classied as nationally important, so

the exterior and most of the interior is strictly protected. But a good collaboration with the

authorities made it possible to build 17,000 m within this State listed building.

The extension is placed in the gap of the horseshoe-shaped plan of the original building,

adapting to the original eaves level, then rising above the horizontal Post Ofce in two tower

wings - one clad in copper, the other in slate - joined by a vertical sliver of glass. The copper

and slate match the original building roof materials, but as part of a contemporary design, so

that the new building becomes a younger relative with the same DNA.

To create a living surface for the copper faade, three different types of pre-patinated copper

were used, in three different heights. The whole structure was prefabricated in room-width

modules each with a oor-to-ceiling high window, and then mounted in place.

JURY COMMENTS

Thoroughly contemporary copper and glass interventions transform this nationally important,

redundant building while displaying real respect for its original architecture. Apart from its

architectural strengths, the judges welcomed the potential for this vibrant hotel to act as a civic

focal point and catalyst for urban regeneration.


SHORTLISTEDCLARION HOTEL POST, GOTHENBURG, SWEDENARCHITECT

SEMRN & MNSSON

Photo: Lennart Hyse


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SHORTLISTED I 19

JURY COMMENTS

This modern interpretation of vernacular architecture, veiled in copper mesh, nestles comfortably

in its rural town, back yard setting. While debating some elements of the design, all the judges

really liked the central concept and its realisation, which provides a tangible connection between

the town and the countryside.

This new cultural and media centre in a typical rural Normandy

town takes its cue from the forms of local buildings but

transformed into modern additions. The project comprises two

distinct wings, linked by a central reception area. The 65m long

east wing contains multimedia libraries for adults and children,

the west wing is longer at 75m and houses both a Music School

and Dance School.

The architects sought a contemporary building in the heart of the

plot that redenes the relationship with its natural surroundings

(gardens, alleys, stone walls) and the built environment (traditional

buildings and shelters). The plan of the different cultural spaces

was conceived as growing like a rhizome connected at the

reception area. Here, full glazing plunges the visitor into the

green setting highlighted by the wild ower meadow between thetwo wings.

The steep pitched roof prole of the existing buildings is reected

in the new but with a modern continuity of surfaces in purple

slate, interrupted by transparent mesh areas of expanded, pre-

oxidised copper sheets over large glazed areas. The entrance

to the complex from the street is announced by a dematerialised

extrusion of vernacular buildings, also veiled in copper mesh.

SHORTLISTED

LATELIER, GOURNAY EN BRAY, FRANCE

ARCHITECT

VINCENT PARREIRA ATELIER ARCHITECTURE

Photo: Luc Boegly


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The Awards programme is part of the European Copper in Architecture Campaign, which also

includes Copper Architecture Forum magazine and the copperconcept.org website, both of

which include additional coverage of the Awards and all the entries, as well as informationabout future Awards.

Visit www.copperconcept.org to:

orderyour free printed copy of Copper Architecture Forum magazine

subscribefor the Copper Concept Newsletter

fnd out more about the European Copper in Architecture Awards

join our Copper Concept Linkedin group

Using this link you can download an iBook featuring all the Awards 16 entries:

MEET YOU AT OUR 2015 AWARDS!

Editor: Chris Hodson RIBA

Publisher: European Copper Institute, Avenue de Tervueren 168 b-10, B-1150 Brussels,

Belgium


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