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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 | 2005 / 2

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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Architectural Copper Review | 20

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 :

[email protected].

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.

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