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COPPERCONCEPT.ORG 1

37

ENGLISHENGLISH

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2 COPPER ARCHITECTURE FORUM 37/2014

Copper Architec ture Forum 37, November 2014

Copper Architecture Forum is part of the European Copper In ArchitectureCampaign. It is published t wice a year and has a circulation of 25.000 copies.

The magazine is distributed to architects and building professionalsthroughout Europe and beyond in English, Czech, French, German,Hungarian, Italian, Polish, Russian and Spanish languages.

EDITORIAL

Front Cover: Museum addition, Erding, Bavaria (page 26)

Photo: Peter Franck

Register for Copper Architecture Forum copperconcept.org

View magazine back issues copperconcept.org

Contact the Editorial Team [email protected]

Upload your project to the website copperconcept.org

See the European Copper in Architecture Awards copperconcept.org

Editor in Chief: Robert Pinter

Editor: Chris Hodson RIBA

Editorial team: Ari Lammikko, Chris Hodson, Graeme Bell, Herbert Mock,Hermann Kersting, Irina Dumitrescu, Robert Pinter

E-mail: e [email protected]

Address: CAF, European Copper Institute,Avenue de Tervueren 168 b-10, B-1150 Brussels, Belgium

Publisher: Nigel Cotton, ECI

Layout and technical production: ECI

Printing: Copy & Consulting Kft., Hungary

Editorial panel:Birgit Schmitz, De [email protected] Zakrzewski, Pl [email protected] Crespi, It [email protected] Hay, UK [email protected] Vergopoulos, Gr [email protected] Diaz, Es [email protected] Tissot, Fr [email protected] Voutilainen, Se, No, Fi, Dk [email protected] Pintr, Hu, Cz, Svk, Ru [email protected] Pianet, Benelux [email protected]

THE CHANGING FACE OF COPPER

Copper Architecture Forum 2014

Just a cursory glance at the Contents page opposite illustratesthe range of architectural expression enabled by copper andthe enthusiasm of designers in seeking out new possibilitiesfor the material. The growing diversity of surfaces and

manifestations of copper and its alloys is impressive. But itsenhancement of building typologies where copper may nothave been considered before is also revealing, as our firstproject, a major sports stadium in Adelaide, Australia (page 4),shows.

Other characteristics notably transparency andtransformation, using perforated copper alloy facades are explored by both a modern infill building in historicCopenhagen (page 8) and a model B&O store in Herning,Denmark (page 12). Two residential projects, in Luebeck,Germany (page 16) and Ghent, Belgium (page 18), exemplify the

flexibility of copper, allowing bold forms to be expressed withmaterial continuity. Interestingly, both designs resulted fromrobust responses to local planning constraints.

Our interview with the architect of another infill withinan historic city streetscape, the UNESCO listed centre ofAmsterdam (page 22), reveals an intriguing approach tocontemporary design that respects its context withoutcompromise. Two more uncompromising designs, a museumin Erding, Bavaria (page 26) and a theatre in Cergy Pontoise,France (page 28), share an exploration of surface texture usingcopper alloy shingles an increasingly popular technique.

Our final two projects both focus on young people. Acommunity facility in Denbigh, North Wales (page 32)maximises flexibility to provide a wide range of supportservices and uses a distinctive copper faade to create a

strong local presence. In contrast, the design of a secondaryschool near Oslo (page 36) exhibits a rigorous interpretationof its programme, with a dark copper profile reflecting localindustrial heritage.

ARCHITECTURAL AWARDS LAUNCH

These projects clearly demonstrate that copper inspiresarchitects something that is also apparent from thegrowing number of impressive reference projects uploadedto our website. To celebrate the role of copper in currentcontemporary design, we are now launching the 17 th iteration

of the European Copper in Architecture Awards. The deadlinefor receipt of entries is 30 th April 2015 and more details areavailable on the back cover and on our websitecopperconcept.org.

We look forward to your Awards entries!

The Editorial Team

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COPPERCONCEPT.ORG 3

37

Read on iPad for free

Copper Architecture Forum 2014

2 The Changing Face of Copper editorial comment

4 7 Copper Oval redevelopment of one of Australias most iconic spor tsvenues, the Adelaide Oval

811 A Modern Merchants House an innovative, animated external

skin transforms this conversion from day to night

12 15 Sound Design a new Bang & Olufsen store epitomises the

companys iconic brand and approach to product design

16 17 Copper Villa this apartment building is expressed as a single,contemporary unit, reflecting the scale of its neighbours

1821 Deconstructing the Vernacular copper is key to this

reinvention of the traditional house form

22 25 Shadow Play a new gabled town house takes a fresh approach to

contemporary design in an important conservation area

2627 Modern Surface Expression this new extension to a museum

optimises its constrained site

28 31 Baroque Intervention a bold new theatre, enriched by copper

alloy shingle facades, unites neighbouring public buildings

32 35 Copper Presence a bold copper faade creates an urban

presence for this innovative facility for young people

36 39 A School of Thought this competition-winning new school is

characterised by a clearly defined spatial strategy

40 European Copper in Architecture Awards launch

CONTENTS

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COPPER OVALBronze cladding and copper mesh help add an extra dimension of materialquality to the sports stadia typology at the newly redeveloped Adelaide Oval one of Australias most iconic sports venues, as Mee Kyong Kim of architectsWALTERBROOKE (in association with lead architect Cox Architecture) explains

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COPPERCONCEPT.ORG 5

Internationally known as one of the most picturesque testcricket venues in the world, the Adelaide Oval sits amongsthistorical gardens and trees in the parklands on the nor thernedge of the citys central area, with a mound of fig trees,a heritage scoreboard and the spires of St. Peters Cathedralas a backdrop. The Adelaide Oval redevelopment nowprovides 50,000 spectator seats and ancillary facilities forcricket and Australian Rules football, as well as other sportsand entertainment.

The new south and east stands reflect the character of thewestern grandstand redevelopment completed in 2010.The design is conceived as a series of pavilions in a parklandsetting and the two new stands consist of strong precastconcrete bases, bronze and copper clad facades, glazedcurtain-walling, expressed precast concrete seating tiersand diagrid PTFE roofs.

Photo: Chin Tan (Cox Architecture)

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The palette of faade materials includes sandstone colouredconcrete, glass, bronze and copper. This palette was inspiredby the local context: bronze and copper from existing bronzesculptures in the parkland, and the sandstone colouredconcrete from the masonry stone bases of historic buildingsnearby. The bronze and copper facades will graduallyweather to a dark reddish brown colour which will sitcomfortably within the park landscape.

The copper mesh wraps and meanders around the externalfacades and stairs as a gentle, curved veil along the radialgrids. A series of solid bronze volumes protrude thoughthe veil and curtain-walled envelope. Each one is orientedto optimise views to St. Peters Cathedral, the gardens, theriverbank and central area, from the dining rooms andmembers bars. This material language is also applied to theinternal atrium space.

Photo: Orange Lane

Image: Cox Architecture

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COPPERCONCEPT.ORG 7

The distinctive faade of the William Magarey Room, abovethe entrance and ticket office, is expressed with double-curved geometry and is inclined in a sectional plane.The overall scale of this faade dominates the southelevation and announces the main entry to the south stand.

The curved form has been created from over 4,000 individualinterlocking bronze panels. Each segment is exposed todifferent climatic conditions, generating subtle variations inweathered surface tones.

The bronze cladding flows underneath to form a reflectivesoffit to the entrance, then into the interior to define thesolid mass, while blurring inside and outside boundaries.Copper mesh forms a secondary skin to fully glazed faadesoffering privacy and screening internal spaces from theharsh Australian sun. The rib profile mesh also providesweather protection for the external egress stairs.

The construction details of the copper mesh were developedto suit the local conditions with close collaboration betweenthe architectural team, contractor, cladding installerand structural engineers. The main structural design driverof the fixing methods was the extremely high summer

temperature in Adelaide. The stair screens were fabricatedas cassette panels while the screens in front of the glazedfacades were constructed as full height panels clampedtightly with continuous copper strips along the verticalpanel edges.

The Adelaide Oval Redevelopment project is characterisedby its landscape context, expressive facades and roof forms,and the application of rich, natural materials.

SUBTLE VARIATIONS IN TONE

The bronze and copper facade systems used

on the new pavilions add an extra level ofquality and finish that is atypical for stadia projects, enabling the new buildings to age gracefully in their parkland setting

Architects: Cox Architecture as lead architect in association withWALTERBROOKE and Hames SharleyCopper Installer: Cladding & Roofing Contractors PTYCopper Products: Nordic Bronze and TECU Classic Rib Mesh

Photo: Chin Tan (Cox Architecture)Photo: Chin Tan (Cox Architecture)

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COPPERCONCEPT.ORG 9

A MODERN

MERCHANTS HOUSEWith this conversion of a 1960s office building, BBP Arkitekter have used articulated,perforated golden copper alloy elements to animate and dramatically transformthe external skin to suit different operational and lighting conditions, as they illustrate here

Located in the Nyhavn district of central Copenhagen,this conversion forms the new headquarters for the Danish jeweller y firm Trollbeads, who are known for their glassand gold beads. It is a high security building, organised likean Italian Renaissance merchant house with goods loadedsafely at the ground floor, stock and offices above, and at the

highest level a residence for the owner with a roof terrace.Reconciling Modern and Historic

The challenge was to make a building that respects itstypology as a contemporary cur tain-wall building, whileat the same time relating to the historic houses on eitherside. How do you reconcile modern design with the scaleand character of an 18th century townhouse?

To achieve this, the original curtain wall was removed, theexisting concrete structure stripped, then extended 2.5 mtowards the street and a new skin of glass and perforatedcopper alloy added to cover the facade, roof and a smallcourtyard at the back. The building is defined by the two partywalls, which have been r aised and reshaped so as to followthe line of the neighbouring mansard roof. Typically of visibleparty walls in the city, the exposed wall has a different logicto the facade, with small, round windows forming a randompattern.

Copper Alloy Curtain

Between the two curved party walls, a skin of glass isstretched to cover the roof and facade. On the outsidea golden copper alloy curtain is hung, making a kindof inverted curtain-wall. Areas of the copper curtain can

simply fold up to generate a pattern of fenestrationmatching that of the adjacent buildings and givingcontinuity to the streetscape. When closed, the cur tainbecomes homogenous and impenetrable but thendissolves to reveal the interior with lighting at night.

Architect: BBP ArkitekterCopper Installer: Art Anders en Copenhagen & Hunter Douglas ArchitecturalProjects ScandinaviaCopper Product: TECU GoldPhotos: Jens Markus Lindhe

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The new faade addresses the fractured street frontage of the original concretebuilding. The converted building now respects the massing, scale and urbancontext of its historic neighbours

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COPPERCONCEPT.ORG 11

ANIMATING ARCHITECTURE

The pattern of perforations in thecurtain was inspired by a hedge ofthorns guarding a treasure and wasdeveloped by textile designer LeneToni Kjeld together with architect EbbeWhrens

Movable elements are hinged but whenthe curtain is closed there is littlevisible difference across the facades

At the third floor the curtain is foldeddown to align with the roof corniceof the adjacent house. The curtainalso lifts up at the entrance, forminga canopy in line with a cornice on theneighbouring buildings

COPPER CLOSE-UP

Every morning half the curtain opens,creating fenestration set into a massivewall like the adjoining houses.

After working hours the curtain closesautomatically and the building istransformed into a secure vault.

After dark dim lighting turns on inside,revealing a modern glass house behinda veil of translucent copper alloy.

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A team headed by Johannes Torpe,B&Os Creative Director, was behindthe new store concept which aimsto deliver a fresh sensory experiencethrough sound and design.The architectural interpretation

of this concept by Arkitec A/S fora store in the Danish town of Herning,is an understated, curved-edge box,reminiscent of B&Os minimalistproducts. Although thoroughly modern,the stores design recognises itssensitive location on the towns centralsquare dominated by the church with restraint and modest scale.

SOUND DESIGN

The first new Bang & Olufsen store based onthe companys latest retail design conceptepitomises this iconic brand with its deceptivelysimple, golden copper alloy and glass form

by Chris Hodson

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Unique Visual Characteristics

After exploring a range of other high qualityfaade materials alongside the generousglazing, a consensus was reached on thegolden copper alloy for its sustainability andunique visual characteristics, complementingthe warm brown brick prevalent around thesquare and copper details on the church.

Without compromising the clean lines ofthe building, an additional surface treatmentwas applied to enrich the copper alloysappearance and an apparently randompattern of wavy lines added, generated byvarying circular perforations through thematerial. At night, soft LED backlightingshines through the perforated patterns,dematerialising the buildings form.Programmed to dim randomly, the glowingfaades create an intriguing rhythmicanimation and focal point to the town square.

Architect: Lars Sternberg, Arkitec A/SCopper Installer: RMIG and AS FacaderCopper Product: TECU GoldPhotos: Arkitec A/S Lars Sternberg

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Different sized circular perforations createrandom wavy patterns...

...which then come alive at night withanimated LED backlighting

Photo: KME Photo: KME

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Conceived as a modern villa,this apartment building in Luebeck,northern Germany, is an exampleof a design informed by localplanning constraints influencingits positioning, proportions and

even roof pitches. The pre-patinatedcopper superstructure abovea solid brick base and a creativeuse of fenestration belie the linearplan forms of the three apartmentsstacked within. KBNK Architektendescribe their design

COPPER

VILLA

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DECONSTRUCTING THE VERNACULAR

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Local planning demands also influenced the design of this family home,sparking a subversion of the room in the roof house typology withoutresorting to ubiquitous dormer windows or rooflights. Instead, an ingeniousdeconstruction of a vernacular form has been generated, split open by fissuresof generous glazing providing discreet views to both levels. The copper skin unifying walls and roofs proved central to the concept, explains Basile Graux

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31 2 4

DEVELOPING THE DESIGN- RESPONDING TO SITE CONSTRAINTS

Architect: GRAUX & BAEYENS architectenCopper Installer: Platteau bvbaPhotos: Filip Dujardin

SITE

BUILDABLE AREA

Skylights

Dormer windows

SINGLE STOREY+ pitched roof

BUILDING VOLUMErequired area

NEW building volume

MODIFICATIONof building volume

VIEWS

REINTEGRATEDinto buildable area

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This single, family house is located in Destelbergen, justoutside the Belgian town of Ghent. It is close to the remains ofa castle destroyed in the Second World War, although parts of

its surrounding wall still stand as a silent historical reminder.

House VDV appears simultaneously familiar and strange.The basic volume, consisting of a ground floor and upperlevel within a pitched roof, alludes to familiar archetypessuch as the rural farmhouse or barn. Yet, at the same time,the simplicity of the volume is broken up by large glassfacades, establishing relationships with the surroundingtrees and listed castle wall.

Mandatory planning requirements for the plot made surethat the house was conceived as a pavilion. Our solution isessentially a garden-house with no front or rear but, instead,

two identical facades and a 360-degree experience of theentire plot.

The untreated copper cladding will continuously changecolour over the years, from bright in the beginning to brownand eventually green at the end. It gives the project a poeticimpermanence, which is echoed in the reflection of thesurrounding trees in the glass facades.

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Y

X

Y

X

COPPER IN DETAIL

STREET ELEVATION

HORIZONTAL SECTION X-X

VERTICAL SECTION Y-Y

REALISING THE CONCEPTThe 'shadow' facade with it s pre-oxidised copper surface (shown colouredon the drawings) has been carefully detailed to create a completely flat 'shadow'plane with only recessed joints between panels. The consistent thickness of thecopper facade element is expressed by shadow-gap details to the adjacent buildingand rendered side wall. Simple, dark windows with copper reveals minimise visualimpact and copper shutters sit flush with the facade when closed.

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MODERN SURFACE EXPRESSIONby Chris HodsonThe first of two projects characterised by bold forms and facadesenlivened with golden copper alloy shingles, this new addition to a Museumin the Bavarian town of Erding makes the most of its constrained site

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COPPER SHINGLES

Architect: Walbrunn ArchitektenCopper Installer: Hermann Hckl & Sohn SpenglereiCopper Product: TECU GoldPhotos: Peter Franck

The new addition adjoins the eastern side of a protectedhistoric building home to the Erdinger Museums collectionsince 1986 and currently under renovation with a glazed linkmaintaining a respectful distance between them.

The taller, upper level main exhibition space is a simple,flat-roofed cubic form. It is encased by unbroken surfaces,relieved by the strong geometric texture of large interlockingshingles manufactured from a golden copper alloy.

This bold, golden form floats above the generously glazedlower level which houses a new entrance, caf, trainingrooms, offices and special exhibition spaces. The newaddition is thoroughly modern but does not attempt tocompete with its historic host.

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Architect: Galle Peneau architecte et associs (GPAA)Copper Installer: RAIMOND SASCopper Product: TECU GoldPhotos: 11h45, Pari s

Thtre 95 is housed in the third building of the new town thatarose in the 1970s. This emblem of the towns history wasonce the home to the Cergy Pontoise School of Architectureand Urban Planning, before becoming an arts school andthen being transformed into a theatre. The new addition isa complex project, framed by more general considerationsabout emerging social and urban developments and culturalpractices. The aim is to invite the wider public to discover newstrategies to reinvent the town.

The buildings pleated, gabled roof first strikes the visitorseye: this is the outline that the new intervention has borrowedto link old and new. The connection exists in a semi-publichall-atrium, which follows the "Fil D'Ariane" a publicfootpath that winds its way, without interruption, fromthe south-east to the north-west of the town and is thusintegrated into the building.

The saw-tooth outline of the existing roof is continued overthe hall-atrium volume, where it transforms into juxtaposedstrips creating shafts of light entering the hall. The pleatedforms are also echoed in the auditorium addition, facingsouth. Here, they create a new rhythm, emphasizing theorientation of the new structure out of line with Cergy'straditional orthogonal grid. The pleated outline has becomethe "crown" of the volume of the new auditorium.

The auditorium rises in an almost baroque posture, as if inconfrontation with what is already there. The existing buildingconserves its identity, with the atrium linking it to the new400-seat auditorium, setting up a face-off relationshipbetween two visions that mix, stand in opposition and jointogether in a boldly chaotic statement. The auditoriumaddition is a blind mass, covered with golden scales that addlight to this fairly colourless urban environment.

BAROQUE

INTERVENTIONOur second golden shingle example this time in Cergy Pontoise, France takes an even bolder stance, explained byits architects GPAA, based on their entry for the2013 European Copper in Architecture Awards

COPPER SHINGLES

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3

2

2

2

3

4

1

3

1

45

9

8

10

2

6

76

3

3 3 3

1

4

4 5

9

8

10

2

6

7

PLAN 03

PLAN 04

PLAN 02

1- dressing rooms and artisticannexes2- storage area

3- auditorium4- void over existing stage

1- auditorium2- proximity dressing room3- storage area4- atrium5- library

6- bar7- foyer8- existing auditorium9- hall10- service area

1- auditorium2- control room3- caretakers room

4- technicians office5- void over storage areas

6- bridges in the atrium7- collective dressing room8- existing auditorium

9- bookshop10- hall

SECTION OF THE ATRIUM TOWARDS THE NEW AUDITORIUM

SECTION OF THE ATRIUM TOWARDS THE EXISTING BUILDING

LONGITUDINAL SECTION OF THE HALL AND THE CONROL ROOM

TRANSVERSE SECTION OF THE HAL L TOWARDS THE CONTROL ROOM

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COPPER SHINGLES

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COPPER PRESENCEA long, pre-oxidised copper rain-screen detaches from its host building, creatingan impressive urban presence for this innovative community facility for young peoplein North Wales. Julien Denis of John McCall Architects tells us more

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Architect: John McCall ArchitectsClient: Grp CynefinContractor: Anwyl ConstructionCopper Installer: Varla UKCopper Product: Nordic BrownTM LightPhotos: John Garon Photography

Hwb Dinbych is a multi-purpose facility for young people,incorporating supported housing. It is located on theoutskirts of a housing estate and only a few yards fromthe historic town centre of Denbigh. The building provideslearning spaces for vocational skills and gives access tobusiness advice, counselling and mentoring, as well assupporting other services for young people, ranging from11 to 25 years old. It also includes six self-contained 1-bedapartments for affordable rental by 1625 year olds.

The aim of the project was to create a centre that will providesupport to young people in general, particularly those atrisk of under-achieving in life, and to reduce homelessnessamongst the young. The project aims to be inclusive andaccessible to the whole community, attracting a broad cross-section of Denbigh residents, particularly young people.

The design concept, derived from the clients aspirations,provides openness, visibility and accessibility from the street,as well as ownership by the young. The building is flexibleand able to respond to different users needs, allowing localtraining and support services to be delivered and links withlocal businesses to be fostered.

Inclusive and Accessible

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BREEAM Rated

Care has been taken to ensure that the ecological andenvironmental impacts of the redevelopment are positive.The building has achieved a BREEAM excellent ratingfor energy use and very good rating for the overall scheme.Copper and other materials were carefully selected forrecyclability and reduced environmental impact,in line with The Green Guide to Specification.

In compositional terms, the design defines two main masses:the copper-clad volume of the Youth Enterprise Centre/College and the concrete-faced volume of the suppor tedhousing block. The main entrance of the complex is througha glazed atrium which links the two parts across a double-height reception space.

Summertime overheating is minimised by overhangingthe first floor and providing a colonnade along the front ofthe building. Floor levels dictated by flood risk alleviationresulted in the base of the building jutting out of the groundas the site slopes downhill, giving the eastern end of thebuilding elevated views to the surroundings. Precastconcrete facades were selected to reference the local stoneand traditional pebbledash rendered houses, allowingthe building to blend in with its surroundings. The copper-green coloured, V-shaped columns add a play ful note to thecomposition.

Copper Ribbon

The pre-oxidised copper rain-screen of the front elevationextends past the glazed wall of the atrium to provide somesolar shading and to frame views of the nearby castle. Tallwindows in this copper ribbon also reflect the medievalarchitecture of the castle. The prominent sign above the

entrance was also made of copper to match the mainelevation.

Particular care was taken with the rhythm of the copperstanding seams to avoid formality and repetition, and give themain street elevation a natural feel. This is further reinforcedby the use of box seams at corner junctions and at eitherside of openings. Box seams were also employed on the endelevation to highlight the location of curtain wall members onthe larger opening of the Arts & Crafts workshop.

GROUND FLOOR PLAN

FIRST FLOOR PLAN

SECOND FLOOR PLAN

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C

C

AA

B B

COPPER IN DETAIL

SECTION C-C

PLAN A-A

PLAN B-B

lintel over full widthof recessed panel

vertical standing seam coppercontinuous sill

EXAMPLECOPPER CLADDING PANEL WITHIN RECESSED BLOCKWORK ELEVATION

helping hand bracket

140mm insulation5050 mm vertical battens18 mm plywoodmembranevertical standing seam copper

cavity tray over compartmentfire barrier

joint in copper at tr ay posit ion

insulated steel lintel

continuous sill

helping hand bracket

continuous sillaluminium windowcopper returned into reveal

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A

A

BB

C

C D D

SECTION A-A SECTION B-B

SECTION D-DSECTION C-C

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Architect (and Landscape Architect): White arkitekter ABContractor: Betonmast ASCopper Installer: Storo Blikkenslagerverksted ASCopper Product: Nordic BrownTM LightPhotos: Ivan Brodey

The competition project was called Rammer og Niver or Frames and Levels. Our design concept was centred on a clearlydefined spatial hierarchy. This sequence from larger to smaller provides the structured teaching environment required by theteachers and headmaster. It defines clear spatial thresholds:

YARD -between the town and the school

PLATEAU between ground levelcommon areas and upper level units for each grade

BOX between the units

ROOM between the classes

A vegetated filter with trees of different heights defines

the school yard. Passing through this filter you leave thetown and enter the school. The density and height of the filteris adjusted to the view and surroundings. The yard it selfis divided into fields referencing the agricultural landscape serving different functions, including social spaces closeto the building and sports and play fur ther away. The buildingis located near the road, distancing itself from the old farmand also sheltering the yard from road noise. The angledbuilding shape also creates a warm and sheltered micro-climate in the yard.

The entrance is on a plateau, two metres above the new road,creating a level change as you enter the building. Variousspecialist rooms including workshops, studios and thelibrary and administration areas form an angle around theschool yard and the central space. This central space actsas the entrance, meeting and assembly hall, as well as thecanteen. This space is extrovert, public and transparent connecting with the schoolyard to the south and views to thenorth, and defined by full-height glazing, differentiatingit from the upper level: the box.

The classroom level is a raised, introverted copper box.

Inside there are different spaces for study, work andconcentration, again forming an angle around the mainspace. The three different grades are located in each cornerof the building and every grade has its own area witha teachers room, distinct social space and separate stairsdown to the entrance level. Every classroom is connectedto a smaller room for working in groups, as well as a toilet,so that students do not have to leave the teaching area:one of the programmatic demands of the competition.

All the classrooms are orientated north, avoiding directsunlight but with views over the surrounding open landscape.This is where students and teachers spend much of theirtime, so most of the classrooms have high ceilings followingthe angular roof, as well as concrete walls, giving thema spacious and distinctive character.

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2015ARCHITECTURALAWARDS LAUNCHEntries are invited for the 2015 EuropeanCopper in Architecture Awards a showcasefor architects designing with copperand its alloys to promote their work to aninternational audience.

Final deadline for receipt of entries: 30 th April 2015

All entries must incorporate facades, roofing or otherarchitectural elements of copper or copper alloys. Any scaleor type of project can be entered from major landmarkbuildings to modest schemes.

Architects and critics, drawn from a panel including someof the most influential designers in Europe, will judge allthe entries on their architectural qualities from graphicsubmissions.

For more information on entering the 2015 Awards-17 and onprevious awards entries and results, v isit:www.copperconcept.org/awards

WINN

W I N N E R 2 0 1 1

WINN

W I N N E R 2 0 0 9

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