PRESS INFORMATION JUNE 2016 - VMZINC · Edition of the Archizinc Trophy by VMZINC ® ± June 2016...

7TH EDITION OF THE ARCHIZINC TROPHY BY VMZINC®:

USING ZINC TO SUBLIMATE CONTEMPORARY ARCHITECTURE

P RE S S IN F O RM A TI O N JU N E 2016

7th Edition of the Archizinc Trophy by VMZINC® – June 2016 2

Twelve years after its creation, international architects are as enthusiastic as ever about the VMZINC® ARCHIZINC

TROPHY architecture competition, as demonstrated by this 7th edition, which received over 150 projects from 18

different countries. Last March, a jury of professionals from the world of architecture awarded 12 prizes: 9 prizes

in the 4 categories (Individual Housing/Collective Housing/Commercial Buildings/Public Buildings)

and 3 special prizes. More than just buildings, these prizes were awarded to comprehensive projects combining

architectural quality, harmonious integration into the environment and aesthetic balance, using creative

applications that highlight VMZINC® solutions.

This bi-annual competition confirms VMZINC®'s extensive

influence worldwide and its capacity to bring together

diverse cultures, building typologies and architectural styles

focusing on zinc. This noble, natural and recyclable

material is used in a multitude of applications and

surface aspects, in both new buildings and

renovations: from the extension of a monastery to the

construction of a new-generation shopping centre, via an

ecological training centre, a house with an atypical style and

the renovation of a historic museum.

The VMZINC® ARCHIZINC TROPHY competition also demonstrates the strength of the connections established

between architects and the brand, between construction players and zinc. A lasting partnership, recognised during

the awards ceremony on Friday 10 June 2016, at the Théâtre du Chatelet in Paris. Each winning architect will be

showcased in October 2016 in a special issue of VMZINC®'s architecture magazine “FOCUS ON ZINC”. With 50,000

copies published and distributed in approximately thirty countries, this publication gives the architects an

opportunity to promote their project worldwide.


AWARDS AND SPECIAL MENTIONS

INDIVIDUAL HOUSING WINNER

SPECIAL MENTION

SPECIAL MENTION

COLLECTIVE HOUSING WINNER

COMMERCIAL BUILDINGS WINNER

SPECIAL MENTION

PUBLIC BUILDINGS WINNER

SPECIAL MENTION

SPECIAL MENTION

SUSTAINABLE BUILDING AWARD

INTERNET USERS AWARD

JURY’S SPECIAL AWARD

CASA GOLF, HONDARRIBIA (SPAIN)

REHABITE - ENRIQUE ECHEVERRÍA LECUONA, ARITZ

BERASTEGUI AIZPURUA AND JOSU LAGUARDIA IGIÑITZ

PUBLILETTRE HOUSE, BORDEAUX (FRANCE) FABRE/DE MARIEN AND LESGOURGUES JULIE FABRE AND EMMANUELLE LESGOURGUES

PRIVATE HOUSE, HOHENEMS (AUSTRIA) MARC HOFFENSCHER

CANOPÉE RÉSIDENCE, BORDEAUX (FRANCE)

BROCHET LAJUS PUEYO - NICOLAS MERLO

THE 82 BANK LEARNING CENTER, NAGANO (JAPAN)

NIKKEN SEKKEI LTD - MASANORI YANO AND YUKA HAGIWARA

ABDOUN FASHION ATRIUM, AMMAN (JORDAN)

SYMBIOSIS DESIGNS LTD - KHALID NAHHAS

MUSEUM OF FINE ARTS, OVIEDO (SPAIN)

MANGADO Y ASOCIADOS S.L – F. J. MANGADO BELOQUI

DAOIZ Y VELARDE CULTURAL CENTER, MADRID (SPAIN)

RAFAEL DE LA-HOZ ARQUITECTOS

SANTA-MARIA MONASTERY, ARMENTEIRA (SPAIN) RODRÍGUEZ+PINTOS ARQUITECTOS JAIME RODRÍGUEZ ABILLEIRA AND SANTIAGO PINTOS PENA

MOULINS HIGH SCHOOL, LILLE (FRANCE)

CHARTIER DALIX ARCHITECTES

SÉBASTIEN CHEVANCE, FRÉDÉRIC CHARTIER AND PASCALE DALIX

CO-ARCHITECT AVANTPROPOS ARCHITECTES

DAAN RESIDENTIAL, TAIPEI (TAIWAN)

ROGERS STIRK HARBOUR + PARTNERS - DAVID WENG

CO-ARCHITECT C.T. CHEN ARCHITECTS & ASSOCIATES

RECONVERSION AND EXTENSION OF THE FORMER HOSPITAL,

MEURSAULT (FRANCE)

JUNG ARCHITECTURES - FRÉDÉRIC JUNG

CO-ARCHITECT SIMON BURI


INTERNATIONAL PROFESSIONALS JURY

Last March, all the projects were assessed by an International Jury. These nine leading architecture professionals from Belgium, Canada, Denmark, England, France, Germany and Spain, and their Chairperson

NICOLA LEONARDI DALL’OCCA DELL’ORSO, Editor-in-Chief of Italian architecture magazine THE PLAN, were appointed for the quality of their work and their in-depth knowledge of architecture and its mutations. They awarded

twelve prizes and special mentions, distinguishing creations with innovative, original zinc envelopes. The selection was made based on four criteria:

- architectural originality of projects, - innovation in the use of zinc, - functionality, - respect of the environment.

NICOLA LEONARDI DALL’OCCA DELL’ORSO (EDITOR-IN-CHIEF, THE PLAN, ITALY)

He launched architecture magazine THE PLAN in 2001. In 2008, he created THE PLAN - URBAN DEVELOPMENT and signed a contract with publishing house THAMES & HUDSON for

the international publication of a series of volumes dedicated to architecture. In 2010,

he set up an international forum on architecture: PERSPECTIVE EUROPE. He has also given several lectures in approximately twenty towns in Italy and was a jury member for

several competitions including THE WORLD ARCHITECTURE FESTIVAL, ENERGY PERFORMANCE + ARCHITECTURE AWARD and LEADING EUROPEAN ARCHITECTS FORUM

AWARD.

ANTOINE BUISSERET (ARCHITECT, GROUPE-6 STUDIO, FRANCE)

After starting his career in London with NICOLAS GRIMSHAW & PARTNERS and subsequently ARCHITECTURE-STUDIO, he joined GROUPE-6 studio in 2002. He became an associate in

2008, and was appointed managing director in 2014. He received the Jury’s Special

Prize for the SENIOR CITIZEN CENTRE in Helsinki (2008) and the Hospital Built Award for the ROYAL MATERNITY (2011). In 2015, he won the private competition for a project to

build a tower in Bahrain, which will house the JW MARIOTT HOTEL. A member of AFEX, he is currently working on the Mixed Use CASANOVA BUILDING AND THE CHARTRES ARENA,

and has submitted a project for the restructuring of the LARIBOISIÈRE Hospital Complex

in Paris.

DAN CORNELIUS (ARCHITECT, CORNELIUS + VÖGE STUDIO, DENMARK)

In 2006, he founded the CORNELIUS + VÖGE studio, in collaboration with architect NANNA VÖGE. Both are committed to sustainable architecture. He received numerous

awards and won several national and international competitions, in particular the HATLEHOL Church and Cultural CENTRE in Norway and the NORTH ATLANTIC HOUSE in

ODENSE, DENMARK. DAN CORNELIUS also lectures on a part-time basis at the Aarhus

School of Architecture, the Royal Academy School of Architecture in Copenhagen and the School of Design in Kolding.

BERNARD DECLERCK (ARCHITECT, DECLERCK - DAELS ARCHITECTEN STUDIO, BELGIUM)

In 1995, he joined the REICHEN & ROBERT firm for a year, before working as a designer

for VK STUDIO until 2002. He subsequently worked with various firms until 2007, when

he launched the DECLERCK DAELS ARCHITECTEN STUDIO. He also works as a freelance designer for DUGARDYN ARCHITECTEN in Bruges, and is a member of the urban planning

commission in Roeselare.


GONTRAN DUFOUR (ARCHITECT, VS-A STUDIO, FRANCE)

In 2002, he became an associate at the VAN SANTEN & ASSOCIATES architecture firm,

and was subsequently appointed co-manager of the firm under its new name, VS-A, in

2008. The Confluences Museum in Lyon features among his many references. In parallel, GONTRAN DUFOUR is a part-time lecturer at the Lille school of architecture, and

speaks at conferences in Europe and Asia.

JEAN-BAPTISTE PIETRI (ARCHITECT, PIETRIARCHITECTES STUDIO, FRANCE)

Created in 2001 by J.B. Pietri, a graduate of the Paris-Belleville Architecture School, PietriArchitectes studio now has a staff of fifteen. It works on projects all over France,

mainly in the Paris region and in the South East of France. Its work focuses on housing and its evolution, as well as on high-rise housing, hotels and facilities. It has a

contemporary architecture approach that focuses on contextual harmony, subtle modernity and breaks away from the radicalism of modernism.

HEINZ RICHARDSON (ARCHITECT, JESTICO + WHILES STUDIO, ROYAUME-UNI)

HEINZ RICHARDSON is director at JESTICO + WHILES, an architecture studio that has

received over a hundred national and international awards. He is a passionate believer

in the use of natural resources to create sustainable and socially responsible architecture. A former member of the RIBA SUSTAINABLE FUTURES COMMITTEE, he was

also a member of the CIVIC TRUST AWARDS jury. He has given several lectures in Europe and was examiner at Sheffield Hallam University and South Bank University in London.

He is a member of the ROYAL SOCIETY OF ARTS and the SOCIETY FOR BRITISH INTERIOR

DESIGN.

CARLOS SANTI MERAYO (ARCHITECT, E. BARDAJI ARQUITECTURA S.L.P STUDIO, ESPAGNE)

In 1989, he and architect ENRIQUE BARDAJÍ ÁLVAREZ became associates and created E. BARDAJÍ ARQUITECTURA S.L.P. Studio. Among many prizes received, he was highlighted

in the magazine NAN for best renovation with the MAKRO building (2014) and the ASPRIMA Award for the energy efficiency upgrading of the EL CORTE INGLES building in

Goya (2013). In 2012, he became a member of the OFFICIAL COLLEGE OF ARCHITECTS OF

MADRID (COAM).

SUZANNE SCHAMP (ARCHITECT, SCHAMP & SCHMALÖER STUDIO, ALLEMAGNE)

In 1992, she created her studio with RICHARD SCHMALÖER. Their studio won the BDA Award for the design of five railway stations linking Dortmund city centre with the

suburb of Eving (1995), and the ARCHIZINC TROPHY AWARD in the Public Building category for the university library in Wuppertal, Germany (2014). She teaches in architecture

schools and is active with several architects’ associations. Since 2012, she has been

chairperson of the Advosry Council on architecture for the towns of Arnsberg and Ahlen, near Dortmund.

STEPHEN TEEPLE (ARCHITECT, TEEPLE ARCHITECTS STUDIO, CANADA)

In 1989, after graduating, he founded his studio: TEEPLE ARCHITECTS. He became a member of the ROYAL INSTITUTE OF ARCHITECTURE of Canada (1998) and

was made a member of the ROYAL ACADEMY OF ARTS (2006). Among his prizewinning

projects, the STEPHEN HAWKING CENTRE received three different awards: finalist of the AZ AWARD, SPECIAL Mention at the ARCHITIZER A+ AWARDS and the OAA AWARD OF DESIGN

EXCELLENCE. He has also spoken at conferences and given several classes in the universities of Toronto, Ryerson, Carleton and Waterloo. In 2008, he received the

Queen’s Daimond Jubilee medal for his exceptional contribution to Canadian culture

and service to the Royal Academy of Arts.


PROJECT DESCRIPTIONS


INDIVIDUAL HOUSING WINNER

CASA GOLF, Hondarribia (Spain) Architect REHABITE - ENRIQUE ECHEVERRÍA LECUONA, ARITZ BERASTEGUI AIZPURUA AND JOSU LAGUARDIA IGIÑITZ Contractor PIZAR NORT Technique VMZ STANDING SEAM Aspect ANTHRA-ZINC® Surface in zinc 350 m²

FROM CULTURE TO NATURE In order not to defigure the landscape in which it is set, Spanish studio REHABITE chose to incorporate a house

into a rock to integrate it into a natural site.

Invited to design a house for a couple and their child on the

slopes of Mount Jaizkibel in the Spanish Basque country, the architects managed to reconcile two opposite intentions: the idea

of a massive block, evoking stone and its telluric forces, which

seems to have sprung from the ground; and that of a lightweight construction designed for minimum disruption of nature.

PHOTO COPYRIGHT: VMZINC® - PAUL KOZLOWSKI

The site is intimidating. The plot is located on the edge of a golf course, far from the urban extensions of

Hondarribia, the neighbouring town. Above all it enjoys a breathtaking panoramic view over the sea, surrounding nature, the town of Hendaye and the Bidassoa River, which separates France and Spain.

The house, which seems to have been simply placed on top of the ground, immediately evokes mobile container architecture, such as that used for caravans or spatial capsules. Surfacing work was carried out during initial

development of the site, making it possible to obtain relatively flat ground using backfill. The quality of the plot determined the layout of the house and the structural choices. The parents’ bedroom is entirely cantilevered,

several dozen centimetres above ground, positioned above a three-metre embankment. The rest of the structure was made with blocks, with some subtle features enabling the installation of corner windows overlooking the

horizon.

The architects initially thought of installing prefabricated reinforced concrete panels on the facade. Having

hesitated between several materials, they finally chose ANTHRA-ZINC®. “We had never used it on facades, but we were convinced we had found the appropriate material. The singularity of the joints along three different

widths of bay and the nobility of the material gave us the special finish we wanted for the house”, explains the

architect, who adds: “The colour black always confers a certain elegance to a building, while introducing a touch of mystery”, especially as it contrasts with a totally white interior.


INDIVIDUAL HOUSING SPECIAL MENTION

PUBLILETTRE HOUSE, Bordeaux (France) Architect FABRE/DE MARIEN AND LESGOURGUES JULIE FABRE AND EMMANUELLE LESGOURGUES Contractor CERE Technique VMZ ADEKA Aspect NATURAL ZINC Surface in zinc 160 m²

BACK TO THE CITY

The logic behind the rebuilding of a former warehouse district

in Bordeaux is similar to acupuncture treatment, and very far removed from that of large projects.

For a long time, the Chartrons district on the outskirts of Bordeaux’s historic centre was an area outside the walls of the city. A population

of wine traders, unauthorised to reside in the city, settled here. The expanding wine trade led to the construction of warehouses on old

marshlands, and subsequently generated the creation of all sorts of activities related to the trade. At the end of the Second World War, the

Chartrons district, which had been abandoned by its inhabitants and

never reclaimed, gradually fell into disuse and became a dilapidated urban wasteland. The urban renewal of Bordeaux injected new life into

this area, which is in fact quite central. The quays delineating the limits of the district to the south were transformed into a promenade,

strengthening the appeal of the area. Housing was created in the

former warehouses, taking advantage of the existing structures to design atypical spaces.

PHOTO COPYRIGHT: VMZINC® - JULIEN FERNANDEZ

The rehabilitation of a small building in the Chartrons district by architects FABRE / DE MARIEN, in association with

EMMANUELLE LESGOURGUES, was launched on the initiative of its owner, a printer whose workshop occupies the far

end of the plot. The programme features two apartments (including one duplex) and had to incorporate the presence of the industrial activity that would remain on site. The ground floor of the new construction contains a

garage and a passage leading to a courtyard, which gives access to the print works and the apartments, via an exterior staircase in galvanised steel. This means that vertical traffic does not impinge on the surface area of the

apartments. The second floor landing also serves as a terrace for the second apartment.

Only the street-facing stone facade was retained. The extension and new roofs were made using solid timber

panels fully clad with a skin of natural zinc shingles reinterpreting the motifs of slates. The zinc cladding solution VMZ Adeka creates an effective link with the existing facade, giving it a highly urban and industrial touch, evoking

the shell of an animal while at the same time blending harmoniously with the mineral aspect of the stone.


INDIVIDUAL HOUSING SPECIAL MENTION

PRIVATE HOUSE, Hohenems (Austria) Architect MARC HOFFENSCHER Contractor JÄGER GMBH Technique VMZ SHINGLES Aspect AZENGAR® Surface in zinc 500 m²

« CAIRO TESSELETION » It is sometimes necessary to look back at the history of architecture when searching for solutions to

formal issues in the most contemporary projects. Take Hohenems, in Austria, for example, where an Egyptian motif was used for a double zinc skin. An unexpected link between time and architectural

expression.

Whereas traditional houses reflected society, social organisation and local culture, modern houses express

personality and exalt the originality of their inhabitants. Contemporary houses should always be architectural laboratories, where the degree of experimentation depends only on the client and the limitations imposed by local

regulations. In Hohenems, in Austria, the latter were sufficiently flexible to enable the emergence of a sort of iceberg in an otherwise classic city-centre district. The house rises up from the ground like a block. Nothing about

it evokes traditional housing, neither its huge windows, its rhomboid volume, its colour, nor the material on its

facade, made with AZENGAR® zinc shingles. Installation of this material on the entire envelope, from ground to roof, underlines the artistic dimension of the house and make it look like an inhabited sculpture.

A daring choice, which did not go unnoticed in the neighbourhood. It took the architect six years to complete his

project, which generated severe opposition in the locality and the municipality. The client also resisted this

adversity, without giving in to the discouragement that could have resulted from the extended timescale.

The house is used both as his work place and his daughter’s home. On the ground floor there is a doctor’s surgery, above which there are two floors of accommodation, with a car park in the basement for seven vehicles. The

strange volume of the building was designed to maximize the surface area of the plot, using all the building rights allowed by law, while remaining compatible with the inclusion of

three separate entrances.

To create the envelope, the architect wanted to use cladding that

was neither too clean nor too rigid and that could elegantly reflect light. The layout plan for the material had to be compatible with

the form of the house. The solution came from the other side of

the Mediterranean. The architect decided to install pentagonal shingles arranged according to a motif known as “Cairo

pentagonal tiling” (Cairo Tessellation). The shingles were simply installed on a metal framework. Discreet dimpling was used for

overlapping, which features no relief and gives this cyclopean bonding a regular aspect and an almost industrial finish.

PHOTO COPYRIGHT: VMZINC® - HOFFENSCHER ARCHITEKTEN


COLLECTIVE HOUSING WINNER

CANOPEE RESIDENCE, GINKO ECO-DISTRICT, Bordeaux (France)

Architect BROCHET LAJUS PUEYO - NICOLAS MERLO Contractor MORICEAU Technique VMZ CASSETTES Aspect ANTHRA-ZINC® Surface in zinc 910 m²

A MINERAL TOTEM Designed as an urban signal in a new GINKO eco-district of the

city of Bordeaux, the CANOPEE building is located in a huge block of six buildings featuring various typologies. It is

distinguished by its contrasting materials, a mix of white concrete and dark grey preweathered zinc.

The municipality of Bordeaux launched an ambitious construction programme for 50,000 housing units located at various sites. The main

constraint, which dictated the layout of this new housing, was to connect it with the public transport networks with a view to reducing travel in

individual vehicles.

With 2,700 housing units serviced by a tramline extended for this

purpose, the new Ginko district should contribute to reaching the objectives of the 50,000 housing unit plan. Developed according to the

French joint development zone procedure, this 32-hectare area is also the city’s first labelled eco-district. It’s location by the edge of a lake, on

the site of an old partially conserved pine wood, makes it a very appealing district. The housing was designed to facilitate diversity: the

units are not just different in terms of type – collective buildings, clusters

of houses, etc. – but they are also accessed via different types of routes — boulevards, streets, alleys — creating diverse atmospheres and

means of circulation.

PHOTO COPYRIGHT: VMZINC® - ARTHUR PÉQUIN

The urban pattern of the operation was defined by the Devillers firm, in association with Bordeaux studio Brochet-

Lajus-Pueyo, which was also in charge of the plan for the Canopée block occupying the bow of the Ginko district.

In this programme featuring 119 housing units in six buildings, Brochet-Lajus-Pueyo created a small tower occupying a strategic position at the corner of the plot, on the banks of a canal. The building benefits from two

facades facing this waterway and the park. Positioned in a very pleasant location, it also serves as a signal for the entire district. The architects designed it as a totem, a hollow volume with recessed balconies framing the two

story housing units. To strengthen this sculptural effect, ANTHRA-ZINC cassettes were installed in second position

in order to create a contrast with the white concrete shell. Apart from its colour, the qualitative, non-industrial aspect of this material determined the architects’ choice.


COMMERCIAL BUILDINGS WINNER

THE 82 BANK LEARNING CENTER, Nagano (Japan)

Architect NIKKEN SEKKEI LTD - MASANORI YANO AND YUKA HAGIWARA Contractor SHIMIZU CORPORATION / DHOKIN Technique VMZ INTERLOCKING PANEL AND LOCAL SOLUTION ON ROOF Aspect QUARTZ-ZINC®

Surface in zinc 2,200 m²

ECOLOGICAL ORIGAMI

Crowning a resolutely ecological training centre, zinc roofs define a porous border between the city

and nature, fully in line with the convictions expressed by the client, a local bank in this Japanese prefecture.

Nagano is the city of origin of the 82 Bank, which claims to be an “ecological bank”. The training centre inaugurated

to celebrate the bank’s 82nd anniversary had to reflect this original feature, especially as it is built on a plot

adjoining a forest reserve, ensuring the transition between the urban landscape and the mountains.

The project designed by Nikken Sekkei reconciles iconic

architecture and environmental respect. Taking the

conservation of all existing mature trees on the plot as a starting point, the architects fragmented the centre into two

main entities that are identifiable by their main roofs: two large sloping rectangular planes with diagonal folds. This zinc roofing

stretches down over the facade, defining new limits for

urbanisation. Secondary roofing signals the entrance and administrative areas. One of the two main buildings houses the

guest rooms for staff in training. The other accommodates the classrooms.

PHOTO COPYRIGHT: VMZINC® - HARUNORI NODA (GANKHO-SHA)

The forest was not the only element considered to enable the centre to blend harmoniously with its surroundings.

As the training courses can start early in the morning and finish late in the evening, the centre is designed to avoid any disturbances for the neighbourhood. Facades facing the neighbouring houses are closed, while those

facing the surrounding nature have large windows. This orientation also facilitates cooling by prevalent winds

during mid-season. Those sections of the building nearest the residential zone are lower in height, in order to facilitate contextual integration.

The buildings have a concrete structure. The zinc skin protects the roof during winter time. As we can see, the

longitudinal joints of the roofing elements are perfectly flat, thanks to a highly specific local technique with joint-

covers clipped onto aluminium profiles. This solution strengthens the image of a tight skin and creates the sobriety requested by the client. Reminiscent of origami, the folds on the roof are designed to echo the horizontality of the

gutter, despite the slope of the ridge. For the architects, this geometric layout evokes the old training centre, especially the traditional architecture of the house accommodating it.


COMMERCIAL BUILDINGS SPECIAL MENTION

ABDOUN FASHION ATRIUM, Amman (Jordan) Architect SYMBIOSIS DESIGNS LTD - KHALID NAHHAS Contractor PETRA ALUMINUM COMPANY LTD. Technique VMZ COMPOSITE Aspect QUARTZ-ZINC® Surface in zinc 2,322 m²

BLOCKS OF TWO OPPOSITE STYLES The Abdoun Fashion Atrium shopping centre is designed to celebrate the coming together of

architecture and fashion, with a play on fluidity, vitality and strangeness. A microcosm where the

importance of voids is not forgotten, and where small squares and passages forming genuine architectural promenades are installed in the gaps.

Amidst the turmoil of the Middle East, the stability of Jordan has led to relative economic prosperity, justifying the

development of new shopping centres such as the Abdoun Fashion Atrium. There are high ambitions here: more than just a series of shops, the promoter intended to create an avant-garde complex in keeping with the products

sold here by top range fashion houses. The project by architect Khalid Nahhas focuses on the link between fashion

and architecture, expressing common features of both such as lightness, evanescence and fluidity. The programme is broken down in two blocks with deliberately opposite styles. The first of these, called “the flamboyant, is opaque,

massive, irregular and daring, with its spectacular overhang. The second, in the form of a prism, stable and solidly rooted in the ground, serves as a contrast to the first and deserves its name “the base”.

The backdrop for this confrontation is a residential district of the capital. The antagonism unfolds subtly in a plot

subject to urban regulations. The lengthwise alignment of the “Base” and the “Flamboyant” on the plot means the

interior is visible from the outside, with perforations looking over the distant landscape. Regulations required the centre to be offset from the far end of the plot and from the street, to keep the legal distance from the

neighbouring buildings. This made it possible to create two small squares overlooking a third hollow space inserted between the buildings. This is the entrance to the centre, accessed down a monumental staircase or an escalator.

The different levels, the installation of footbridges, flights of steps and voids create diverse means of getting around the centre that are unimaginable from the street.

The Flamboyant lives up to its name. The irregular, tapered openings seem to be cut out of a mineral mass made entirely of

zinc, as rigid as a shell or a shield. The arbitrary layout of the perforations erases any reference to constructive order, blurring

the concepts of gravity and underlining fluidity and lightness. This quality was decisive in the choice of material for the envelope. The

architects wanted it to be lightweight and reactive to the vagaries

of the climate. They also wanted a natural material. Perforated composite zinc panels were used in a rather sophisticated double

skin system. The cuts in the panels contribute to ventilation, management of lighting and views, while minimizing the quantities

of material used thanks to the intelligence of the design.

PHOTO COPYRIGHT: VMZINC® - OSMAN AKUZ AND SYMBIOSIS DESIGNS LTD


PUBLIC BUILDINGS WINNER

MUSEUM OF FINE ARTS, Oviedo (Spain) Architect MANGADO Y ASOCIADOS S.L - FRANCISCO JOSE MANGADO BELOQUI Contractor CUBIERTAS LAS MURIAS Technique VMZ STANDING SEAM Aspect QUARTZ-ZINC® Surface in zinc 1,393 m²

THE MUSEUM BLOCK Urban couture is a metaphor often used to describe construction operations in city centres. The Fine Arts Museum of Asturias in Oviedo, Spain, is a perfect illustration of this metaphor. Architect

FRANCISCO MANGADO was determined to give coherency to an institution housed in several buildings dispersed within the same block at the heart of the Asturian city.

When the Spanish provinces became autonomous after the fall of the Franco regime, institutional facilities were created to embody the new status of the regions. Although it was planned in 1969 by the provincial government

and the municipality, the Fine Arts Museum in Oviedo is also a result of this wave of decentralisation. Having been inaugurated in 1980, the issue of its extension was raised in the noughties. The surface area of the three city

centre buildings - Oviedo-Portal House, Carbajal-Solís House and the Velarde Palace, built in the 17th, 18th and

20th centuries – were no longer sufficient to house a collection regularly enriched thanks to an assertive acquisition policy, not to mention the contribution of the collection bequeathed by financier Pedro Masaveu Peterson. Moving

the museum to gain extra space was not considered an option, as preference was given to retaining its city centre location, just a stone’s throw from the plaza Alfonso II. Five adjoining buildings were acquired, despite the

numerous constraints this involved: narrow buildings with several different owners, archaeological remains that

disrupted site work, etc.

Restructuring of the buildings was awarded in 2007 through a competitive process to architect Navarrais FRANCISCO

MANGADO, who had already worked on several cultural facilities throughout Spain. The obsolescence of the existing

buildings necessitated a complete overhaul, and only the facades were retained. These became a sort of texture, a matrix to which the new facade does or does not connect. Mangado took advantage of this difference by adding

reflecting frames that provide novel views onto the city and create blurred reflections. The architect wanted to

create this blurred effect, so much so that he developed specific materials for this project such as ribbed glass that acts as a mirror reflecting the rear of the block and the space between the new and old facades.

Natural light is a particularly sensitive subject in a museum. Some

natural light comes from the street-facing windows, and some

comes from the large skylights that give a sculptural look to the roof. Perfectly identifiable in the urban fabric thanks to these three

QUARTZ-ZINC turrets, the roofing is designed to be visible from a distance, but discreet at closer view. To do this the architect set the

gutter and the three protruding skylights back towards the interior of the block.

PHOTO COPYRIGHT: VMZINC® - PEDRO PEGENAUTE


PUBLIC BUILDINGS SPECIAL MENTION

DAOIZ Y VELARDE CULTURAL CENTER, Madrid (Spain)

Architect RAFAEL DE LA-HOZ ARQUITECTOS Contractor AMADO RAMOS HERRANZ S.L. Technique VMZ STANDING SEAM Aspect NATURAL ZINC Surface in zinc 2,000 m²

WAR AND PEACE

Whether they are military or industrial, wastelands

often provide excellent bases for the creation of cultural centres, as demonstrated yet again by the

rehabilitation of the former Daoiz y Velarde Arsenal in Madrid.

Since it was abandoned by the army, the site of the arsenal

was gradually reconverted into a cultural centre by the city of

Madrid, which owns the building. The industrial heritage legacy is a fundamental element of the project. In this case,

architect RAFAEL DE LA-HOZ took a pragmatic approach to reconverting the buildings formerly used to house artillery. On

the one hand, he wanted to preserve the image of the existing

building, defined by its saw-tooth roofs and their characteristic silhouettes, as well as by the trapezoidal layout of the

envelope.

PHOTO COPYRIGHT: VMZINC® - ALFONSO QUIROGA

On the other hand, he undertook significant modifications with a view to adapting the site to the requirements of

the cultural programme to be accomodated in the building. Emptied of its walls and machines, the ground floor

of the former hall became a vast, covered square inundated with light via the glazing in the roof, strangely south-west facing and supported by the original metal structures. A deliberate conservation involving underpinning

operations, as the floor was excavated two levels below its original level in order to create volumes large enough to house a theatre and a large exhibition space. Out of the centre’s 6,800 m² of surface area, 3,063 are housed

underground in the newly created spaces. Access points were reorganised at all levels and each floor has direct

access to the exterior. The facades were remodelled to accommodate the new entrances.

From an environmental point of view, the centre is equipped with geothermal wells drilled to a depth of 150 metres, which supply an air/water heat exchanger that can produce cooling. The roof is also equipped with a

ventilation system ensuring a comfortable atmosphere in the premises throughout the year. Bright glazing makes the centre welcoming and modern. A new natural zinc box dominating the top of the building and accommodating

the stage house, demonstrates the building's new purpose. Its size and geometry break with the existing building,

overtly dominating the saw-tooth roof and asserting the new life of the venue without disowning its past history.


PUBLIC BUILDINGS SPECIAL MENTION

SANTA-MARIA MONASTERY, Armenteira (Spain)

Architect

Technique Aspect

RODRÍGUEZ+PINTOS ARQUITECTOS - JAIME RODRÍGUEZ ABILLEIRA AND SANTIAGO PINTOS PENAVMZ STANDING SEAM

NATURAL ZINC

CISTERCIAN HERITAGE

Founded in Burgundy at the end of the 11th century, the

Cistercian order extended its spiritual influence

throughout Europe. The values of asceticism and rigour, on which its success was built, can also be found in its

buildings. Simple and sober, eight centuries after they were built, they continue to fascinate architects. This

fascination is perceptible in the strong, minimalist

extension designed by the architects at the Rodriguez+Pinto studio in Galicia.

PHOTO COPYRIGHT: VMZINC® - HÉCTOR SANTOS-DIEZ

The Santa-Maria d’Armenteira monastery bears witness to the Cistercian presence in the North of Spain, not far

from Santiago de Compostela. Clairvaux monks started its construction in 1167. Having been modified several

times, the religious complex retains its austere character, even though the only remaining original features are the church and the layout around a cloister. Abandoned following the policy on the confiscation of goods decided

in 1835 by minister Mendizabal, the monastery was practically in ruins in 1963, when an association decided to start restoring it. In 1989, a group of nuns from Alloz moved into the premises and set up as an independent

congregation.

The monastery’s extension was designed in response to a precise requirement of the nuns: a space in which to

make the food products they produce and sell in order for their community to earn a living. Construction of the workshops was the second major project for the Rodríguez y Pinto studio in these ecclesiastic premises. The

Galician architects had already worked on landscaping the monastery’s cemetery using a concave design repeated in this project. Taking advantage of the plot’s slope, the new premises are semi-underground in a large quadrangle

surrounded by low walls reinterpreting the former Cistercian refectory, which was demolished in the 18th century.

Reminiscent of an archaeological dig and almost invisible, the extension appears more like a series of

embankments, ramps and courtyards, tracing a pathway in the southern parts of the grounds. At the heart of this shroud of stone, a zinc core covers the workshops. Installed on a lightweight structure, the metal skin responds

graphically to the stone, moving from the almost horizontal roof to the facade, giving the impression of a full, sculptural volume. Resilient to the sea air – the Atlantic Ocean is close by - the zinc contributes to the discretion

of a project that preserves the atmosphere appreciated by the Cistercians: a remote, pristine valley surrounded

by mountains, with its own source and isolated from any lay housing.


SUSTAINABLE BUILDING

MOULINS HIGH SCHOOL, Lille (France)

Architect CHARTIER DALIX ARCHITECTES SÉBASTIEN CHEVANCE, FRÉDÉRIC CHARTIER AND PASCALE DALIX CO-ARCHITECT: AVANTPROPOS ARCHITECTES

Contractor GENTY Technique VMZ STANDING SEAM AND VMZ FLAT LOCK PANEL Aspect PIGMENTO® RED Surface in zinc 6,200 m²

PIECES OF THE CITY

Schools today are no longer enclosed, indestructible

fortresses. They open onto the surrounding

neighbourhood, and are frequented by pupils or local residents, depending on the time of day. This

junior high school in Lille is a good example of the links that can be created today between two

neighbouring worlds which, in the past, would have

ignored each other: a school and the surrounding town.

A former industrial suburb in the south of Lille, Moulins still

has the historic red brick artisan dwellings that were traditionally built for the local workers. Despite this

prevalence of individual housing, the neighbourhood is a

designated urban area, under a scheme that enables companies located here or planning to locate here to benefit

from tax relief. PHOTO COPYRIGHT: VMZINC®

© CHARTIER DALIX ARCHITECTES / PHOTO TAKUJI SHIMMURA

Several actions are underway with a view to boosting the neighbourhood, such as the opening of university buildings and the creation of cultural spaces in the old textile mills. Moulins also benefits from its proximity to the

Saint-Sauveur railway station, a freight station converted into a top-notch cultural centre. The new junior high school in Moulins is included in this urban renewal policy. Designed to be a centre of excellence in several domains,

as well as a building open to its neighbourhood, it features a sports room for the disabled and a ping-pong room

accessible to local residents outside school hours. The music room, which is also open to the public, welcomes a resident orchestra. And lastly, boarding facilities and staff accommodation make the school an inhabited place in

the true sense of the term.

This variety of access and uses translates into a number of addresses. The school does not have a single entrance, but several entrances corresponding to its various purposes. Rather than a single building presenting a continuous

street-front facade, the architects designed a nebulous building, in which the programme is broken down into

several blocks that respond to each other. The spaces between the different entities create transparencies and far-reaching views, from the neighbourhood to the south of the city. A large school yard brings the buildings

together, united in their aspect by their PIGMENTO® red zinc cladding, which resonates with the colour of the local bricks. Zinc covers the facade and certain roof terraces. “We wanted to have a landscape of roofs”, explains

Frédéric Chartier, “even on the terraces, which can be seen from the neighbouring overhead metro.” The roofs

and facades feature a myriad of facets that stretch upwards, deviate and intersect. Thanks to the suppleness of the zinc and the elegance of the flashings that can be created with it, it was possible to create perfect, highly

complex intersections - to the surprise of the architects who took it for granted that it was not possible to join more than three edges!


INTERNET USERS AWARD

DAAN RESIDENTIAL, Taipei (Taiwan) Architect ROGERS STIRK HARBOUR + PARTNERS - DAVID WENG CO-ARCHITECT: C.T. CHEN ARCHIECTS & ASSOCIATES Contractor BOLSTER CO., LTD. Technique VMZ HONEYCOMB ZINC PANELS Aspect QUARTZ-ZINC® STRAT

A VERTICAL DUO For Taipei, Richard Rogers designed two

high-rise apartment blocks, transposing in Asia a typology that has long been

experimented in London. The architect wanted to innovate by cladding the

opaque parts of his towers with zinc, in a

context exposed to typhoons, earthquakes and the quality requirements of the client,

which were just as drastic as the risks of natural disaster.

PHOTO COPYRIGHT: VMZINC® - OWEN TSAI

Vertical housing is fashionable. We see this in London and New York, where high-rise tower blocks abound. Far

from being stereotypical, they must be innovative in order to meet to the requirements of affluent clients who want to enjoy the advantages offered by this typology: views, space, modernity... The stifling image of apartments

stacked on top of each other conveyed by the social housing tower blocks of the 1960s is replaced in these

buildings by apartments where the focus is placed on habitability: double-height ceilings, generous balconies and large windows. Made up of two apartment tower blocks of 31 and 35 storeys, the Daan complex is located on the

edge of a Taipei city-centre park. The apartments are extended with vast garden terraces, providing an exterior space in the sky, bordered by glass guardrails.

Another remarkable feature is the use of QUARTZ-ZINC® cladding for all the opaque parts, chosen over copper for its capacity to switch from dark to bright according to changes in the light. The developer had very demanding

aesthetic requirements. Among other things, he wanted the zinc surfaces to be perfectly flat. To meet this requirement, the zinc was glued to a honeycomb core, a technique that had never been used before on such a

scale, or in such a context, i.e. a site subject to typhoons and earthquakes.

This honeycomb solution was chosen over more traditional thin composite solutions to ensure flatness and

mechanical resistance. It was tested on a full-scale mock-up, using a 12 x 8 metre fragment of facade. The assembly details for the zinc elements and especially those used for rainwater evacuation - which can potentially

lead to heterogeneous ageing of the facade – were optimised thanks to this full-scale model. The local

manufacturer was selected for his capacity to make panels with complex shapes. The installation of a material such as zinc, which develops a patina over time, marks significant progress compared to the traditional unchanging

lacquered metal and glass walls of old skyscrapers.

.


JURY’S SPECIAL AWARD

RECONVERSION AND EXTENSION OF THE FORMER HOSPITAL,

Meursault (France)

Architect JUNG ARCHITECTURES - FRÉDÉRIC JUNG CO-ARCHITECT: SIMON BURI Contractor LES CHARPENTIERS DE BOURGOGNE Technique VMZ STANDING SEAM Aspect AZENGAR® Surface in zinc 560 m²

SEWING AND STEREOTOMY

In Meursault, in the Burgundy region of France, there

is room for doubt! Are the zinc-clad parts of the

former leprosarium a recent graft or an older artefact? Hesitation is the sign of a successful

contemporary intervention, compatible with the Venice Charter, which stipulates the reversibility and

identification of additions to monuments.

PHOTO COPYRIGHT: VMZINC® - MARTIN ARGYROGLO

The former leprosarium in Meursault should be seen as an island of stone floating among the vineyards, isolated from the city. Listed as a French historic monument in 1926, the building has served several purposes in its nine

centuries of existence. A residential care centre, a farm, and almost a ruin when the municipality of Meursault decided to convert it for use as a tasting cellar and information centre for wine tourism. The existing building had

to be rehabilitated and extended to accommodate all the spaces required by the programme. Frédéric Jung, who

won the contract, built the extension on the remains of walls, forming a curve that recreates the original feeling of insularity by enclosing the courtyard. The new and old sections connect at the gate lodge, the former entrance

to the leprosarium.

Jung Architectures wanted to conserve the minerality of the monument. He envisaged using Burgundy limestone

- a local material already present on the existing building - on the roof and façade. “For technical approval reasons, we had to give up the idea of using stone and we started looking for an alternative mineral material. We thought

the texture and brightness of AZENGAR® zinc and its matt aspect could create a very interesting blend with the limestone layer of the leprosarium”, explains Jung. The dialogue with the existing building continued with the

installation of the material. Applied on the roof and facade, the zinc forms a metal skin that frees itself to become abstract. Arbitrary openings on the extension are echoed by the original windows, whose regularity was altered

down through the centuries and by successive repairs.

The malleability of the zinc made it possible to exaggerate this autonomy and plasticity: sheets of zinc cut into

two different widths seem to have blurred the usual rhythm of the joints, while facilitating the insertion of windows installed directly in the cladding. Erasing the joinery of the window frame was important for the architect. The

rainwater gutter was replaced by a gutter at the bottom of the cladding. But the transition between the roof and

the facade was clearly expressed, in order to create a play of shadow and light, already created by the lines of the standing seams. The logic behind the modelling of the material reaches its peak at the end of the extension,

which was not considered as a spandrel but as a bow, creating biases and openings onto the landscape from inside the courtyard, expressing an invitation to come into this space from the outside.

PRESS INFORMATION JUNE 2016 - VMZINC · Edition of the Archizinc Trophy by VMZINC ® ± June 2016...

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Transcript of PRESS INFORMATION JUNE 2016 - VMZINC · Edition of the Archizinc Trophy by VMZINC ® ± June 2016...