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Kuparia Karibialla .... sivu 6
Grnlannin korkein talo .... sivu 10
Norjan kansalliskirjaston lisrakennus .... sivu 12
Niels Torp: Miten arkkitehti ajattelee? .... sivu 14
Toimistorakennus Helsingiss .... sivu 27
10-vuotisjuhlap.4 Henning Larsen
- from the small to the large
and the large in the small
p.12 European Architectural Awards
p.16 IKHTYS a symbol of church
fellowship
p.20 Polar architecture in copper
stainless | copper | technology
Architectural copper reviewMagazine for copper in the construction industry | 2005 / 2
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Architectural Copper Review December 2005
Architectural Copper Review is published twice a
year and has a circulation of 1,000 copies. Publisher i s
Outokumpu. The magazine is distributed to architects
and professionals in the building construction industry
in Europe.
Editor:
Lennart Engstrm tfn: +46-21-19 82 54 fax: +46-21-
19 87 04 [email protected]: Outokumpu Copper Products,
Metallverksgatan 5, 721 09 Vsters, Sweden.
Editorial staff:
Mogens Prstegaard Denmark tel: +45 4323 7700 [email protected]
Dennis Wraamann Denmark tel: +45 3956 5056 dw@danske-ideselsk ab.dk
Jan Erik Holler Norway tel: +47 6755 4620 jan.erik.holler@ outokumpu.com
Hkan Svedman Sweden tel: +46-21-19 82 50 hakan.svedman@ outokumpu.com
Mervi Thtinen Finland tel: +358 2626 6612 mervi.tahtinen @outokumpu.com
Publisher:
Lennart Engstrm, Outokumpu.
Layout and technical production:
www.danske-ideselskab.dk, tel: +45 3956 5056
Creativity and copper
Architectural creativity with copper, as a starting-point and seen in an
international perspective is the focus of this issue of Architectural
Copper Review. I am happy to see that copper is among the materials
that inspire architects creativity. We are naturally also very pleased to
be able to present the topic from dif ferent viewpoints in this magazine.
One of the latest initiatives is Copper in Architecture Awards, where
today not only Great Britain but also most of the European countries
participate with inspiring entries. This has brought variation and
breadth to the projects. I feel that the winning projects, as well as
other prize-winning entries, show significant and promising creativity.
Our interview with great Danish architect Henning Larsen shows that creativity has nothing to
do with age. Impressively, he is bursting with ideas, even though he has passed 80. It is interesting
in this context that Henning Larsen, like many other great names within architecture, has a
special fondness for copper.
We are very happy that a great name as Henrik Larsen agreed to an interview. Incidentally, I
often find that architects are pleased with the exposure their projects get in our magazine.
Do you have projects you would like us to know about? Please contact me or someone else on
the editorial board. We are looking forward to hearing from you!
I wish you pleasant reading.
Lennart Engstrm, Editor
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The site was earlier occupied by an
older block of flats that burned and was
subsequently demolished. The parkinggarage was built partly into the rock as a
subterranean building. The joists are
leaning and you drive up in a spiral
movement. The garage has four and a
half levels and room for approximately
300 cars.
The garage is built in concrete. Pillars,
walls and banister components are pre-
fabricated and the joists are cast in
plastic.
For the facade we were looking for a
material that would give an open grid
facade. Very soon, copper came to our
mind. Copper is especially suitable in
this context as it with time becomes
greenish-brown and blends in with the
Liseberg landscape. Furthermore, sev-
eral buildings on Liseberg have by tradi-
tion copper-green roofs, maybe a mem-
ory from the World Exhibition of 1923in Gothenburg.
The facade is built as a trellis that forms
a transparent wall. The wall is meant to
have a woven-textile look where the
character of the copper is important
both from the outside and from the
inside.
The copper strips are made from one-
millimetre-thick copper sheeting and are125mm wide. They are attached to a
frame of thick stainless steel pipes. In
each crossing point there is a bolt, and a
washer in between to create more
depth in the facade. The open area of
the netting is 44 percent.
The base is made in gabions, wire net-
ting filled with the same type of granite
as the existing bedrock. Around the
building there is light limestone, to
visually anchor the building to the
ground and to bind copper ions from
rainwater to the limestone.
The staff members at Lund & Valentin
who have worked on the project are
architects Fritz Olausson, Bo Karlberg
and Grel Abrahamsson and building
engineers Rolf Johannesson and Hans
Solborg,
Building proprietor:
Gothenburg City Parking AB
Architect: Lund & Valentin ArchitectsConstruction: Spnnbalkskonsult
Electrical work: Probeko AB
Site work: Viproj AB
Water/ventilation/sanitation:
Bengt Dahlgren AB
Contractor: Skanska Sverige AB
Contractor copper facades:
Hisingstads Bleck och Pltslageri AB
South Street 70 parking garage with copper
The parking garage on South Street (Sdra Vgen) in Gothenburg is
situated in a row of well-known buildings such as Universeum and World
Cultural Museum, right by the southern entrance of the big amusement
park Liseberg. The closest neighbour is a block of flats in functionalistic
style.
By Fritz Olausson, Lund & Valentin Architects
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Text og photo: Alf Folmer
Architect: SAR/MAA, Sweden
mail: [email protected]
Henning Larsen from the small to
Henning Larsen, 80 years old world renowned Danish architect whose
mind wanders from the small to the large, and the large in the small,
from detail to entirety. He is master of creating, from a sketch, every-
thing from door handles, chairs, furnishings and buildings to master
plans, the latest one an overall plan for the town Dalian in northern
China.
The independent artist, such as the
painter or the sculptor, has nothing else
to consider than the material he or she
is working with. The architect is acraftsman, with the difficult task to take
into consideration all human functions,
materials, techniques and social condi-
tions.
Henning Larsen is a dreamer, a creative
visionary who thinks in practical terms
and knows how to materialize an idea.
He is an architect who has had the
possibility to realize the most prestig-
ious projects, sometimes with setbacks.
But how does he think when he creates?
I am on my way to visit Larsen in
Copenhagen. I find the address,
Vesterbrogade 76 and Henning Larsens
Tegnestue. The office is on the two top
stories of an eight-story building. The
receptionist announces my visit. Larsen
has his work station, Hennings
Corner, at one end of the large open-
plan office. He greets me with a big
smile; it has been 45 years since we last
saw each other in Stockholm.Its been a long time, we say simultane-
ously. We are both marked by the
passing years.
A lot has happened since that time in
1961, when Larsen won first prize in a
Nordic architect contest for the new
university building in Stockholm. We sit
down and I show him a photo I took at
the competition. He studies it for a long
time and laughs.
Do you remember that time? Yes, Iremember it like it was yesterday from
the joy over the first prize and the
celebration, to the disappointment. I will
never forget it.
Cheated on the commission
Henning Larsen was granted first prize
for the very special architecture with an
entirely new and fresh approach to the
university environment in human scale,
university for 10,000 students. All
buildings were placed on a large, floatinconcrete deck that was shaped for the
landscape. Below the deck there was
parking space for 3,000 cars. Young
Larsen was at the time unknown as an
architect.
What were you thinking, when you wer
awarded such an honourable prize?
I was in Denmark at the time and
couldnt believe it at first ! I was sum-
moned to Stockholm to receive the
prize. Then the cold shower and thedisappointment.
The politicians viewpoint was that a
Swedish university should be designed
by a Swedish architect. So I was in fact
cheated on the commission, which
instead was given to the second-prize
winner, the well-known Swedish archi-
tect David Heldn, who had designed
Henrik Larsens famous door handle Sewer lid in cast iron adorned with water drops Copper lamp designed for the opera house
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the large and the large in the small
Amputated tower
In 1989, Larsen won the competition of
Sders Tower in Stockholm. The pro-
posal was a 40-story office building.
Then the politicians started to meddle in
the architecture.
They thought that Sders campanile
competed with the famous city hall
building across the city, designed by
Swedish national architect Ragnar
stberg.This started a fight over the height and
architecture of the building. The plans
were revised and trimmed several times.
New contractors were hired and this
started discussions about building meth-
ods. Larsens strong tower architecture
was trimmed down to 23 floors and
changed to a block of flats. It was like
letting the air out of good architecture.
Another setback in Sweden, how do you
deal with it? Everybody wants to getinvolved in the architecture. I am embit-
tered by the market in Sweden being
totally run by entrepreneurs and politi-
cians. We had conflicts from the very
beginning. The biggest problem was JM
BYGG, who started to change details
and materials without permission. I had
strived for using thoroughly worked-out
materials and details, and I got very
upset. Today, Sders Tower stands as an
unfinished piece of architecture. I dont
wish to have my name on it. I am very
disappointed but not unforgiving, says
Larsen.
Copper architecture
The Swedish bureaucracy is so tough
that for instance when an architect
selects copper as roof material there isgreat resistance from the authorities.
They believe that copper is harmful to
the environment, although there is proof
that copper ions from rainwater are
bound in the ground and never enter the
groundwater. Copper is natures own
building block and even necessary for
human life.
Have you met problems with using
copper in other countries? I have
never had any problems. Nobody ob-jects if we want to use copper in
Denmark, everyone likes it, says Larsen.
He shows some pictures of his copper
architecture. This is Mekoprint, two
factories in Stvring, Denmark. It is an
international project that I decided to
cover entirely with copper and a large
glass facade. Mekoprints copper archi-
the high-rise buildings in the new
Stockholm City.
This caused a big disappointment and a
great stir in Swedish and Danish newspa-
pers and the entire architectural profes-
sion. What was your opinion of the
Swedes after this? It was not fair play,
Larsen says gloomily. I was angry. The
politicians were totally blind for good
architecture. Giving the assignment to a
Swedish architect became more impor-tant than getting good architecture. But
this is not how it works today.
David Heldns second prize entry was
an ordinary proposal with six eight-floor
buildings, all with the same pre-fabri-
cated building technique as the high-rise
buildings in Stockholm City, the facades
pale green, cool and sterile. Today they
stand there as a disgrace.
However, Larsens proposition received
international attention. It became hisgreat break-through and the beginning of
an international career. Ten years later
Larsens university proposal was carried
out in Trondheim, Norway. He was at
that time an established and well-known
architect with a large office in
Copenhagen.
Cafeteria chair in steel The opera house in Copenhagen General plan for Dalian in China.
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The Music Building in Uppsala
We take a tour of the large office. In
the model department four people are
working on large-scale models of on-
going projects. There are models high
and low.
What use do you have of the models?
A drawing is two-dimensional. To study
the models allows us to experience a
three-dimensional project. We also use
computers to create visual perspective.
We move on to the conference room.One wall is covered by a blackboard
filled with rough sketches, visualized
ideas from a meeting. Larsen wipes
away some of the sketches from the
board and quickly draws a new one. I
can see that it depicts an Uppsala
silhouette.
You are making a sketch of Uppsala,
what is happening there? -Yes, you areright, it is Uppsala. We are finally on
the way there, but again with some
setbacks. We won first prize with a
proposition for a concert- and congres
building, an enormous project. I wante
to create a crystal in the middle of old
Uppsala. The proposal is a building wit
reflecting facades that make it light and
airy in the urban landscape. From the
inside you get a magnificent panoramic
view of the castle, cathedral and librarThis is what I sketched on the board.
But when the proposal became public
the objections started, from the politi-
cians and from the general public.
Uppsala New Post wrote, At first I
thought it was a picture of the ice hote
in Norrland. God help us! A 30-meter
tall glass colossus have the judges no
tecture is now a prominent landmark inthe Northern Jutland town of Stvring.
The attractive building in a warm cop-
per-brown has won architectural con-
tests.
But the best of my copper architec-
ture is probably Unibanks new head-
quarters in the centre of Copenhagen. I
have achieved a nice interplay between
the copper and the old environment.
Also this project has won awards for its
convincing architecture that respectfullyblends in with the historical neighbour-
hood. The building is known for enrich-
ing the urban landscape along
Copenhagens harbour.
Copper is a classical and timeless
material. We have new projects in the
making and nobody will stop us from
using copper, says Larsen firmly.
Henning Larsen in 1961. He had recently won first prize
in a Scandinavian architect contest for Stockholm
University. He was very happy for a short while.
The copper-clad Unibank headquarters blends in nicely with Copenhagens historical milieu.
Model of proposal to Unibanks headquarters in Copenhagen. Half of the block has
copper cladding.
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feeling for Uppsala? People wereupset and protested. Many thought
that the proposal was an insult to
Uppsalas beautiful old milieu.
Advocates of the project fought to
carry it through. With a few small
changes it will be built. The ground-
breaking was solemnly done. The
building is underway and is estimated
to be completed in 2007.
Opera house as a memorialof a family
During our conversation Larsen be-
comes enthusiastic. He starts telling me
about his latest project, the one that
almost ended in disaster: The
Copenhagen Opera House, the largest
opera house in Scandinavia. An enor-
mous building that cost almost three
billion crowns to build. Officially, theopera house is a gift to the city from
ship-owner, grand old man Mrsk
McKinnney Mller, Denmarks most
powerful capitalist, but Mllers real
motive is for the opera to primarily be a
memorial of the g iver and his family,
especially his parents. Mller bought a
closed military area on the island
Holmen for several million crowns. This
is where he wanted the opera house, in
line with the royal castle Amalienborgthat is situated on the other side of the
bay; the castle on one side and the
memorial on the other. The ship-owner
decided that the architect had to be the
most prominent in Denmark, Henning
Larsen.
This is a fantastic project. It must be one
of the best you ever created?
Certainly not! Already in the beginningthe ship-owner meddled in the architec-
ture, from the material selection to the
facade design. For example, I wanted the
most important facade of the opera
house to be entirely in glass with an
open view of the harbour and the city.
My vision was for the large roof to look
like it was floating on a large glass bub-
ble, a fantastic contribution to architec-
ture. Then Mller decided he didnt like
the glass facade. He feared that thevisitors to the opera would feel like they
were in a fishbowl. Instead he insisted
on a solid facade. As a compromise,
heavy strips of steel would be used to
cover the glass and screen the pano-
ramic view.
To Larsen this was to give up on what
he felt was the most important architec-
Henning Larsen 2005 in his office in Copenhagen, now a world-renowned architect. He would like to tie
up in bundles those who meddles in his architecture and put them back where they belong.
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sang in the church choir and I loved to
sit in the church and listen to the music.
I discovered that church music and thechurch building belong together. The
music by Bach is architectural music.
When listening to Bach I hear and see
architecture.
You are known to sketch a lot. When I
sketch I experience music, rhythm and
shape. It is like playing a musical score of
sense impressions that in turn become
visions, which become sketches and
later materialize into architecture.
Larsen has become a Danish nationalsymbol of sorts, a maestro of architec-
ture. As a professor he is a sought-after
educator who knows the art of inspiring
and sharing his ideas. I am certain that a
new generation architect students will
use Larsens thoughts and ideas in new
and exciting architecture.
From inside the concert house you have
a panoramic view of Uppsala.
The opera house in Copenhagen. Notice the steel strips thatcover the large glass faade.
Mekoprint, Stvring, Denmark
Henning Larsens copper architecture is
described in Architectural Copper Review,
issues 12 and 14.
Model of the university proposal,
see also the plan above.
The concert- and congress building in Uppsala will shine like a
crystal in the urban landscape.
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Copper facade
Contractor for the copper installation
was Estonian company Esco AS, led by
Siimon Peep. The company took on the
great challenge at the same time as it
won the bidding for the museums metal
assembly. A close cooperation with the
Finnish copper manufacturer was a
condition for a successful project. Peep
told us that one of the pre-manufac-
tured models for the cassettes was
approved. The cassette, fabricated with
a welt machine, met the requirements
from the planners and was installed on
the museums faade. The use of these
cassettes prevented inner tension of the
sheets, and it was also possible to give
the material sharp and straight edges.
For the faade elements, 0.80mm-thick
copper was used, which is well suited
for cassette manufacturing.
The ground level base elements are
often exposed to more stress and were
therefore made of a stronger 1.5mm-
thick sheet. The S-profiles in the faadeseams are of the dimension 0.6mm,
while other special parts, for example
the grating, are made of 3mm and 4mm
thick material. The cassette type used
was Outokumpu Nordic Panel 302.
The walls are made of regular concrete
with heat insulation and ventilation
New Art Museum in Tallinn Text: Hannele Numminen
The new art museum Kumu was inaugurated in September 2005. The
construction work started in October 2002 and now, three years later,
the big project is finalized. The building is one of the most important
projects since Estonia got its independence. Tallinns art museum was
designed by Finnish architect Pekka Vapaavuori, who won the high-class
architectural contest in competition from as many as 230 entries. The
new museums faade is almost entirely clad by patinated copper.
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opening. Waterproof veneer membrane
of 9-15mm-dimension was placed on the
surface and green-patinated copper was
fastened on the veneer membrane with
stainless steel mountings. The type of
joint used was angled seam. An attrac-
tive and tight seam was achieved by
closing the seams when the cassettes
were installed. The vast, green-patinated
and rounded copper surface gives the
building and impressive and distinguished
exterior that will be seen by many
visitors to the museum.
Challenges and practice
The copper parts for the Art Museum
were delivered from Finland to Tallinn,
where sheet metal works Esco arranged
with a special area for the project. In
this way the pre-manufacturing could be
done as a separate project, before the
actual installation. Head of the installa-
tion work was Imre Tael and the plan-
ning was done by Raul Aprimann. On
the site, 10-15 people worked with the
installation in different shifts.
The installation work had some unex-
pected complications. To join straight
and bent parts was especially tricky, says
Siimon Peep from Esco AS. One of the
most demanding phases was the assem-
bly of copper sheeting to the main
faade, between the pillars. The work
was complicated by the narrow space,
the very high requirements on the
underlying construction, the measure-
ments and the long installation time.
With no previous experience with this
kind of project, everything had to belearned from scratch and the workers
had to try different ways of doing things.
The tight timetable was also a challenge
for such a diff icult project. The under-
taking generated a lot of new experi-
ence, and today the group is consider-
ably better prepared for possible new
challenges.
A large amount of green-patinated
Nordic Green copper was used in the
project; for the outer facade 2,200m2
(of which approximately1,200m2 are
curved parts), the inner faade approxi-
mately 1,300m2 (of which 650m2 perfo-rated material). Cassettes and sheets for
the outer facade 500m2, and Nordic
Green and Nordic Brown grating 120m2.
Architect: Pekka Vapaavuori
Copper work: Esco AS, Tallinn
Main contractor: Merko/Estonia
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As an offshoot of the European Copper in Architectur
campaign, the Copper in Architecture Awards hav
been given out in Great Britain. This year the com
petition was extended to include 18 countries, an
attracted a total of 60 candidates. The jury of archtects had Paul Finch from The Architectural Review
as foreman, and could in September declare th
winners at a ceremony in London.
European Architectural Awards
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The churchs main areas are facing the
street corner and are very prominent.
The copper-clad campanile is separatedfrom the church to complete the ap-
proach to the building. The large facades
are clad in green-patinated copper
sheets in strips of 150, 200 and 250mm.
The brown-patinated light towers facing
the yard shine like lighthouses at night
and let sunlight in during the day. The
interior surfaces are made mostly in
different kinds of wood, while the
carpentry of the altar is partly framed
with copper.
The judges said about this project: A
beautiful church where copper has been
used in layers, almost like a cliff face,
with soft colours and controlled tones
that will develop over time, adding to
the harmonious relationship with its
natural landscape setting. The build-up
The winner of European Copper
Award 2005 is the beautiful
Laajasalo Church in Helsinki,
designed by Kari Jarvinen Ja Merja
Nieminen. Specialist contractor:
Outokumpu/Levykaksikko.
of copper panels is concealed with flat,
striated surfaces creating an extreme
horizontality and unmistakable quality.
Information about the next Copper
in Architecture Awards will soon be
made public. If you have an entry,
please contact :
Information about Copper in Archi-
tecture Awards can be found on:
www.cda.org.uk/arch and
www.copperconcept.org.
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Like a bar of copper, the building
crouches on a centrally located lot. Its
precise, simple shape and its copperfacade made it blend into the colours of
the Theresienwiese. The facade will over
time accumulate patina to match the
colour of the slope behind the building.
Areas used for movement are glazed,
and then protected from sunlight and
vandalism by a perforated metal facade.
The judges commented: This is a bold
monolithic building, forged from a
perforated copper screen, which couldbe considered as a bar of gold in the
landscape, intriguing to visitors. An
extreme solution that works well, the
service centre possesses a distinctive
calmness.
Also awarded a commendation in
the 2005 European category is the
impressive Service Centre Munich
designed by Staab Architekten.
Specialist contractor: Regensburger
Metallbau.
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Located in St. Martins Square, the Spiral
Caf is a distinctive shell-like enclosure
inspired by the Fibonacci principles of
growth in nature. The building is formed
by eight curved structural ribs that
enclose the seating and serving area.
After the external copper work had
been completed, artist Andy Elton was
commissioned to apply a coloured finish
to the external cladding.
The judges commented: It fully exploits
a geometric idea to generate an intrigu-
ing form that is nonetheless functional.
The spiral form maximises the architec-
tural characteristics of copper and the
surface patination treatment is beauti-
fully handled.
For 2005, there was a separate categorycovering UK projects, and the judges
decided on two very different projects
as Joint Winners.
The new Westfield Student Village is
one of the largest new student residence
schemes in Britain, with 995 bed spaces.
The Student Village comprises six build-
One of the joint winners is Queen
Mary College Student Village,
London, designed by Feilden Clegg
Bradley. Specialist contractor: T &
P Roofing.
The other Joint Winner is the
Spiral Caf, Birmingham, designed
by Marks Barfield Architects.
Specialist contractor: Thomas Vale.
ings, including two copper-clad buildings
on the exposed public edges of the
site. It has a surface of approximately
9,000m2 of both pre-oxidised and pre-
patinated copper.
The judges said about this project: Theresult is a serene but urban environ-
ment. The copper is intrinsic to the
honest, thin-skin approach to facade
design that enables a break-up of build-
ing mass and window systems.
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Architects Pirjo Sanaksenaho and Enrico
Garbin also participated in the planningwork. Kain Tapper designed the altar
and the glass paintings are signed by
Hannu Konola. To finalize the project
has been a long and demanding process,
as the financing, material and labour for
the biggest part were provided through
collected funds. Today, the chapel is
ready to be taken into use by eight
The Art Chapel, designed by architect Matti Sanaksenaho in 1996, is
also called St. Henrys Ecumenical Art Chapel and was inaugurated in
May 2005. The building is situated high on a mountain and surrounded
by pine trees.
IKHTYS a symbol of church fellowship
different religious communions. The
chapel is already known around theworld, for instance in Japan, Sofia and
Moscow.
A landmark for the Christian
common hope
The idea for the chapel came from
Hannu Konola, an artist. The tall glass
paintings on both sides of the altar are
his creation. The variation of the glass
surface reflects the versatility of life it
is sometimes smooth and sometimes
rough. The windows are the eyes of th
fish through which the light trickles an
lights up the inner chapel. The project
was a great challenge and has demandemuch work. The building itself is a piece
of art , whose exceptional shape create
different images in the human mind.
For the faade, a shiny copper was used
that has already darkened. Later on the
surface will turn green, as the copper
grows its patina. The architect was
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The company Master Profil has delivered 3,000m2
Nordic Brown copper for the renovation of the
roof of St. Simeon Church and St. Anna Church in
St. Petersburg. The entrepreneurs were renova-
tion- and building contractor Lapin Enterprise,
which is specialized in roof- and faade work in St.
Petersburgs historical centre.
During the renovation only part of the roof was
replaced. The rest was in good condition and
could be preserved. Because of this it was impor-
tant that the new copper looked old and not
too different from the original roof. The experts
found that the best solution was to use Nordic
Brown factory-oxidized copper.
For the renovation of the railway station in
Cheljabinski Master Profile delivered 2,200m2
Nordic Brown. The contractor was a company
called Simplex. The main domes of the railway
station were made in bright copper with scale-like
texture. With time the copper turned darker. In
order for the other buildings to be in harmonywith the domes it was decided to use Nordic
Brown. The 23-metre-long strips for the roof
were manufactured on-site and installed without
problems, even though the temperature was
minus 23o. Neither the copper nor its oxidized
surface was damaged when the material was
shaped.
For a hotel construction on the Kivi Island,
3,200m2 of Nordic Brown copper was delivered.
The hotel is designed by architects Solodovnikovand roof assembly is performed by Altes Plus.
THE KALE IDOSCOPE
Use of copper for renovationand construction in Russia
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Young designers compete in copper
Last spring, a tradeshow was held in
Milan called Abitarecon il Rame
(living with copper). The focus was on
interior design and the use of copper
in homes.
Among other items, prize-winning
products from an earlier designcontest were shown, where young
designers created new and beautiful
decorative items in copper. These
products have all passed the proto-
type stage and can be purchased at
the Italian market by interested
interior decorators.
One of the items was a decorative
copper drapery designed by Marc
Krusin, who made it by connecting
laser-cut copper plates. This drapery
was also exposed in a larger scale
(22,000 laser-cut plates) at the inter-
national fashion show in Florence,
where it received favourable atten-
tion.
Other items were mainly different
types of electric fittings and radiators
that had stimulated to new thinking.
Laura Sonzogni showed her futuristic
radiator Sky while Roberto Cutoli
and Francesco Giannatasio exhibited
electric fittings in new shape.
Copper drapery by Marc Krusin
Sky new thinking in radiator design Circle design Francesco GiannatasioLight design Roberto Cutoli
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One year ago we had an article in
Architectural Copper Review about thepreparations for the construction of the
new research village in Longyearbyen on
Svalbard. Today the project is almost
completed. Four sheet metal workers
have during more than one year assem-
bled 10,000m2 copper to the roof and
facades, and the initially shiny copper has
now turned a more distinguished
bronze-coloured nuance. Some interior
work is still going on, but everything will
be ready for the inauguration later thisfall, when the University Centre on
Svalbard A/S, UNIS , takes over the daily
operation.
On Svalbard all buildings stand on poles a
distance from the ground, due to the
constant ground frost. This gives the
observer an unusual sight experience; all
Polar architecture in copper
buildings seem to be floating above the
ground. This is also true for the newresearch village, which is built on poles.
Here, the mystique becomes a compo-
nent of the architectural experience; the
massive, copper-clad building looks like
it is floating freely and the geometry of
the ground disappears in mystical forma-
tions among the poles under the building.
Jarmund/Vigsnaes are the architects
behind the project. They have gathered
inspiration from the surrounding harsh
landscape and created an organic star-shaped building, where the details were
created with great care and regard to
winds, ice and snow. The research village
with its 8,500m2 houses both lecture
halls, research laboratories, offices and
exhibition areas for Svalbard Museum.
The sheet metal works were undertaken
by Norwegian company Erling Freitag A/
The climate on Svalbard is in itself a
challenge for a sheet metal worker who
in biting cold winter storms must per-
form advanced and detailed work re-
quiring high dexterity. In addition, this
project had some very complicated
metal-construction details that had to
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be resolved. The roof is made with strip
covering in semi-hard 0.7mm coppersheets. The single-lock welts are elevat-
ed (50mm-high) primarily for aesthetical
reasons to intensify the shadows. The
longest roof slope is totally 60 metres
(with a 5o roof fall). The copper strips
on the roof slope are divided into ap-
proximately ten-metre-long pieces with
a fixed zone in the middle and move-
ment joints along the roof fall, which
also must work sideways across the
slope. A stiff mounting plate in the weltwas soldered on and equipped with a
capillary break. The finishing against the
single-lock welt was performed with
extra care in order not to hinder the
movement across the strips. The metal
details were pre-fabricated in a shop at
the work site and placed already bent on
the roof.
Svalbard and Longyearbyn have always
guaranteed their visitors strong natureexperiences, as studies of both white
whales and polar bears are a common
activity. Today they can also offer a visit
to the research village and a study of
world-class polar architecture.
Architects:
Jarmund/Vigsnaes, TnsbergSheet metal works: Erling Freitag A/S
Area: 8.500 m2
Roof and facades: 1,000 m2, semi-hard
0,7-mm-thick copper sheet
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On one of the islands outside
Sandefjord, construction of a weekend
house by the sea has just been finished.
The house is embedded between the flat
rocks and blends in nicely with the harsh
archipelago landscape on the island. The
roof is strip-covered with green-pati-
nated copper.
When passing the island by boat at a
distance, it is hard to make out the
details on the roof; the green-patinated
Copper in Sandefjords archipelago in Norway
copper blends in with the low-growing
green vegetation on the island.
Architect firm Kvartal 19 in Sandefjord
has designed the house and Vestfold
Kobber & Blikkenslagerverksted AS, als
from Sandefjord, performed the copper
assembly.
International website for copper in architecture
www.copperconcept.org
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A new training centre, the Copper Studio,
opened at Outokumpu Pori mill in Finland last
April. The centre focuses on the use of copper
in building and construction and targets archi-
tects, designers, building contractors, local
authorities, roofing contractors and students.
Visitors come both from Finland and other
important markets, such as Scandinavia, Russia,
Germany and the United Kingdom.
Each target group receives a tailor-made train-ing package consisting of basic information on
copper, Nordic products, Nordic Systems and
Designers Tool. Designers Tool is made espe-
cially for designers and provides detailed an-
swers to various questions.
Participants get hands-on experience in bending
and installing copper. They also have the oppor-
New copper training centre
offers hands-on experience
Nordic Systems includes a wide selection of
facade elements: cassettes, panels, fastening
systems and formed detail components. We
can also fabricate project-specific components
Available surface treatments are Nordic Brown and Nordic Green Plus.
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For more information
on copper products visit:
Visit our website outokumpu.com
www.nordicgreen.com
www.nordicbrown.com
www.nordicdecor.com
www.outokumpu.com/nordic systemswww.copperconcept.org
www.outokumpu.com
tunity to view Outokumpus Nordic
Systems in full scale and professionally
installed.
More than 160 people in groups of 8-10
have visited the Copper Studio during
the last six months. The innovation and
new thinking presented by the centre
have met with great interest, and we
often hear comments like, Why has
this not been done before? This is the
best response we could ask for.
The Copper Studio is an important too
for spreading information about copper
as an excellent building material and at
the same time present new products
manufactured in copper.
You can choose between our standardized Nordic Modular Roofs or ready to install, built -to- spec Prefabricated Roofs.