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FORUM MIEDZICZASOPISMO O WYKORZYSTANIU MIEDZI W BUDOWNICTWIE 25/2008

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3COPPER FORUM 25/08

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4 COPPER FORUM 25/08

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5COPPER FORUM 25/08 5COPPER FORUM 25/08

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7COPPER FORUM 25/08

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9COPPER FORUM 25/08

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Hannele Numminen

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Photo: Ka

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Koci w.Jana w artu,Estonia

Esko Miettinen,

architekt SAFA

Koci w. Jana w artu budowany

by etapami od koca XIV w. a doXVIII w., kiedy to otrzyma obec-

ny ksztat. Jest to budowla ceglana, w ktrejdominuje styl gotycki. W okresie swojegoistnienia koci ulega kilkakrotnie znisz-czeniu. Grne partie wiey oraz kryptyznajdujce si w prezbiterium zostay zde-wastowane podczas wielkiej wojny pnoc-nej w XVIII wieku.

Wntrze kocioa zostao przebudowanew XIX wieku na podstawie projektu archi-tekta G.F.W. Geista. Na przeomie XIX i

XX wieku przeprowadzono renowacj a-sad pod nadzorem ryskiego architekta W.Bockslaa.

W 1944 roku, podczas drugiej wojnywiatowej, koci zosta zniszczony w wy-niku poaru, a w roku 1952 zawalia siciana nawy pnocnej.

W 1989 roku rozpoczto renowacj ko-cioa. Estoska rma budowlana O Wu-nibald Ehitus kontynuowaa jego odbudo-w w roku 1991.

Drog akcji dobroczynnej mieszkacyartu uundowali kocioowi nowe, mie-

dziane pokrycie dachu. W roku 1999 od-nowiony koci zosta przekazany miesz-kacom miasta.

W 2002 roku rozpoczto projekt jegorekonstrukcji z udziaem rm As. Ehitus-rma Rand i uulberg w charakterze ge-neralnych wykonawcw. Gwnym celem

projektu byo przywrcenie kocioowi jego

oryginalnego wygldu przy zastosowaniu wmoliwie najwikszym stopniu dawnychmetod budowlanych.

Odpowiedzialnym za projekt rekon-strukcji tego redniowiecznego kocioazosta architekt Udo iirmaa z rmy Ar-chitects ARG, wesp z historykiem sztukiKaurem Alttoa.

W latach 1993-96 prace projektowekoncentroway si na wzmocnieniu un-damentw. Struktur elementw nonychczci wieowej wzmocniono za pomoc

stalowych pali. Gwna pyta undamento-wa wieowej czci kocioa bya wylewanaetapami, rwnolegle z wykonywaniem pod-porowej konstrukcji palowej. W ten sposbpowsta tzw. undament palowy zawieszo-ny. Odpowiedzialnym za realizacj tej cz-ci projektu by Kari Avellan, licencjat tech-nologii zatrudniony w Firmie InynieryjnejKareg Oy.

Koci jest wanym elementem staro-miejskiej, redniowiecznej czci artu.Reprezentuje on wczesn zabudow miej-sk. Jest zabytkiem przypominajcym nam

przesze czasy, z drugiej za strony odzwier-ciedla i jakby wyprzedza ludzkie wyobrae-nia dotyczce ksztatu dzisiejszego miasta.

Koci w. Jana w artu synie w krajui za granic ze swoich unikatowych rzebterakotowych.

Widok od ulicy Jaani

Portal kocioa

Wiea kocielna

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15COPPER FORUM 25/08

Widok od ulicy Lbeki

Plan kocioa Fundamenty wiey

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COPPER

HE ESSENIALMAERIAL OFHE INSPRAIONAL

WOODEN BOA CENRE

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Sleek sailing boats were the source oinspiration or the design

Architect Jesperi Vara o the Lahdelma & Mahlamki Oy Ar-

chitectural Oce states that it would be wrong to say the build-

ing is simply an overturned boat. It is much more. Te contour

is patterned on the sleek lines o sailing boats and the structureso the hull, but bearing any constructional limitations in mind.

Te large glass suraces give transparency to the activities, and

together with the copper surace they refect the vicinity o the

sea and the port. Te renovation and building o wooden boats

require great skill and superb cratsmanship as well as careully

selected high-quality materials. Tis idea is best refected in the

selection o a natural and valued surace material or the aade

a material that displays the mastery o the highly skilled crats-

men and later on the patina o age.

Te shape o the building also inspired the architects to select

copper. Te practical demands made on the building were basedon the instructions given by Wooden Boat Builder Allan Savol-

ainen. Architect Vara captures the true nature o copper in his

description o it as a natural and honest material with a timeless

quality in any environment. Copper maintains its individual

properties in dierent applications.

Kotka Town on the Baltic coast is the home o the sleek new wooden boat centre. Copper was

considered as the aade material rom the outset. The owner o the centre ound the copper

sheeting proposed by the architects so ascinating that there was no need to consider other

alternatives. The architects drew their inspiration rom the sleek lines and the hull structure o

sailing boats.

Smooth cooperation and highly skilledcratsmanship

Te successul outcome o the project was guaranteed by smooth

cooperation among all the project parties throughout the con-

struction stage. Architect Vara admits that the highly skilled

sheet metal workmanship and commitment shown by the Kan-gasniemen Peltity Sheet Metal Works were vital to the project s

success. Project Head Pekka Pynnnen o Kangasniemen Pel-

tity states that the project posed an exciting challenge, as it

was a unique opportunity there was no previous experience o

anything similar. It was extremely important to pay scrupulous

attention to every detail to ensure the architect s and the owners

wishes were carried out exactly as intended. Tis, o course, re-

quired smooth cooperation among the dierent players. Careul

planning and scheduling o delivery times o materials were also

absolutely essential to assure the timely progress and completion

o the project.

Written by Hannele Numminen

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Building details

Originally the copper sheeting was intended to be 0.8

mm thick, but in the end 0.7-mm thickness was used.

A total o 13,000 kg o Nordic Brown copper sheet-

ing and Luvata NSF Panel 402 aade lamellas were

used. However, the lamellas were slightly alteredater sample installation. The alteration was easy to

carry out as the sheet metal works had been com-

missioned to manuacture the lamellas. The 1,300

lamellas used were mainly sized 600x1800 mm. Also

200 kg o Nordic Prenet net sheeting was installed

on the building. Stainless-steel brackets and screws

were used as asteners, and the seaming is mostly o

double rebating type.

Additionally, there are curved suraces, which orm

the lower ceiling at the ends o the building. Double

rebating seaming could not be used on these sur-

aces, but they were seamed using the tongue-and-groove joints. The convex surace becomes partly

concave with a varying radius. All these details were

given careul consideration in advance, drawings

were made and approval received rom the architect

beore implementation. The substructure required

uncompromised precision rom the carpenters, but

the closely cooperating building crew managed to

overcome this problem, too.

The ramework o the building is supported by steel

arcs visible inside. Attached to the steel arcs are the

glued laminated timber, the plywood, the supporting

rails or the ventilation space, the surace plywoodand the elt used as the actual waterproong, on

which the copper sheeting is installed. The main con-

tractor o the building was YIT Rakennus Oy, which

had also previously done building work in the Kotka

area in cooperation with the sheet metal works. This

meant that the supervisors as well as the carpenters

knew each other rom beore, which acilitated the

implementation o a demanding project like this, and

ensured that scheduling and execution o the building

work went according to plan. The completed Kotka

Wooden Boat Centre is a ne example o superb de-

sign and skilled cratsmanship.

The Finnish Wooden Boat Centre

Owner: Oy Scripo Ab / Henrik AndersinCommissioned by Martina and Henrik Andersin

Project Coordinator: Leo SkogstrmArchitect: Lahdelma & Mahlamki Oy Architectural Oce /

Ilmari Lahdelma, Jesperi VaraStructural Engineering: Magnus Malmberg Oy Engineering Oce

Main Contractor: YIT Rakennus OyCopper roof: Kangasniemen Peltity Ky

Sheet Metal Works / Pekka Pynnnen

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AE Stlmontage produced the 12 tonnes o1.00 mm semi-hardened Tombak sheets orcladding with interlocking panels.

Client: Casa Entreprise

Architects: Vallentin & Haugland

Tombak acade: AE Stlmontage

Tombak acade on administration andwarehouse buildingHorsensDenmark

Casa Entreprise has moved into its

new administration and warehou-

se building, where the client andarchitect chose to clad the administration

section with cassettes o Tombak, an alloy

consisting o 80% copper and 20% zinc.

Over time, the acade will change rom its

characteristic golden sheen to an attrac-

tive bronze colour.

The project involves around 2,000 m2 split

between two administration buildings and

associated warehouse sheds. The sheds

are built around a common manoeuvring

area at the back o the buildings, so thatthe administration acade aces the en-

trance.

By Mogens Prstegaard

Because the warehouse sheds need a

large manoeuvring area, it was only natu-

ral to keep their rooine the same as orthe administration buildings. As such, the

latter are integrated with the warehouse

sheds, to achieve harmonious incorpora-

tion o the building elements.

The administration buildings are raised

rom ground level, to create a good view

rom the ofces and space or parking un-

derneath the building.

The sheds consist o light coloured con-

crete elements, and only the administra-

tion block is clad in Tombak.

The distinctive entrance consists o glassand black zinc.

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A mellow patchworkIn spite o its massive size, the building maintains a composed and peaceul appear-

ance. Te dierent height levels o the aade enliven and lighten the building. Ini-

tially the architect had planned to use rock and glass on the aade, but changed his

mind ater becoming acquainted with the Finnish copper architecture. Inspired by the

widely admired Laajasalo Church, the architect decided to use copper ribbons o two

dierent tones with varying amounts o patina on the surace. Te use o two shades

and dierent lengths o ribbons creates an interesting patchwork quilt eect. However,

the gradation o similar shades conveys peaceulness and balance.

Random harmonyTe street-level shopping centre merges into the building extremely well. Te 34 apart-

ments above the shops with their balconies and abundant glass suraces lighten the

colourul aade. Te pre-patinated copper panels were installed without any precise

plan to allow a ortuitous combination o tones. Te result is a harmonious interrela-

tion well balanced with the architecture in the rest o the building.

Equal amounts o the darker Nordic Green Living 1 copper and the lighter Nordic

Green raditional were used. Te panels were 0.7 mm thick, and a total o 1,500

square metres o copper was installed. Te nished shopping centre with the apart-

ments is an interesting construction and certainly unique in Hoorn. Te varied green

o the patina tones with the lush park-like environment extremely well.

Pictures by Erik Droog rom Rietvink Architects

Written by Hannele Numminen

De KorenbloemCreativity was given wings, when dierent surace patterns were al-

ternated on the copper aade o a Dutch block o ats. Pre-patinated

copper ribbons were toned in a patination procedure during produc-

tion. When the shades and lengths o the ribbons were varied, the

end result was entirely unpredictable. This kind o approach was

adopted by Rietvink Architecten bna., a Dutch architectural ofce,

which designed the business and apartment building in Hoorn a

perect example o a successul and unprejudiced use o copper.

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Architect: Rietvink Architecten bnaOosthuizen, the Netherlands

Contractor:Leebo in Drunen, the Netherlands

Pictures by Erik Droog rom Rietvink ArchitectsWritten by Hannele Numminen

Arkkitehti: Rietvink Architecten bnaOosthuizen, the Netherlands

Urakoitsija:

Leebo in Drunen, the Netherlands

in Hoorn a celebration o copper colours

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The fve-star Astir Palace hotel on the Athenian Riviera

on the Mediterranean coast oers the guests a wonderul

escape to a world o luxury and indulgence. The hotel is

surrounded by the rich colours o Greece ranging rom the

greens o the landscape to the blues o the Mediterranean.

The hotel also has a spa and 77 bungalows entirely renova-

ted over the past year. Prepatinated Finnish Nordic Green

PLUS copper has been used as the roofng material or the

bungalows.

Mediterrane

Blue and greenIn addition to the hotel and the spa the Astir Palace also has 77

bungalows built in long chains near the beach. Te bungalows are

built on dierent levels orming a terraced prole on the shore.

Te landscape around the hotel area mainly eatures various sha-

des o blue and green, and one o the requirements set or the roo-

ng material was that it would melt into the surroundings. Sincethe Astir Palace is located in a protected conservation area, which

is archaeologically invaluable, a lot o actors had to be taken into

account in the design stage.

Te Zeppos Georgiadi & Associates Architectural Oce were

well aware o these special conditions when they undertook the

extensive renovation project. Tey were amiliar with the Finnish

Nordic products and asked or product samples o roong mate-

rials. Among these samples they ound exactly what they wanted!

Te samples o copper convinced the architects that prepatinated

copper would create the eect they had in mind or the bunga-

lows.

Excellent choiceTe Greek contractor Achilleus echniki S.A placed an order or

47 tons o Nordic Green PLUS copper ribbon. Te ribbon was de-

livered prepatinated, which meant it was easy and quick to install.

Te shade selected appears naturally aged and is in perect har-

mony with the surrounding cultural heritage. Besides, the other

properties o copper also justiy its use: it is a durable material able

to withstand the weather by the sea.

Installation was done by DBS-Steopoulos, a Greek sheet metal

works. Te complete renovation o the bungalows was an extensi-

ve project, but everything advanced speedily without any parti-

cular problems, and the project was completed in seven months!

Te word copper is believed to originate rom the Greek Isle o

Cyprus, so Greece has a long tradition o the use o copper.

By Hannele Numminen

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opper at the Astir Palace

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EUROPEAN ARCHITECTURALAWARDS LAUNCHThe 2009 European Copper in Architecture Awards have just been launched.

Architects involved with copper buildings are encouraged to enter and take advan-

tage o this major opportunity to present their work to an international audience.

These well-established Awards recog-

nise architectural excellence and cel-

ebrate the use o copper in all its orms.

The last two decades have seen their

transormation rom a UK based pro-

gramme highlighting cratsmanship,

into a major, design-led Awards event or

projects across Europe. Following the

recent growth in entries over 70 at the

last event - rom a wide range o coun-

tries, the 2009 Awards 14 will, or the

rst time, consider all entries together

to select the very best in contemporaryEuropean architecture. This continuing

growth in interest in the Awards mirrors

the increasing popularity o copper and

its alloys as inspirational, as well as en-

vironmentally sustainable, architectural

materials.

The design-led competition covers re-

cently completed buildings in European

countries participating in the European

Copper in Architecture Campaign. Tobe eligible, all entries must incorporate

cladding, roong or other architectural

elements o copper or copper alloys,

such as bronze. But any building type

can be entered rom major landmark

projects to more modest buildings.

There is also a discretionary award or

innovation in specic areas o relevance

today, such as sustainable building, eco-

nomical construction, preabrication,

conservation or new uses o copper.

Winning and shortlisted projects will

be eatured in a special issue o the

international magazine Architectural

Review, which will be available at theWorld Architecture Festival, held in

Barcelona during October 2009. As with

previous Copper in Architecture Awards,

the best entries will also be covered in

Copper Forum. All entries will be judged

by a panel o practising architects at the

oreront o design in Europe, chaired

by Paul Finch, Editor o Architectural

Review and Programme Director o

the World Architecture Festival. These

Awards are proving particularly impor-tant, not only to showcase the best and

most innovative uses o copper in con-

temporary design, but also to discover

By Chris Hodson

and present to a wide international audi-

ence exciting and inspirational architec-ture that might otherwise be missed.

Images and inormation on winning and

shortlisted projects rom recent Euro-

pean Copper in Architecture Awards

have been eatured in previous issues

o Copper Forum and brochures can be

downloaded rom the websites: www.

copperino.co.uk/arch and www.cop-

perconcept.org. Entry orms and details

o the 2009 Awards are also availableat these websites or via e-mail to: hel-

[email protected]. Entries must be

submitted by 31 May 2009 and the win-

ners will be announced at a presentation

in London, UK during September 2009

beore the World Architecture Festival.

www.copperino.co.uk/arch I www.copperconcept.org

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It will be a pleasure to chair the 14th series o the Copper in Archi-

tecture Awards. Te standard o architecture in the submitted entries,

and the imaginative use o this attractive material, has increased

signicantly in recent years, with the 13th Awards setting a very high

standard indeed or those taking part in the coming year.

Architecture is an international activity these days, and the gradualevolution o the awards scheme to refect the increasing specication

o copper by architects working outside as well as inside their own

countries has been appropriate and worthwhile.

I look orward to a stimulating day o judging in 2009, and to meet-

ing the winners in due course.

Paul Finch, Editor, The Architectural Review

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Tere is a long tradition o using copper and its alloys or decora-

tive embellishments and sculptural eatures, as well as a durable

external surace or roos, walls and other building elements (1).Although this tradition remains alive today through the skill o

cratsman, it does not play a signicant role in contemporary

architecture.

At the start o the 20th century, the modern movement her-

alded the active removal o surace decoration in architecture

summarised in the words o Mies van der Rohe: less is more.

In this environment, copper proved to be particularly adept as

a covering or the novel architectural orms that developed (2).

Because o its unique characteristics, copper also oered archi-

tects a solution to satisying another modern movement mantra:orm ollows unction.

And it continues to do so today, as this modern example shows

with a complex building orm designed as a direct response to

technical wind and snow requirements o its Arctic location, en-

abled by copper cladding (3). But the other modern movement

credo truth to materials also held, so that copper was just used

in fat sheets, jointed to suit technical rather than decorative re-

quirements and with its natural nish simply allowed to change

over time in the environment.

Te development o alternative nishes, colours and suraces

really began towards the end o the 20th century a process

which continues today. Te interest in the decorative potential

o copper coincided with post modernism, considered as the re-

turn o wit, ornament and reerence to architecture in contrast

to the ormalism o the modern movement. And it seems that

many architects are exploring new means o expression through

decoration but without returning to the past.

COPPER Decoration

and ArchitectureArchitect Chris Hodson traces the changes in ap-proach by designers to the use o copper as a dec-orative material, leading to the extensive array oarchitectural opportunities available today.

By Chris Hodson

Te rst steps in adding choice to the traditional bright mill

nish o copper sheet were actory treatments providing im-

mediately the dark brown oxidised copper or a green, textured

surace with similar characteristics to the natural patina which

takes several years to develop. Apart rom the obvious benets o

these products, architects seized the opportunities to use them

or design statements. For example, this British school is made

up o interlocking cubic orms, each characterised by a dierent

copper nish (4).

Te patination process o copper has always intrigued architects

and they continue to explore dierent creative surace treat-

ments. For example, ater completion o this shell-like, Spiral

Ca in the Centre o Birmingham, an artist specialising in

patination was commissioned to apply a coloured nish to the

external cladding, resulting in a rich, textured and durable ex-

terior (5).

In addition to these alternative surace nishes, new cladding

techniques have also emerged, oering architects a variety o

textures or their building acades. As well as traditional copper

sheets jointed using standing seams or batten rolls which have

a structured appearance, the long strip method was developed

or greater eciency. Tis method uses long, preormed trays

to minimise or eliminate horizontal joints - and has a proound

eect on its appearance. Architects have taken this principle or-

ward with striated cladding to stress horizontality or alterna-

tively verticality whether in regular or more random bands (6).

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1


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COPPER Decoration and Architecture

Other techniques are also popular such as copper shingles that

oer a distinctive sh scale appearance using a variety o shapes

including squares, diamonds and rhomboids (7). For a more

linear appearance, copper panels pre-ormed on two sides can

be used vertically, horizontally or diagonally, while cassettes in

more square proportions give larger areas o fat copper surace.

Most recently, alloys such as brass and bronze, and a golden al-

loy o copper and aluminium have been developed or architec-

tural applications. Again, architects have seized upon these op-

portunities to explore decorative treatments o eectively plain

areas. In this Middlesbrough project, regular bands o metal

cladding become abstract by the interplay o golden copper al-

loy panels with both mirror and mat stainless steel (8).

Tis trend or making a fat elevation into a piece o public art

is growing. Another recently completed example this time a

central London hotel combines brass and golden copper al-

loys to give apparently random, abstract coloured decoration to

an otherwise fat, regular aade (9). But at close quarters, the

variety and natural characteristics o the copper alloys add rich-

ness to the suraces, bringing them to lie (10).

With other recently developed orms o copper, its perception as

just a solid, rigid sheet is being broken down. In this example,

buildings are encased with a quilted curtain o copper alloy wire

mesh (11). Te phosphor bronze mesh panels are held in tension,

retaining fexibility and giving a remarkable tact ile quality (12).

A key word in architectural design today is transparency, with

architects exploring screens in ront o glazed acades or in

some cases within the glazing assembly. Generally they protect

glazing rom the sun and perhaps control views into the build-

ing whilst allowing views out. But, o course, these screens help

to dene the architecture o a building and copper solutions

are particularly popular. In the simplest orm, expanded coppersheets give a regular patterns over glazed acades (13). Lighter

versions are also used, in this case in the orm o a 1mm thick

copper net (14).

Perorated metal sheet is a well-used component o internal

building ttings and urniture but perorated copper has caught

the imaginations o many architects with its transparent quali-

ties and surace decoration possibilities or acades. In this Lux-

embourg example, an irregular design o perorations is simply

replicated on all panels, which are then juxtaposed together or

a more random surace (15).

But probably the most innovative interpretation o this tech-

nique and on a major scale can be ound at architects Her-

zog & De Meurons de Young Museum in San Francisco, USA

(16). Tis massive building is completely shrouded in a pero-

rated copper skin. Te pattern o perorations is not regular but

generated by images o tree oliage translated onto the copper in

varying hole sizes. Tis process mirrors the visual eects o dap-

pled tree shading across the buildings external suraces. Added

to this complexity is the architects intention that prevailing

winds on the site will accelerate the patination process to some

elevations, creating a natural variety o colours to the transpar-

ent veil.

The approach taken with the de Young Museum exemplifes how

architects today are exploring new ways to use the unique characte-

ristics and opportunities o copper or architectural decoration.

7 8

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COPPER Decoration and Architecture

9

12

14

16

10


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he long awaited BRE (BuildingResearch Establishment) GreenGuide to Specication has nowbeen launched in the UK. Although dis-

cussions will continue between the cop-

per industry and BRE to resolve some

issues, the Guide provides independent

endorsement o the low environmen-

tal impact o both copper roong and

cladding. Te Green Guide is a new,

on-line tool available at www.thegreen-

guide.org.uk - providing architects with

straightorward and independent guid-

ance on making the best environmental

choices or building materials. It looks at

specications or complete building ele-

ments, including structure, insulation,

weatherproong and internal nishes -

not individual materials. It then rates a

wide range o these elements rom A+

or best environmental perormance to

E or the worst, using Lie Cycle Analy-

sis (LCA) techniques.

COPPER RATEDTe copper industry has been working

alongside BRE or some time, providing

the most popular copper-based roong

and walling specications or consid-

eration in the Guide, together with the

most current LCA data. All the copper-

nished roos and most copper wall clad-

ding specications achieved the best A+

or A summary ratings. Even the ew

cladding specications with lower rat-

ings could easily be improved by replac-

ing particular components but not the

copper cladding itsel - with more sus-

tainable alternatives, something that the

copper industry is still exploring with

BRE.

Apart rom providing architects with

useul guidance when selecting materi-

als, Guide ratings orm an important

component o other environmental as-

sessment tools such as BREEAM 2008

and the Code or Sustainable Homes.

BREEAM is the Building Research Es-

tablishments Environmental Assessment

Method, a widely used environmental

assessment method or buildings in the

UK and other countries, with the new

version taking eect rom August 2008.

Various versions o BREEAM 2008 have

been created to suit common building

types such as healthcare, schools, in-

dustrial, oces, retail, law courts and

prisons - as well as a bespoke version or

others types o building. With BREEAM

2008, credits are awarded in nine catego-

ries according to perormance and added

together to produce a single overall score

on a scale ranging rom Pass to the new-

ly added Outstanding category.

SUSTAINABLE HOMESA similar approach is also taken with the

Code or Sustainable Homes, which re-

places BREEAM Ecohomes. Homes are

rated rom Code Level 1 above regu-

latory standards to the highest Level 6,

GREEN COPPERIn the last issue o Copper Forum (24/2008) architect Chris Hodson repor-

ted on sustainability considerations or building construction in the UK.

Since then, there has been a rush o developments which impact on theenvironmental credentials o copper in architecture, with important les-

sons or other countries as well.

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Helsinki Music Housecurrent status

Ola Laiho, architect SAFA

Helsinki Music House is an im-portant investment in Finnishculture at the start o the third mil-

lennium. Once completed, it will

play an essential role in the Finnish

music lie.

The decision on the construction

o the Music House was made atthe beginning o summer 2008, ol-

lowing an implementation design

stage based on an architectural

competition, and a long decision-

making process.

The Music House will be located on

a central plot in downtown Helsinki,

opposite the Parliament House, in

the vicinity o the National Museum,

the Finlandia House, Kiasma andthe railway station. Copper as a ma-

terial contributes signicantly to the

townscape.

Esko Miettinen, architect SAFA

Te winners o the design competition

or the Helsinki Music House were an-

nounced in 2000. Te location o the

House in the l Bay area had been

selected on the basis o extensive studies,

deliberations and public debate.

At the rst stage o the competition, 243approved entries were received. Six o

them were awarded as showing most po-

tential or development. Te second stage

was open or all the participants who had

submitted an approved entry at the rst

stage, i.e. almost seventy entries. Te jury

chose a mezza voice as the winner, and

the current designs are primarily based

on the solution presented in this winning

entry.

Te primary objective o the location and

layout o the building masses as well as

the environmental approach has been to

produce an integral and peaceul general

appearance or the building. Te House

is xed to the environmental coordinates,

with the two sides o the main mass ol-

lowing the directions o the Finlandia

House and the Parliament House, while

the tallest part o the main mass contin-

ues along the eastern wall surace o the

Karamzin Park. Te tallest sections o

the building are also as close to the green

zone as possible to create an impression

o a continuing belt o public buildings

into the park.

Te open glass side o the Music House

displays the activities carried out inside

the building and connects it with the

more recent buildings and architecture

on the east side o the area. Te more sol-

id aade on the street side is a perorated

copper aade with green patination,

seeking contact with the buildings in theEtu-l town block and the fush park

areas.

Te Parliament House is a signicant

contributor to the layout o the square.

Te view down rom the stairs o the

Music House toward the parks and ur-

ther to the Parliament House is open.

Te inclined deck o the lower building

part has been treated like a park envi-

ronment, descending toward south and

giving space to Kiasmas independent

architecture.

Te entrance square at the same level

with Mannerheimintie Road contin-

ues as a pedestrian and bicycle road to

Kiasma and as a ootpath down to the

event square at l Bay level. Tis citi-

zen square has been designed as a venue

or outdoor concerts and similar events,

with the upper inclined deck, Manner-

heimintie Road and even the stairs o the

Parliament House providing more space

or spectators. Te productions realised

in the Music House or also internation-

al music events could in the uture be

shown on a giant screen erected on the

square.

Point-xed glass wall in the oyer, suspended rom glasssupports. The concert hall mass is seen behind the oyer,and the administrative acilities are above the oyer.

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ClientKOY Helsinki Music House

End-usersSibelius Academy / Senate Properties

Helsinki Filharmonia HKOFinnish Radio Symphony Orchestra RSO

Project Management ConsultantISS-Proko Oy

Main/Architectural/Interior designLPR-arkkitehdit Oy

Acoustic designNagata Acoustics Inc.

Insinritoimisto Akukon Oy

Structural designInsinritoimisto Mikko Vahanen Oy

Insinritoimisto Oy Matti Ollila & Co

Site plan

Green mass as a continuation o the park zone

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Te Client has dened openness as an objective or the Mu-

sic House. Te aim has been to create an active connection

between the House and its environment and to provide an as-

sembly place or the audience.

Te House wishes to acilitate interaction between music

proessionals, students and spectators. Te lobby part o thebuilding that is connected with the event square is designed

as a mainly open space or visitors, with dierent music events

organised in the various parts o the lobby. Te oyer areas are

during the day utilised as caeteria and exhibition acilities.

Te second entrance to the building at the l Bay level

also provides access to the main lobby and urther to the oyer.

Te glass walls o the oyer open up toward the park views,

the event square in the south and the downtown parts o the

City. Te core o the building, a vineyard type concert hall is

accessed rom the ringed oyer level and the wall between the

two parts consists o two sound absorbing glass walls through

which the crater like concert hall can be seen rom the oyer

and lobby areas. Te visual connection can be blocked by a

curtain lowered into the space between the glass walls. Te

concert hall seats 1650 spectators, partly on the airly narrow

gallery level.

In addition to the concert hall, there will be ve smaller music

rooms, each with 150-300 seats. Te purpose o use o each

room has been taken into account in the design o the acoustic

eatures. Tis makes it possible to perorm dierent types o

music in a central location in downtown Helsinki. Te ground

level o the building contains the concert hall stage, the re-

hearsal rooms and the loading area. Most o the artists rooms

or both orchestras are also located on this level, round the

two atriums. Te administrative acilities o the Music House

and the orchestras occupy the top part o the tall oyer on the

south side.

Te classrooms and the oces o the Sibelius Academy are

grouped on seven foors round the atrium that looks toward

the Karamzin Park. Te public music library and the studios

o the Academy are located on the two lower foors, near theground lobby.

Te oundation engineering works as well as the construction

o the maintenance tunnel under lnlahti Street are cur-

rently under way on the Music House plot. Te costs are still

being claried as the plans progress and develop. Te Music

House is estimated to be completed in 2010.

East elevation

South elevation

Section

Floor plan, 2nd foor

Floor plan, ground foor

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Green aades o pre-patinated copper on the tall building mass

Foyer with beams and columns o steel constructionVineyard type concert hall. 1:10 acoustic scale model

Lobby with the bridge o steel construction in Sibelius Academy

Foyer acilities on the side o Citizen Park


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Award-winning,

luxurious Stella Maris

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Elements o a luxury hotelin an apartment building

A company called OOO Settle City com-missioned Architectural Oce Gerasimov

and co with S.V. Petrova as the main architect

to design the apartment building. Te aade

o the building consists o our dierent units

connected by bright glass-walled lobbies. Te

19-apartment Stella Maris is not ar rom the

centre, on the beautiul Ristisaari Island. Te

island is in the River Neva Delta, where local

people oten gather to enjoy their leisure time.

It is easy to reach by underground. Tere are

a lot o other highly respectable houses and

parks on the island that people go to see and

admire or their architecture.

Stella Maris has its own granite street lead-

ing up to the building. Instead o the ordi-

nary, usually boring staircases, the building

welcomes those who enter with bright and

spacious lobbies. Te building also eatures a

beautiul conservatory where the lucky resi-

dents can enjoy an ever-lasting summer round

the year. In the building there is also a SPA

department and a gym, which enables the resi-

dents to keep ft without stepping outside. Te

basement also houses a sae car park, and boat

owners can dock right in ront o the building.

Anything that the residents could possibly de-

sire is certain to be available.

Tis type o community could also be called

a big amily as the residents can spend time

together on common premises. With shared

acilities it is, o course, extremely importan

that the residents have similar values and en

joy each others company. All this has bee

taken into consideration in the marketin

o the apartments, and the buyers are care

ully selected. Tis guarantees that the luxur

homes will hold their value and be attractiv

to uture buyers, too.

The Nordic Green PLUS copper onthe roo

As a whole, Stella Maris is the ultimate i

class with nothing but the best materials use

in construction. Te exceptional shape o th

roo draws a passer-bys attention, and th

our roo arcs can be seen as waves in the sea

Te aade o the building has a lot o glass

which means the inside is bathed in light and

oers magnifcent views o the river. Finnish

copper manuactured by Luvata Pori Oy ha

been used or the roo. Te malleable materia

is easy to shape, so the creation o the curve

and bends o the building involved no di

culty. Te shade o colour used is the patin

green Nordic Green PLUS to match the sur

roundings and complement the combinatio

o glass and brown rock. Te superb Stell

Maris won a silver medal in the Rakennus

taide Architectural Competition in 2007. T

apartments under the glowing copper roo

are certain to live up to the expectations o

the most demanding resident.

The fve-storey Stella Maris apartment building is a fne example o mo-

dern architecture and high-class homes in todays St Petersburg. Side by

side with the old and historically valuable buildings there are luxury homes

that represent the latest in modern architecture and eature every concei-

vable service under one roo. Architects have been able to come up with and

implement innovative ideas more or less unheard-o in ordinary building con-

struction. Stella Maris is one o these ascinating buildings, and it was awar-

ded a silver medal in the Rakennustaide 2007 Architectural Competition.

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