The brick architecture of Feilden Clegg Bradley Studios First … · 2017-06-09 · in featured...

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2 • BB AUTUMN 2013

SSttaattee ooff tthhee aarrttStephen Proctor of Proctor&Matthews identifies stronglywith the craft of bricklayingand its ability to imbue projectswith order, scale and visualinterest. Brick modelling alsofeatures prominently in twoacademy schools designed byFeilden Clegg Bradley Studios(profiled in this issue) and thenew Carmelite Monastery inLiverpool by Austin-SmithLord. Elsewhere, brick’sinherent flexibility isdemonstrated by 3XN’sgravity-defying FrederiksbergCourthouse in Copenhagen.

Viviane Williams (MA) BDAdesign and marketing manager

To find out more about the bricks or paversin featured projects, or to submit work, [email protected] or phone 020 7323 7030.

BB AUTUMN 2013 • 3

ccoonntteennttss4 NEWS

Projects in Antwerp and Essex; BrickAwards shortlist; First Person – StephenProctor of Proctor & Matthews.

6 PROJECTSLucy Marston Architects, Austin-SmithLord, 3XN, ADAM Architecture, AS2,51N4E and Stanton Williams.

12 PROFILEMike Keys and John Southall discussFeilden Clegg Bradley Studios’brick renaissance.

18 PRECEDENTUnusual and idiosyncratic brickwork atPark Meerwijk in Bergen, Holland.

20 TECHNICALLederer Ragnarsdóttir Oei’s recycled brickfacades and roof vaults at the Museum ofModern Art in Ravensburg, Germany.

22 TECHNICAL GUIDANCEThe latest guidance document from theBrick Development Association examinesseverely exposed brickwork.

ccoonnttaaccttssExecutive editor: Viviane Williams (MA) t: 020 7323 7030 e: [email protected] Development Association, The Building Centre, 26 Store Street, London, WC1E 7BT

The BDA represents manufacturers of clay brick and pavers in the UK and Ireland andpromotes excellence in the architectural, structural and landscape applications of brickand pavers. The BDA provides practical, technical and aesthetic advice and informationthrough its website www.brick.org.uk, in its numerous publications and over the phone.

ISSN 0307-9325 Published by the BDA ©2013 Editorial/design: Architecture Today plcFFrroonnttiissppiieecceecarmelite Monasteryin Allerton, liverpool,by Austin-Smith lord(ph: SG Photography).

ccoovveerrtudor Grange AcademyinWorcester by Feildenclegg Bradley Studios(ph: craig Auckland/Fotohaus).

BBDDAA mmeemmbbeerr ccoommppaanniieessAJ Mugridge t +44 (0)1952 586986 www.ajmugridge.co.uk

Bovingdon Brickworks t +44 (0)1442 833176 www.bovingdonbricks.co.uk

Bulmer Brick & Tile Co t +44 (0)1787 269232 [email protected]

Carlton Brick t +44 (0)1226 711521 www.carltonbrick.co.uk

Coleford Brick & Tile t +44 (0)1594 822160 www.colefordbrick.co.uk

Furness Brick & Tile Co t +44 (0)1229 462411 www.furnessbrick.com

Hanson Building Products t +44 (0)330 1231017 www.hanson.com/uk

HG Matthews t +44 (0)1494 758212 www.hgmatthews.com

Ibstock Brick t +44 (0)1530 261999 www.ibstock.co.uk

Ketley Brick Company t +44 (0)1384 78361 www.ketley-brick.co.uk

Michelmersh Brick Holdings t +44 (0)844 931 0022 www.michelmersh.co.uk

Northcot Brick t +44 (0)1386 700551 www.northcotbrick.co.uk

Phoenix Brick Company t +44 (0)1246 471576 www.bricksfromphoenix.co.uk

The York Handmade Brick Co t +44 (0)1347 838881 www.yorkhandmade.co.uk

WH Collier t +44 (0)1206 210301 www.whcollier.co.uk

Wienerberger t +44 (0)161 4918200 www.wienerberger.co.uk

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ARCHITECTURETODAY


Tony Fretton Architects in Antwerp

Tony Fretton Architects has obtained planningpermission for a pair of brick residential towersat Antwerp Docks in Belgium. Forming partof a larger waterside regeneration schemewhich includes projects by Diener & Dienerand David Chipperfield Architects, the foot-print and massing of the towers was set by exec-utive architect De Architecten NV, with Frettonresponsible for the envelope, communal spacesand lobbies. A handmade Flemish brick with apale grey-yellow tone is employed on Tower 5,while a red brick is used on Tower 6. Projectingbricks give the respective structures a horizon-tal and vertical emphasis. Corners are leftopen. The project is due to complete in 2016.

Bell Phillips Architects in Essex

Bell Phillips Architects has unveiled BraceletClose, an affordable housing developmentcommissioned by Thurrock Council to bebuilt on an existing residential estate inCorringham, Essex. Designed to Code forSustainable Homes level five, the 12 two- andthree-storey dwellings are planned around acommunal courtyard garden. The richlycoloured and textured brick envelope isintended to bring warmth and life to thescheme, while also contrasting with the palemasonry of the surrounding estate. The brickswill be laid with a flush-pointed lime-colouredmortar, intended to provide a monolithicaesthetic and a sense of permanence.

Brick Awards shortlist announced

The Brick Awards shortlist has beenannounced by a judging panel chaired byRichard Lavington of Maccreanor LavingtonArchitects. The awards are split into threecategories: housing, building and landscape,and technical and craft. The shortlist includesRoyal Road in London by Panter HudspithArchitects (top right, photo: Morley vonSternberg) for the best housing developmentof 26 units or more, and Grimshaw’s StokeCity Centre Bus Station in Stoke-on-Trent,Staffordshire (bottom right, photo: GarethWalker), for the best public building. Othershortlisted entries include the Michael Bakerboathouse in Worcester by AssociatedArchitects (best education building), andTravelodge Excel, London, by Aros Architects(best craftmanship). Architects and architectur-al students can vote for the Architect’s ChoiceAward online at the BDA website until27 September. The awards will be presentedLondon’s Marriott Grosvenor Square Hotelon 14 November. For tables and tickets contact020 7323 7030 or email [email protected](details: www.brick.org.uk).

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Stephen Proctor of Proctor &Matthews reflects on the craft ofbricklaying and the importanceof the English garden wall.

Having passed through an era of render,cedar cladding and fibre cement facadesof one form or another, brick has emergedas the material of choice for many housingprojects. Unfortunately, the stripped safemodernism of the rendered box is nowoften repeated in endless flat stretcherbond with shallow window reveals that dolittle to provide visual relief or to advancethe craft of brickwork. All too often brickis seen merely as an expedient way ofdelivering cost-effective housing withina construction industry that is heavilyinfluenced by the most simple of brickand block construction technologies.

As a practice we have always beeninterested in architecture that responds tocontext and the narrative of place. Avoidingthe somewhat lazy and superficial applica-tion of locally used materials as a firstresponse, we instead favour a more layered,morphological and cultural approach toissues of pattern, place and purpose.

It is therefore surprising that prior toour collaboration with Ralph Erskine in1999 on the Greenwich Millennium Village(GMV), we had completed only two brickprojects: a rural house in Burnham OveryStaithe, north Norfolk, and a row of eleventownhouses at Ropemakers Fields in eastLondon. The latter was a studied contextu-al response to the Georgian terrace ofNarrow Street, incorporating the famousGrapes pub.


to articulate scale, celebrate entrances and giveemphasis to important townscape junctionswithin the masterplan. A large entrance courtforming the most significant urban gesturein this part of the development employssplit-brick patterning to order and scale thespace, as well as to express the individualterrace dwellings. Throughout the masterplanthe same devices are used to model and givedepth to what would otherwise be flat facades.This approach serves to support the hierarchyof streets and provide individual dwellingswith their own identity.

Providing 337 new homes, Horsted Parkin Kent incorporates a limited palette ofmaterials. The brick specified has beendeployed in panels of full half-brick projections

Erskine insisted on the use of brick at GMVas central to his strategy for a lasting socialsustainability, leaving his junior collaboratorsto grapple on phase two with issues ofprefabrication and new lightweight materialsaimed at meeting government targets set forthe project. Erskine’s rich use of texturedbrickwork (an important component ofthe Scandinavian modernist tradition) isinspiring as it exudes a humanist architecturethat gives scale and warmth to a high-densityresidential neighbourhood.

During the design of the ‘village’, Erskinemade constant reference to Italian hill townsas exemplars of urban and streetscape charac-ter. You only have to enter the Piazza Grandein Montepulciano to see brickwork as a

common thread, and to understand his delightat the potential of brick to create a strongsense of identity.

In recent years we have seen an increasedinterest among bricklayers and manufacturersin the revival of brick as a craft. There has alsobeen an emerging willingness to rediscover thelost potential of brick in domestic architecture.This has coincided with our own long-heldinterest in the possibilities of brick. Threerecent projects have enabled our studio toexplore further the potential of brickwork indelivering a contemporary domestic architec-ture relevant to each location.

At Great Kneighton in Cambridge, localstocks have been used in two colours andvarious split and partially projecting patterns

TToopp Perforated brick screens at Hargood Close inColchester create a protected circulation zone aimedat promoting social interaction (ph:Tim Crocker).FFaarr lleefftt The textured floorscape at Piazza Grande inMontepulciano, Italy, moves across broad steps to thestriped unfinished brick facade of the cathedral.MMiiddddllee lleefftt The brick detailing and gable forms ofHorsted Park in Kent are inspired by eighteenth-century Dutch gabled houses (ph:Tim Crocker).LLeefftt Patterned brickwork is used to order and scalethe Great Kneighton residential development inCambridge (ph:Tim Crocker).

Stephen Proctor is a founding principal ofLondon-based Proctor & Matthews Architects.

to offer significant modelling and scale toeach dwelling. Split brickwork is also usedin secondary locations to articulate impor-tant junctions and fenestration on eachtype. Both the brick detailing and gableforms of these simple structures areinspired by the eighteenth-century Dutchgabled houses in nearby Chatham. Here,patterned brickwork of a different kindnow establishes one of the most importantaspects of the town’s historic character.

Hargood Close in Colchester providesmuch needed accommodation for thehomeless. In this project, the entire circula-tion zone becomes a social space enclosedby perforated brick screens. These provideprotection, ventilation and a dappled lightthat invites residents to linger and talk.

Our recent projects look to engage withthe craft of the bricklayer and to re-intro-duce the English garden wall as the ‘tissue’which binds neighbourhoods together.

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Vernacular tradition

PPhhoottooss Jack Hobhouse.


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Long Farm is a new-build family home in ruralSuffolk by Lucy Marston Architects, sitedamong a group of agricultural buildings andfacing east across salt marshes and open fieldstowards the sea. Its steeply pitched roof andlinear plan are intended to evoke traditional‘long houses’. The timber-framed structure isclad with a rustic brick incorporating con-cealed lintels and utilitarian tiled window sills.Brick was favoured not only to give a sense ofmass and permanence, but also to ensure thatthe facades would weather well and requireminimal maintenance. Internally, a super-sizedwhitewashed brick inglenook together with acantilevered brick chimney breast provide focalpoints for the sitting room and kitchen.

A house by Lucy Marston Architectsforms a strong connection with its site.

Located at Maryton Grange in Allerton,Liverpool, the Carmelite Monastery byAustin-Smith Lord comprises a chapel,cloister, work spaces, living areas and a carefacility for elderly sisters. The plan isderived from the symbolic relationshipbetween the intern (the monastery andgarden) and the extern (the guest houseand chapel). The two worlds meet and are


PPhhoottooss SG Photography.

Form and orderCarmelite Monastery in Allerton,Liverpool, by Austin-Smith Lord.

defined by a separating wall that enclosesthe intern. Providing access to visitors onretreat and passersby, the guest house andchapel sit at the gateway to the develoment.

Intended to express values such as com-munity, tradition and timelessness, theprincipal building material is brick. Thesubtly coloured and textured masonrychanges appearance according to the time

of day and weather conditions. A restrainedbrick relief is employed both inside and out-side the lozenge-shaped chapel. Flemishbond generates the background patternexternally, with projecting and recessedheaders adding texture and depth. Inside,recessed headers at first-floor level create a‘woven’ appearance, while projecting head-ers employed above and below break-upsound reflections and avoid standing waves.The textured masonry outer core of thechapel interior provides a rich contrast withthe smooth white surfaces of the inner core.

Elsewhere, recessed headers on the thirdstorey of the cell block establish a datumthat ties the composition together.

PPhhoottooss Adam Mork.


A new Courthouse by Danish practice 3XNoccupies a 5000-square metre plot adjacentto a listed neoclassical courthouse in westCopenhagen. Rising from two to five storeysin response to the surrounding context, thecurving concrete and steel structure iswrapped in a ‘fluid’ masonry skin. The wallsare constructed from a standard format fac-ing brick manufactured using clay fromFunen, Denmark’s third-largest island.Prefabricated brick panels, incorporatingpairs of countersunk holes for invisiblemounting on laths, are employed on thedouble-curved roof. After first firing, thebricks and the brick panels were grey-tem-pered in an airtight periodic kiln to achievethe desired colour and tone.

Material judgementPrefabricated brick panels are employedby 3XN at Frederiksberg Courthouse.

PPhhoottoo Stephan Müller.


PPhhoottoo Morley von Sternberg.

A new entrance forecourt at The Oval, homeof the Surrey Cricket Club in south London,includes a four-storey portico designed byHugh Petter, a director of AdamArchitecture. Facing a public square, thepavilion portico incorporates a double stair-case that leads to the formal entrance and afirst-floor terrace. The structure engages

Haus Wasserkunst comprises a pair ofsemi-detached dwellings in the Stadtwerderdistrict of Bremen, north Germany.Designed by local practice AS2 SchomersSchürmann Architekten, the three-storeystructure is sited close to a listed brick watertower dating from the early 1870s. Conceivedas a ‘little brother’ to the historic structure,the house is constructed in red brick withcareful detailing throughout. The east-facingflank wall is transformed into a perforatedbrise-soleil, articulating the exterior bricksurface and illuminating the internal com-munal stair with dappled sunlight. Generoustimber windows combined with deep balconyrecesses on the north, south and west eleva-tions avoid the need for movement joints.

Boundary conditionAdam Architecture has completeda new pavilion portico at The Ovalcricket ground in London.

Historical imperativeA residential project by AS2 takes itsinspiration from a listed water tower.

with the existing facade through its materi-als and detailing. Imperial bricks were spec-ified to ensure the portico gauged preciselywith the brick and stonework of the existingbuilding. The brick batches were factoryblended and laid in English garden wallbond, with three stretcher courses betweeneach header course. Mortar is a 1:2

hydraulic lime/sand mix, laid with 8mmbed and perp joints, struck flush and lightlychurn brushed. The brick arches over theground-floor doors and windows, togetherwith the towers below the third-floor ter-race, are preformed with brick slips bondedto curved precast concrete lintels.


PPhhoottooss Filip Dujardin.

The Buda Art Centre is situated on BudaIsland, a historical district of Courtray in westBelgium. Formerly a textile factory, the 4200square metre scheme by Brussels-basedarchitect 51N4E comprises studios and exhi-bition spaces for artists-in-residence.Occupying the middle of a city block, the

existing building has been transformed withtwo major interventions. The first is a largepentagonal void, which houses the mainpublic staircase and brings daylight into thecentre of the plan. The second is an open-topped entrance pavilion designed to enticevisitors into the centre. Constructed from yel-low bricks, which were orginally part of thefactory interior, the form of thepavilion closely resembles that of the centralvoid. A one-quarter brick lap adds visual

Old meets newA textile factory in Belgium has beenconverted into an art centre by 51N4E.

interest to the surface of the structure andfurther distinguishes between the old andnew-build elements. The warm palette ofcolours combined with informal interiorspaces encourage people to appropriate anddiscover the building for their own uses andcasual interaction, says the architect.

PPhhoottooss Hufton & Crow.


Designed by Stanton Williams, the BrittenPears Archive houses the music manuscripts,recordings, photographs and letters ofcomposer Benjamin Britten and Englishtenor Peter Pears. Sited adjacent to the listedformer home of Britten and Pears inAldeburgh, Suffolk, the single-storey struc-ture is expressed as two interlocking forms.The northern volume houses offices, a studyroom and support spaces, while the southernvolume contains the archive. Intended toconnect the building visually to the existinghouse and provide thermal mass for internaltemperature control, the outer walls are con-structed from solid brick. Laid in Englishbond with a lime mortar, the soft red bricksclosely resemble those of the house.

Original compositionThe Britten Pears Archive in Suffolkby Stanton Williams.

Mike Keys and John Southall discussFCB Studios' brick renaissance

with John Ramshaw.


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FFeeiillddeenn CClleegggg BBrraaddlleeyy SSttuuddiiooss


With its roots in the community architecturemovement of the late-1970s, Feilden CleggBradley Studios is perhaps best known for itspioneering environmental architecture andcommitment to social and humanistic values.Underpinning these concerns is a strong inter-est in and understanding of context, place-mak-ing and materiality. This in turn has led thepractice to explore a diverse range of construc-tional and facade systems over the years, fromin-situ concrete and prefabricated engineeredtimber to unitised curtain walling, metalcladding, reconstituted stone, and of coursebrick. The latter has enjoyed a renaissance inrecent work, beginning with the Stirling Prize-winning Accordia housing scheme inCambridge (2008), and to date culminating ina string of high profile education projects,including Chelsea Academy, London (2010),Drapers’ Academy, Romford (2012), TudorGrange Academy, Worcester (2012) andWilliam Perkin Church of England HighSchool, London (September 2013).Partners John Southall and Mike Keys,

respectively based at FCB Studios' London andBath offices, agree that context is central tomaterial choice on each project irrespective oftype and size. ‘The decision to use brick or anyother material is not a preconceived one’,explains Keys. ‘The design process begins bydeciding what is appropriate for the site. It isimportant that our buildings complement theirsurroundings, whether they are in the city or

LLeefftt The Stirling Prize-winning Accordia housingscheme in Cambridge (2008) is partly inspired bythe domestic architecture of Jørn Utzon and ArneJacobsen. Laid using a lime mortar incorporatinglocal sand, the subtle colour and texture of thebrick softens the composition of the scheme,balancing the austere nature of the architecture(ph:Tim Crocker).RRiigghhtt Mike Keys and John Southall are respectivelybased at FCB Studios' London and Bath offices.Key influences for both architects include St PetriChurch in Klippan, Sweden (1962-66), by SigurdLewerentz, and the Scarpa-esque brick detailing ofGerman architect Heinz Bienefeld (1926-95).

countryside’. An example of the former isChelsea Academy, which employs a texturedmid-tone brick to mediate between two dis-parate masonry structures – a Victorianred-brick power station on one side, and a resi-dential street built from yellow London stockson the other. A subtle brick blend incorporat-ing creams, browns and soft whites is combinedwith flush-faced lime mortar joints to modulatethe school’s facade and provides a hand-craftedaesthetic in keeping with the local area.By contrast, the rich red/brown bricks speci-

fied at Drapers’ Academy and Tudor GrangeAcademy are intended to speak of the earthand the physical nature of their parkland sites.Brick is also used to evoke the grand domesticarchitecture of a demolished stately home thatonce stood close to Drapers’ Academy.Accordia’s apparently effortless integration

into the suburban fabric of Cambridge beliesthe rigour behind its material selection. ‘It wasparamount that the development blended per-fectly with its surroundings’, says Keys.‘Traditional brick buildings in Cambridge havea very particular yellow hue with a slight green-ish tinge. Unfortunately, we found that thesebricks were not made locally any more, and thebudget couldn’t accommodate recycled bricks.After assessing many different products, someof which came very close to our needs, wesettled on an alternative brick that was an exactmatch. This allowed us to seamlessly adjoinand in one case partially rebuild an existing

and fascination with the material itself.‘Architecture starts when you carefully put twobricks together’, says Southall, citing a favouritequotation from Mies van der Rohe. ‘We enjoythe almost limitless possibilities posed by threesimple variables: brick, bond and joint.’ Askedwhether the practice has developed its own‘brick language’, Southall says that the twooffices frequently exchange ideas and are in


masonry wall on the site – literally stitching thebuilding into the city.’But context is not the only factor driving FCB

Studios’ brick selection. Environmental issues,such as the material’s durability, longevity andthermal mass, are equally important considera-tions. Likewise, the practice specifies limemortar wherever possible, not only to avoid thehigh-embodied energy associated with cement-based products, but also to ensure that thebricks themselves can be recycled at the end ofthe building’s life. Added to this, lime mortaravoids the need for movement joints.Talking with Keys and Southall it quickly

becomes apparent that there is a third reasonfor choosing brick – an appreciation of

“We enjoy the almost limitlesspossibilities posed by threesimple variables: brick, bondand joint.”

close communication when it comes todesigning in brick. This has given rise torecurrent themes and motifs – albeit expressedslightly differently by the two studios. An exam-ple is the projecting brickwork employed atboth Drapers’ Academy in London and TudorGrange Academy in Worcester.At Drapers’ Academy the team was presented

with the challenge of articulating large areas ofblank masonry wall – the result of positioning‘black-box’ spaces such as the dance studio,gymnasium and climbing wall above the fullyglazed entrance and in front of the largestudent piazza. Inspired by geometric designprinciples (the school has a maths and sciencespecialism)and the theoretical ideas of


AAbboovvee//ooppppoossiittee Chelsea Academy in London (2010) employs a subtle brickblend of creams, browns and soft whites to mediate between a Victorianred-brick power station on one side of the site, and a typical residentialstreet built from yellow London stocks on the other. Double-header coursesabove some of the windows not only articulate the surface of the facade,but visually elongate the window openings (phs:Tim Crocker).LLeefftt Extensively remodelled and refurbished, the Richmond Building at theUniversity of Bristol (2013) includes a new entrance and swimming poolchanging facilities. A slim, dark grey 440x50mm water-struck brick wasspecified to evoke the fine strips of slate cladding that were part of theoriginal brutalist structure.The unusually long brick allowed the team to usea stretcher bond with a one-third lap, adding visual interest and minimisingthe number of cut bricks. Recessed joints express the linear nature of thebrick, while also referring to the original slate cladding, which was itselfreplaced with matching brick slips due to its poor state of repair(ph: Craig Auckland).


Gottfried Semper, the facade is divided into ver-tical brick panels or ‘drapes’ based on the gold-en section, which alternate between traditionalflush-faced brick and projecting/angled brick.The bricks within the projecting panels are

angled with a maximum setback of 15mm.Laying them by hand, without the aid of specialformwork, the bricklayer used the frogs on theunderside of the bricks to judge the angle (thefrogs had to remain hidden when looking up atthe wall). The result is an intriguing diagonalcorbelling effect, which subtly changes appear-ance as the sun tracks across the facade.In common with Drapers’ Academy, brick

modeling is used at Tudor Grange Academy tobreak up the building’s mass and to add visualinterest. ‘We used a rotated brick detail consist-ing of a standard stretcher bond interspersedwith snapped projecting headers,’ explainsKeys. ‘The bricks project 60mm at the corner ofthe building, with the depth of projection grad-ually decreasing along the facades until theheaders align flush with the face of the wall.Each header was cut to a predetermined length

to ensure a smooth transition across the facade.The window reveal is another aspect of brick

design that is always carefully considered andclearly expressed by the practice. Deep revealsare a key feature of projects such as ChelseaAcademy, Drapers’ Academy and WilliamPerkin Church of England High School.Intended to express the permanence and solid-ity associated with traditional loadbearingmasonry, the brick actually forms part of a highperformance cavity-wall system, comprising asuper-insulated timber/steel-framed or, in thecase of William Perkin school, cross-laminatedtimber construction. By placing the windowsflush with the inner face of the wall, reveals ofone-and-a-half to two bricks deep are possible.As well as satisfying important environmentaland aesthetic requirements, this constructionmethod has a further crucial advantage – itallows the contractor to achieve a weathertightenvelope before laying a single brick. ‘By takingbrickwork off the critical path it becomes morecost effective and therefore even more viableas a construction material,’ explains Southall.

“By taking brickwork off thecritical path it becomes morecost effective and thereforeeven more viable as aconstruction material.”By contrast the windows at Accordia are set

virtually flush with the outer face of the brick-work. Keys explains that this is a response to thespatial qualities of the scheme, which combinesbold massing with courtyard forms, large open-ings and dominant full-height chimneys. ‘Themasonry and fenestration are intended as a sin-gle homogenous skin that envelops the exteriorand reinforces the sculptural nature of thebuilding. Every element is wrapped in brick –even the ‘flying beams’ – making a clear distinc-tion between traditional masonry detailing andbrick as pure surface expression.’A large part of FCB Studios’ success has been

the ability to innovate and push the boundariesof what is possible in terms of spatial, environ-mental and facade design. The fact that itcontinues to specify and enjoy using one of theworld’s oldest construction materials speaksvolumes about brick’s continued relevance andcreative appeal in the twenty-first century.

AAbboovvee//ooppppoossiittee Brick modelling was employed at Tudor Grange Academy,Worcester (2012) and Drapers’ Academy, Romford (2012), to break up thebuildings’ mass and to add visual interest (phs: Craig Auckland,Timothy Soar).


The inventivebrick forms atPark Meerwijkprovide aunique showcaseof AmsterdamSchool domesticarchitecture.

Located in Bergen, Holland, Park Meerwijk(1915-18) is the only coherent developmentof one-off houses by architects of the idiosyn-cratic Amsterdam School. Tile manufacturerAMA Heystee commissioned JF Staal (left),CJ Blaauw, M Kropholler, GF La Croix, andPL Kramer to build a series of detached andlinked villas in a parkland setting for sale onthe market. In keeping with the AmsterdamSchool’s better-known urban projects, brick isemployed extensively, but with the rural set-ting many also introduce thatched roofs andtimber framing while, unsurprisingly, Heysteetiles are used extensively for the interiors.The development eschews linearity, with

the central houses arranged to imply a circle,and many offsetting symmetrical plans withasymmetrical forms. Brick walls extend fromthe houses, anchoring them in the landscape.Most are in good order, although the linkedhouses by PL Kramer (XIII, XIV, XV) weredestroyed by fire in 1922 and replaced.

6

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LLeefftt aabboovvee Site plan(drg: ExpressionistArchitecture).LLeefftt De Bark, by JF Staaland now a studio, marksthe entrance to thedevelopment (phs: IanLatham).LLeefftt bbeellooww,, rriigghhttDe Ark,Villa II, by JF Staal(phs: IL).RRiigghhtt bbeellooww Villa VI, byM Kropholler ; X, XII, XIIIby JF Staal (phs:Rijksdienst voor hetCultureel Erfgoed).


The facades and vaulted roof of Lederer Ragnarsdóttir Oei’s Museum ofModern Art in Ravensburg, Germany, are constructed from recycled brick.

AAbboovvee Sourced from a demolished monastery,the bricks used for the facades and roof were re-cutto create an irregular surface.OOppppoossiittee lleefftt Detail section through facade and roof.OOppppoossiittee rriigghhtt The rich colour and texture of thevaulted brick roof contrasts with the white walls ofthe gallery spaces below.BBeellooww Axonometric drawing showing roof build-up.Key: 1 bituminious roof covering, 2 insulation, 3 ballast,4 brick vault, 5 steel beam, 6 drainage spout.PPhhoottooss Roland Halbe, Ernst Fesseler (construction).

Located in Ravensburg old town, the newMuseum of Modern Art by Stuttgart-basedLederer Ragnarsdóttir Oei is conceived as aseries of stacked, rectangular exhibitionspaces, flanked by vertical circulation coresand enclosed with an outer shell of recycledbrick. The three-storey structure is crownedby a vaulted roof comprising interlockingconical shells with an exposed brick soffit.

For the architect, the decision to use brickwas an easy one: ‘We cannot imagine anyother material or construction element thathas the humane measurements of a brick:width, length, height and weight are exactlyadapted to fit comfortably into the humanhand. From a small practical module, bricksplaced together form a support, a wall,a house, an entire city. The small scale

encompasses from midsize to huge: Nomatter how large the house or building, thereference to the smaller scale is always there.What is more, bricks are an outstandingmedium for creating various structuralforms including arches and vaults.’

Designed to Passivhaus standards, theexternal walls comprise 240mm of rigidinsulation sandwiched between brick outerand in-situ concrete inner skins. The steelties, anchors and brackets used in the wallcavities were specified and detailed to min-imise thermal bridging.

The bricks for the facades and roof vaultswere sourced from a demolished monasteryclose to the Belgian border. They were re-cutto create an irregular surface, prior to beinglaid. Intended to reflect the architectural

qualities of the local context, coarse, rough-filled mortar joints are used throughout.

Spanning between concrete flank wallswith intermediate steel beam supports, thebrick roof vaults were constructed usingtraditional methods. The architect felt thatthis would be an appropriate language tointegrate the building into the historic towncentre. The conical shape of the vaults wascreated using a temporary timber deck struc-ture. Installed vertically, the bricks were laidon the top of the timber arches, again withgenerous rough-filled mortar joints. Abovethe brick, the roof build-up comprise,150mm of reinforced concrete ballast, aprimer coat, vapour barrier, 300mm of rigidinsulation, a waterproof layer and a two-plybituminious roof covering.

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VVaauullttTwo-ply bituminous slate surface300mm thermal insulationVapour barrierPrimer coatReinforced concrete ballastLoadbearing brick vault

Precast concretesecondary roof drain

DDoommee lliigghhttHighly insulated smoke andheat extraction system

Light with glass cover

Perimeter insulation0.7mm copper flashing


Skirtingof vertical steel slatsas low velocity air diffuser

Floor assemblyReinforced concrete slab with thermallyactivated core, 400 mmSubstructure, aluminiumPlaning, gypsum board, 12,5 mm

48 49

Schacht

1.OG

2.OG

FFllaatt rrooooffExtensive vegetationdrainage systemNon-woven matTwo-ply bituminous roof280mm thermal insulationVapour barrierPrimer coat40-95mm sloping screed200mm concrete slab

FFlloooorr400mm concrete slab withthermally-activated coreAluminium substructure

SSttaaiirr200-340mm precast concrete

WWiinnddooww ssiillll1.5mm brake-formed copper

FFiixxeedd ggllaazziinnggTriple-glazed timber frame

WWaallll115mm recycled brick facing240mm cavity wall insulation10mm voidPlastered 250mm reinforcedconcrete wall

Wraparound LED striplight

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The latest guidance document fromthe Brick Development Associationcovers the design and constructionof severely exposed brickwork.

Brick walls are attractive and durable whendesigned correctly and built with appropri-ate materials in a technically competent way.The Brick Development Association’s guid-ance note on severely exposed brickwork isaimed at achieving long-lasting results whenconsidering external works, such as free-standing garden and retaining walls andchimneys, which should always be consid-ered as very severely exposed to frost attackregardless of their geographical location.

While consideration of geographicalexposure is important when designing thewalls of buildings (see the rainfall and frostexposure maps in the NHBC technical man-ual) it is recommended that all externalworks be classified as severely exposed to therisk of frost attack and be designed and builtaccordingly.

The BDA guidance has been produced tobring together information issued in sepa-rate documents in the past with members’recent experience. There is some evidenceto suggest changing climatic conditions overthe last few winters – wetter spells precedingsevere overnight temperature falls – and thenote takes account of this.

The UK is divided into zones wherelong-term studies have shown likely levels ofrainfall. This exposure map is importantwhen designing structures and choosingmaterials. Much of Scotland, Wales andSouth West England down to Cornwall willbe affected by more severe weather condi-tions than the rest of Britain, and the guideis aimed at ensuring that brickwork remainspristine and durable by using the correctmaterials and appropriate design. The illus-tratration gives a general view of areas ofexposure to wind-driven rain. Local knowl-edge and terrain may prove areas on the mapmarked as moderate or sheltered are in factsubject to severe conditions where designand detailing of structures should reflect aprotective approach.

It is strongly recommended that the rele-vant brick manufacturer is consulted at thedesign stage for the applications covered bythis guidance.

TTEECCHHNNIICCAALL GGUUIIDDAANNCCEE

EExxppoossuurreezzoonneess

AApppprrooxx wwiinndd--ddrriivveenn rraaiinn((lliittrreess//mm22 ppeerr ssppeellll))

1 Sheltered

2 Moderate

3 Severe

4 Very Severe

less than 33

33 to less than 56.5

56.5 to less than 100

100 or more

This map is an extract from Thermal Insulation: Avoiding Risks andis reproduced with kind permission of BRE.The full report can bepurchased at www.brebookshop.com

The Severly Exposed Brickwork guidance notealso includes information on simple freestand-ing walls, simple retaining walls, chimneyconstruction, window cills and step flankwalls. It can be downloaded free of charge fromthe BDA website under ‘Design Guidance’(details: www.brick.org.uk/2013/08/severely-exposed-brickwork/).


Mortar

Mortar goes hand in hand with brick and isan extremely important part of the specifica-tion. Mortars generally used in the walls ofbuildings, for example 1:1:6 cement/lime/sand or 1:6 plus plasticiser, when usedin exposed detailing, such as chimneys, cills,plinths, boundary walling and below DPC,on exposed sites are at risk of suffering frostattack. Once mortar deteriorates it will com-promise the rest of the brickwork. Incorrectbatching and mixing could ruin brickworkso care must be taken when mixing on site.Please take the following points into con-

sideration when specifying mortar, which isas exposed as the bricks they surround:• Use the mortar designations indicated onthe drawings.

Movement joints

• In boundary walling, movement joints mustbe provided at a maximum of 6m centreswith a maximum 3m from a corner orchange of direction. Where there is a shortreturn (less than 675mm) a joint should beprovided in the return.• Joints must commence at concrete founda-tion level and continue through the coping/capping courses.• A 10mm joint width will normally be suffi-cient. Use ties fitted with de-bonding sleevesto span the joint and maintain stability.• Filler material should be compressible byeasy pressure between finger and thumb andshould recoil back to its original thicknesswhen released. Cellular polyethylene andcellular polyurethane are ideal.

# # !

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TTyyppiiccaall mmoovveemmeenntt jjooiinntt ddeettaaiill ppllaann

MMoovveemmeenntt jjooiinntt eelleevvaattiioonn

Bucket handle mortarjoint (preferred)

DDeessiiggnnaattiioonn ((ii))//mmoorrttaarr ssttrreennggtthh MM1212

1 part cement

¼ part lime

3 parts sand

DDeessiiggnnaattiioonn ((iiii))//mmoorrttaarr ssttrreennggtthh MM66

1 part cement

½ part lime

4 ½ parts sand

DDeessiiggnnaattiioonn ((iiiiii))//mmoorrttaarr ssttrreennggtthh MM44

1 part cement

1 part lime

6 parts sand

Weather struck mortarjoint

Compressible joint filler material(cellular polyethylene or cellular polyurethane)

Sealant (polysulfide or low-modulus silicone)

F2/S2-rated coping in M12 mortar formed froma dense facing brick type with smooth texture anda water absorption ≤7%

F2/S2-rated facing bricks in M6 mortar for themain body of the wall

Nominal 10mm joint.Ties with de-bonding sleevesshould be used to tie panels of brickwork togetherand maintain stability

Engineering bricks in M12 mortar below groundand minimum two courses above ground level

Ground level

Movement joints should commenceat foundation level

Joints to continue through copings and cappings

Recessed mortar joint(not recommended)

• Fully fill all bed and perpend joints and layfrogged bricks with frog uppermost.• Joint profile must be bucket-handle orweather-struck; both well compressed andsmoothed.• Recessed joints are not recommended inany application subject to severe weatherexposure.• Use sulfate-resisting cement when groundconditions dictate or where the risk of saltspray is present.• Incorrect batching and mixing could ruinbrickwork so extreme care must be takenwhen mixing on site.The table below shows the constituents of

the recognised designations when detailingseverely exposed brickwork:

• Impregnated fibre boards should not beused with clay brick as they do not compresseasily and will restrict expansion.• The filler material should be installed asthe brickwork is built, keeping it back fromthe face of brickwork by 10mm to allow fora 10x10mm recess for the sealant.• The sealant should be a polysulfide or low-modulus silicone.

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AAbboovvee Plan of recommended movement Joint locations in freestanding and retaining walls.

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3m

Maximum 3mfrom corner/change

in direction

Maximum 6m centres

<675mm

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NOVEMBER

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