BR I C K17Project:Lakeside studenthousing

Project:Children’s hospital,Bristol

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COVERSixBrindleyplace,Birmingham

Technical:Exotic cladding

2 8Winter 2001

2 2Craftsmanship:Solid, traditionalskills

UK £5.00

BR ICK

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What a sumptuous feast ofbuildings. Congratulations

to the talented winners andfinalists of the 2001 Brick Aw a rds.

The themes in this issue re a l l yunderline some important tru t h sabout brick – namely sustainabilityand innovation. I was part i c u l a r l ytaken with the Viewpoint art i c l eon 1930s brick buildings. Pare ddown, sleek and highly innovativein their time, their social anddesign values reflected theaspirations of a generation. We aref o rtunate so many have endured todelight us today. But it’s not dumbluck: it’s the durability andadaptability of brick that made itsuch a sustainable choice then. Asit is now. And just look at thoseoutput figures – 8,429 millionbricks in 1939!

Of course, these days brick’smain role is as a cladding. Buthow heartening to see craftbricklayer Nick Evans buildingsuch wonderful stuff in solidbrickwork – including re t a i n i n gwalls nearly two metres thick. Afew more like him and we wouldsoon be back to 1939 figures!

And as cladding we see brick’sability to adapt; at Aston’sLakeside residences a 290mmbrick module gives a new‘dimension’ to the elevations; atWi g m o re Street, a 52mm highbrick, quarter bond and thin jointsi n t roduce a fine, fresh rhythm andt e x t u re. Then really ‘off the wall’p rojects – bulbous elevations inCork, Gehry ’s Neuer Zollhof inD ü s s e l d o rf and the riotouspatchwork wall of colour inA rnhem – all conceived withw o n d e rful verve and daring.

At BedZED, a pioneeringdevelopment in sustainable, low-e n e rgy housing, brick cavitywalling is achieving a U value of0.1 – way in excess of the newP a rt L re q u i re m e n t s .

BedZED is a pioneer now – butcould well be mainstream beforelong. Because what strikes melooking back is how sooninnovation becomes convention,becomes tradition. Con Lenan, chief exe c u t ive, B DA

U P D AT E3 - 5 R i c h a rd Smith 1937-2001

Engineering updateCodes of practice updateThe Brick Aw a rds 2001 – Wi n n e r s

V I E W P O I N T6 - 7 David Kennett looks back to the brick buildings of

the thirties and finds there ’s plenty of life therestill

PROJECT PROFILES8 - 1 0 Public building

F resh colour and light at Bristol’s new childre n ’shospital are just what the doctor ord e red

1 1 Public buildingPinpointing the right brickwork for the ImperialWar Museum extension

1 2 - 1 3 C o m m e rcial building‘ O ff-the-frame’ brickwork delivers buildeconomies at Brindleyplace

1 4 - 1 6 H o u s i n gG e o rgian inspiration at Wimbledon Parkside

1 7 - 1 9 H o u s i n gElegance, excitement and extra-long bricks inB i rmingham student flats

2 0 - 2 1 C o m m e rcial buildingAt Wi g m o re Street slim bricks in quarter bondbring intricacy without fussiness

2 2 - 2 3 C r a f t s m a n s h i pVi rtuoso brickwork demonstrates time-honoure dskills

2 4 - 2 5 Public buildingNo hush at Rugby Library. It’s all dramaticg e o m e t ry and exciting colour

2 6 - 2 7 L a n d s c a p eOptical illusion at South Quay Plaza plays withthe ground beneath your feet

TECHNICAL NOTES28-29 Cladding that dares to be diff e rent – a look at our

neighbours

3 0 - 3 1 Bridging 300mm cavities at the Beddington ZeroE n e rgy Development

BDA MEMBERS3 2 Contact details for BDA member companies

Winter 2001

The BrickD e v e l o p m e n tAssociation LimitedWoodside HouseWi n k f i e l dWi n d s o rBerks SL4 2DXTel 01344 885651Fax 01344 890129E-mailbrick@brick.org.ukWebsitewww.brick.org.uk

EditorSue Duncan

Technical editorMichael Hammett

Co-ordinating editorRuth Slavid

ISSN: 0307-9325

Published by

151 Rosebery AvenueLondon EC1R 4GB

Printer

Cradley Print

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Masonry diaphragm walls – updateA recently completed Partners inInnovation contract to investigate theupdating of design technology form a s o n ry diaphragm walls has foundthat the majority of contemporaryexamples of this type of design re l i e don the guidance given in existing BDApublications. This is particularly thecase for structural design.

A feedback study of curre n tpractices, which forms a part of thisp roject, has also established thatengineers and architects have foundsome areas of uncertainty whenc a rrying out the design of diaphragmwall stru c t u res. An example is the tyingof cross webs to the outer flanges ofbrickwork when bonded construction isnot chosen. Another is related to thedetailing of capping beams.

This project has covered boths t ructural and non-structural aspects ofm a s o n ry diaphragm wall technology,including the provision of therm a linsulation to comply with building

regulations re q u i rements for highert h e rmal perf o rmance. The project hasidentified where there is inadequatei n f o rmation and has maderecommendations for updating designg u i d a n c e .

Brickwork masonry diaphragmwalls continue to offer advantages ofeconomy and efficiency when compare dwith framed building construction. Allof brick masonry ’s characteristics canbe used to full advantage, not least itss t ructural potential.

This re s e a rch contract is acollaborative venture with KingstonUniversity Faculty of Te c h n o l o g y.

M a s o n ry codes amendedAmended versions of all three parts of BS 5628 Code of practice for the useof masonry ’ a re now available from BSI Publications Sales (www. b s i -global.com) ● P a rt 1: ‘Structural use of unre i n f o rc e dm a s o n ry’ includes updated wall tie

p rovisions, wind load design andloading factors for earth re t a i n i n gs t ru c t u res. ● P a rt 2: ‘Structural use of re i n f o rc e dand pre - s t ressed masonry' waspublished last year. ● P a rt 3: ‘Materials and components,design and workmanship’ incorporates

a new version of BS 8000: Part 3:‘ Workmanship on building sites – Codeof practice for masonry’ (also availables e p a r a t e l y ) .

An article giving further details ofthese codes and the British version ofE u rocode 6 is available on the BDAwebsite (www. b r i c k . o rg . u k )

R i c h a rd Smith – 1937-2001It is with great sadness that BDAannounces the passing of RichardSmith, the association’s principaltechnical off i c e r, who died after ap rotracted illness on 9 October 2001.

R i c h a rd joined BDA in 1981 assenior technical off i c e r, then becameresponsible for the pro f e s s i o n a ls e rvices department in the late 1980s,finally becoming the association’sprincipal technical officer in the mid1 9 9 0 s .

In recent years Richard wasi n s t rumental in the development ofE u ropean Standards for brick, pavingand other masonry products within theCEN forum. He was a prime mover inS t a n d a rds work and achievedconsiderable respect from colleagues

both athome anda b road forhis tire l e s se ff o rts. Atthe time ofhis death hew a sc h a i rman ofC E NTC/125 forM a s o n ry.R i c h a rd ’sm a j o r

contribution to the work of theassociation is gratefully acknowledgedand he will be missed by colleaguest h roughout the industry. Oursympathies go to his widow Beryl anddaughter Joanna.

S h o rt courses at KingstonKingston University is to run thefollowing courses and workshops earlyin 2002 as part of its CPD pro g r a m m efor structural and civil engineers: ● The design of structural masonry

t h ree-day course 20-22 Febru a ry.● An introduction to structural

m a s o n ry one-day course 20 Marc h .Evening workshops:

● The design of domestic scale basements 27 Marc h .

● Lateral load design 3 April.● R e i n f o rced masonry 16 April.

For further information contact BTang, short course coordinator at theFaculty of Te c h n o l o g y, KingstonU n i v e r s i t y, Surrey KT1 2VG.tel 020 8547 7054fax 020 8547 7971

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The Brick Awards 2001The Brick Aw a rds celebrate the achievements of the building profession and brickmakers alike inc reating brick buildings that stand out from the crowd. Be it for innovative design, exceptionalcraftsmanship, or the exploitation of brickwork’s structural possibilities, the awards continue todemonstrate the contribution to the built environment of this ever-versatile material.

S h o rtlisted candidates were guests of the industry at a celebration dinner on 14 November to hearthe decisions of the distinguished judging panel.

B DA BUILDING OF THE YEARNewington Green Housing Development, London N16

Client: Peabody Tru s tA rchitect: Rivington Street StudioContractor: Walter Llewellyn & SonsBricks: Baggeridge, Mellowed Red Sovereign Stock

‘A very convincing building which with its strong form ands t r a i g h t f o rw a rd detailing makes a major and very positivecontribution to this area of London.’

BEST PUBLIC HOUSING DEVELOPMENTNewington Green Housing Development, London N16

(see Building of the Ye a r, above)

BEST PRIVATE HOUSING DEVELOPMENTHermitage Wharf, London E2

Client: Berkeley Homes (City & East London) A rchitect: A&Q Part n e r s h i pContractor: Berkeley Homes (City & East London) Bricks: Ambion, Wealden London Multi Stock

BEST STRUCTURAL USE OF BRICKGillingham Northern Relief Road, Kent

Client: Medway CouncilEngineer: Kent County Council Contractor: Christiani & Nielsen and May Gurney JointVe n t u reBricks: Baggeridge, Rudgwick Dark Yellow and Red MultiS t o c k s

BEST LANDSCAPE AWA R DThe Oracle Shopping Centre, Reading, Berkshire

Client: HammersonDesigner: Haskall & Co Arc h i t e c tContractors: Bovis (north bank), Norwest Holst (southb a n k )Bricks: Baggeridge, Red, Blue and Brindled Pavers

CAT E G O RY WINNERS

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BEST REFURBISHMENT AWA R DCruciform Project, London WC1

Client: University College LondonA rchitect: HLM Arc h i t e c t sContactor: Jarvis Construction (UK) Bricks: Ibstock, Lodge Lane Smooth Red

BEST COMMERCIAL BUILDING1 Plough Place, London EC4

Client: Helical BarA rchitect: Hamilton AssociatesContractor: MowlemBricks: Coleford, Cotswold Buff

BEST PUBLIC BUILDINGLakeside Residences, Birmingham

Client: Aston University

A rchitect: Feilden Clegg BradleyContractor: John LaingBricks: Hanson, Rossini Wi recut Smooth

BEST CRAFTSMANSHIP AWA R DCloistered garden, Sussex

Designer and bricklayer: Nick EvansBricks: Ibstock, Restoration Red, Chailey Stock

BEST EXPORT AWA R DKosei Shoken Head Office, Tokyo

Client: Kosei ShokenA rchitects: Yuzo Nagata,Shunji KitanoBricks: Ibstock, BradgateH a rvest Antique

The BDA is extremely grateful for the expertise, criticalvision, strong opinions and independent thought of themembers of the judging panel – not to mention theirvaluable time. Representing a wide range of buildingdisciplines and professional expertise, they were:

P rofessor Adrian Gale ( c h a i rm a n )

Te rry Anderson: landscape architect

Bob Baldwin: Guild of Bricklayers

Peter Fall: building surveyor

B a rry Grimes: Ballast Construction

P rofessor John Robert s : s t ructural engineer

Gill Smith: a rchitect

Eileen Thomas: a rchitect and town planner

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Between 1930 and 1939, not onlyw e re more houses built in Britainthan in any other decade, but

during the decade brick production ro s es t e a d i l y, reaching an all time high of8,429 million bricks in 1939. And itwas not just in housing that there was aready market for the material. Even asteel-framed, stone-clad building suchas Luton Town Hall (1930-36) used nofewer than seven million bricks.

My historical re s e a rch leads me tosee brick as the favoured buildingmaterial of the decade, not least becauseof its durability. From the standpoint ofthe 21st century we now applaud 1930sbrick for its adaptability.

Many accounts of the creation of thebuilt environment in the decade assumethat the use of the more traditionalmaterials, especially brick, can bed i s re g a rded. These accounts concentrateon the idea of using concrete, glass andsteel. This, I feel, does a grave injusticeto the historical re a l i t y.

A rchitects positively enjoyed usingexposed brick as the facing material fortheir work, particularly in pre s t i g i o u sbuildings such as the ShakespeareMemorial Theatre, Stratford - u p o n - Av o n

(1928-32), by Elizabeth Whitwort hScott, and the Philharmonic Hall,Liverpool (1933-39) by Herbert JRowse, since sensitively refurbished byB rock, Carmichael & Part n e r s .

Adapting to the ageTravelling round England, as I do, Ihave come across many other brickbuildings of the 1930s given an extralease of life through adaptation to newuses. On the south-eastern outskirts ofO x f o rd, the yellow brick St Luke’sc h u rch, Cowley, by H S Rogers (1937-38), was declared redundant but hasbeen transformed into premises for theO x f o rd s h i re Record Office. Theoriginal terminal building of SpekeA i r p o rt, Liverpool (1933-37), by RA rthur Landstein of Liverpool CityS u rv e y o r’s Department, has beenincorporated into a new hotel.

In Liverpool city centre is thecentral closed horseshoe of flats at StA n d re w ’s Gardens, designed by JohnHughes working under the city’sd i rector of housing, Lancelot Keay.Completed in 1935, the scheme hasrusticated brickwork to the exteriorwhich was matched in the position of

Adaptability and durability

D AVID H. KENNETT

David H Kennettlectures in sociologyat Stratford-upon-Avon College. He hasbeen interested in thebrickwork of the 1930sfor more than 30 yearsand is currentlyworking on two booksabout 1930s Britain. His interest in thephysical, historicaland socio-economicaspects ofconstruction areinformed by degrees in archaeology, inc o n s t r u c t i o nmanagement andeconomics, and int e c h n o l o gy ands o c i e t y.An indefatigable forcein the British BrickS o c i e t y, he is visitscoordinator and editorof BBS Information

Illustrations1. St Andrew’s Gardens,Liverpool2. Church of St Nicholas,Burnage3. Philharmonic Hall,Liverpool4. Marriott Hotel,Liverpool Airport, 5. Shakespeare MemorialTheatre, Stratford-upon-Avon

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Photographers1. John Maltby/RIBALibrary PhotographsCollection2. RIBA Librar yPhotographs Collection3. Niall Clutton4. Neptune Developments5. Herbert Felton

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the glazing bars in the original work.At the principal entry to the complex isa parabolic arch of brick in multiplesoldier courses. A 1950s re f u r b i s h m e n treplaced the windows with plain sheetglass, but more recent work to turn thecomplex into student housing hasreinstated the glazing bars, thusenhancing the building’s appearance.

To match the mass housing schemes,t h e re were buildings for masse n t e rtainment – almost all cinemas havebrick exteriors. Including the suburbs,O x f o rd had five, all of which werebrick-faced; three survive as cinemas,but two – in Headington and onCowley Road – are now used as bingohalls, a common fate of 1930s cinemas.L a rge cinemas in Derby andC h e s t e rfield have become nightclubs.Other than for entertainment, thecinema has a multiplicity of re u s e s ,such as a sail loft in Harwich, Essex,and a pine furn i t u re showroom inSpringfield, Birmingham. The PlazaCinema, Rhyl, Flintshire, by S ColwynFoulkes (1935-37) has been intern a l l ygutted but the exceptional brickexterior now houses a shopping arc a d e .The red brick Zonita Cinema on

B e d f o rd Street, Ampthill, of 1937became a fashion showroom in 1960.

Durability in actionOf course, there are many 1930s brickbuildings still serving the function forwhich they were built. Appro x i m a t e l y200 new Anglican churches were builtin the 1930s. One of the best-known isSt Nicholas Church, Burnage, in southM a n c h e s t e r, by Welch, Cachemaille-Day and Lander. Antony Grimshaw ofWigan has affected alterations inkeeping including extending the westend, although the brick used is darkerthan the original.

Of the 100 town halls designedduring the decade, almost all are facedin brick – yellow brick at Cambridge, adull red brick at Norwich, and buffbrick at Derby. With two town halls inouter Manchester we see the real valueof brick as the best material. In 1935,the new borough of Stre t f o rdcommissioned J R Adamson of theBolton practice Bradshaw, Gass andHope to design a red brick town hallwith the central tower on Talbot Roadhaving a fancy top. When the newm e t ropolitan borough of Tr a ff o rd

needed extra premises, a new 1970sbuilding in an identical red brick wase rected, a pleasing way to enlarg e .

In contrast, the 1935-37 town hallat Swinton by Percy Thomas and Ern e s tP restwich is now in far less pro p i t i o u ss u rroundings. This buff brick neo-G e o rgian building with its tall tower isnow set in front of an ungainlyc o n c rete-grid office building whilea c ross the street are library and hallbuildings in hammer-finished concre t e .The brick-clad finance office, thenewest stru c t u re on the site, is far moreattractive to my eye, and with goodmaintenance will last much longer.

With all buildings maintenance isthe key to good service. With brick thedemands are modest. The well-keptpublic library on Temple Road, Cowley,was built in an attractive red brick andeven in the rain looks as good as theday it was opened in 1940. On the dayI saw the public library in Wo r k s o p ,painters were at work on the originalmetal window frames. Long, thin re dbricks were used in the brickwork,which now needs repointing. However,with that done, the building could wells u rvive another 70 years.

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3 5

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If a hospital’s environment is asconducive to recuperation as thet reatment administered, then

patients in the recently completedBristol Royal Hospital for Childre nshould be well on the way to re c o v e ry.

One of the key objectives of thebrief was to incorporate art thro u g h o u tthe new £22 million building. Hence,the interior is characterised by a bolduse of colour and design which extendsto floor finishes, fabrics, doors, crashrails, ceilings, sculpture and painting.

Standing in the main reception, youmight think you were in a sciencemuseum, thanks to the colourf u linteractive sculptures, the movingtimepieces and the flock of perspex

swallows overhead. The result is a non-institutional, non-thre a t e n i n ga t m o s p h e re where colour, art andbrightness play a crucial role – aphilosophy which extends to theb u i l d i n g ’s exterior.

Urban contextA p p roaching up the incline of UpperMaudlin Street, one cannot miss thesubstantial presence of this six-store y,b u ff coloured building which isreminiscent of a fortified citadel ofalmost medieval monumentality. Ye tthis is tempered by the informality ofthe building’s rather attractive massingand the bold use of colour to interactwith the large, chaste planes of cre a m y

A rchitectural therapy

PUBLIC BUILDING

The large-scale use ofcreamy buff brickworkon a new children’shospital in Bristol hasinjected a note of joyinto an otherwiseunremarkable urbansetting

G e o rge Demetri re p o rts on a newc h i l d re n ’s hospital that brightens upBristol

C l i e n tUnited BristolH e a l t h c a reTru s t

A rchitect andi n t e r i o rd e s i g n e rW h i c h e l o eM a c f a r l a n eM D P

S t ru c t u r a le n g i n e e rA rup

C o n t r a c t o rJohn LaingC o n s t ru c t i o n

P h o t o g r a p h yN i g e lS p re a d b u ryA n d re wS o u t h a l l

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b u ff brickwork and the sparkle of theglazing. Although the diverse forms offenestration are unified by usingt u rquoise powder-coated framest h roughout, the sheer variety is stilli m p ressive. There are bay windowswith dramatic zinc-covered overh a n g s ,jewel-like prismatic windows, andc u rtain walling which ranges from av e rtical slit on the main stair tower tothe eye-catching, colour-coded quadrantof the lift lobbies.

At each level of the quadrant,p rojecting perforated aluminiumsunshades on a steel frame express thep revailing colour of each floor ands e rve not only as an effective decorativef o rm but also to provide support for

window cleaning. It all constitutes avibrant contrast to the sombreb rutalism of the adjacent 1960s-builtBristol Royal Infirm a ry (BRI) buildingto which the new hospital is linked ateach level.

Design appro a c hThe architect wanted a building ‘whichdefied its harsh urban context, hadclarity of purpose and expressed itsfunction confidently’. This has beenachieved partly by the use of cre a m yb u ff brickwork which makes thebuilding jump out of its colourlesss u rroundings, partly by pro j e c t i n gplanes of colour, and partly by thebold, craggy street frontage which steps

out from the existing BRI fro n t a g e .Keeping the main circulation ro u t e sadjacent to the perimeter has achieveda higher degree of transparency than isn o rmally associated with hospitals.

Wa rds and clinical areas are locatedon the top floors in order to enjoyviews over the city and the surro u n d i n gc o u n t ryside, while operating theatre s ,r a d i o l o g y, the intensive therapy unit(ITU), outpatients, storage and suppliesa re cut into the hillside of the steeplysloping site. The ground flooraccommodates only the main entranceand parking.

U n s u r p r i s i n g l y, the re q u i rement forplay formed an important part of thebrief. In addition to play areas in

Bristol RoyalHospital forSick Children

Bristol OncologyCentre, existing

Upper Maudlin Street

1 0

individual wards, a dedicated playd e p a rtment with outside play area hasbeen created on level five towards therear of the building on what used to bea hidden ‘oasis’ of gre e n .

A major problem during the designand construction phase was the incre a s ein the size of the ITU, whichnecessitated a large extension andresulted in the loss of an adjoining beerg a rden. As the amended plane n c roached into a conservation are a ,the planners insisted on a dark,f o reboding stone wall facade for thee n c roaching part which appro p r i a t e l yechoes the mood of the existing BRIbuilding.

C o n s t ru c t i o nThe re i n f o rced concrete frame of thec h i l d re n ’s hospital is clad inconventional cavity walling comprisinga brick external leaf (or stone in some

places), a block inner leaf and a100mm-wide cavity, part i a l l y - f i l l e dwith insulation. The creamy buffbrickwork is articulated near thereception area by alternating bands oft u rquoise-glazed brickwork peppere dwith a chequerboard of small squarewindows on a child’s scale. These,together with the dramatic tubular steeland glass entrance canopy, serve toemphasise the main entrance. Furt h e ralong, the entire length of elevationclosest to the pavement features a singlecourse of red engineering bricks everysixth course up to first floor level.

P rovision for brickwork expansionhas resulted in elevations divided neatlyinto panels by horizontal and vert i c a lmovement joints. The potentiallyunsightly horizontal joints have beencleverly concealed by a buff - c o l o u re daluminium flashing which gives theappearance of a projecting string course

when viewed from ground level. As forbrick specials, a substantial numberw e re used throughout, including pistolsoldier bricks for steel support i n gangles over window openings andsingle cants used as sills to tiny squarewindow openings.

At several points at the higherlevels, vertically aligned windows havebeen ‘linked’ with panels of stack-bonded, turquoise-glazed bricks.F u rther down, near pavement level,l a rge bullseye windows are set ins q u a re, reconstituted-stone surrounds.

It all adds up to a satisfyingcomposition, using a diverse range ofa rchitectural elements in which thecolour of the brickwork makes ani m p o rtant contribution. That the re s u l tseems to hint at a combination of toy-town hospital and fairy tale castle mustbe seen as a wholly appro p r i a t eo u t c o m e .

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In 1936 the Imperial War Museummoved from Kensington toKennington – to what had once been

the Royal Bethlehem Hospital (akaBedlam) for the insane. This handsomeG e o rgian building on Lambeth Roadbecame the principal storehouse andexhibition centre for a vast collectionfocused on all aspects of modern war.

In 1986 the Museum Tru s t e e sembarked on a thre e - s t a g eredevelopment masterplan by Aru pAssociates to re s t o re the building,i m p rove facilities and increase displayspaces. The final stage was theS o u t h West Infill, a major and sensitiveextension that has added 5,680m2 o fnew exhibition and education space oversix floors. The Holocaust Exhibitionoccupies a major part of the space.

The new extension is constructed ontop of, and adjacent to, the existingcinema. The existing steel lattice vaultwas extended 40 metres to the southand the existing western elevationcontinued to the south, in keeping withthat of the original Grade II-listedbuilding which dates from 1812.

Echoing, indeed continuing, theoriginal, the new brick elevations are inyellow multicoloured stock brick withflat and semi-circular arches abovewindows in plain yellow brick. As in

the original construction, the elevationsa re in nine inch-thick (215mm),Flemish-bonded brickwork using alime-based mortar: this combination,the designers considered, allowed themto achieve the new 30m long, 18m highplanes of brickwork without re c o u r s eto expansion joints.

A rigorous selection pro c e s sfollowed to find a modern brick thatwould give a perfect match with theexisting 19th century brickwork to thesatisfaction of both the design team andEnglish Heritage.

The chosen brick was a yellowmulti-stock with the looks of atraditional London stock but thesuperior technical pro p e rties of am o d e rn brick, including FL durability.It produces an animated facade and aw e a t h e red appearance close to that ofthe original fabric. Other details wereo b s e rved in equally meticulous fashion:v e rtical gauging matches the imperialm e a s u re of the original while thehorizontal gauging is in metric. Thejoints are finished with a weatherstru c kp rofile and, reflecting the original,queen closers were used at the deepwindow reveals. The result is a bare l yvisible transition from old to new thattakes some really close inspection tod e t e c t .

Sensitive choices

PUBLIC BUILDING

In Lambeth’s ImperialWar Museumextension, yellowmulticolour eleva t i o n sand plain yellowarches successfullyecho the originalGeorgian building.M o r e ov e r, theyembody the superiortechnical properties ofmodern bricks

Sue Duncan re p o rts on a sympatheticextension in south London

C l i e n tImperial Wa rMuseum

A rc h i t e c tA ru pA s s o c i a t e s

S t ru c t u r a lE n g i n e e rA rup

Main ContractorB i r s eC o n s t ru c t i o n

P h o t o g r a p h yN i g e lS p re a d b u ry

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T ake a good look atBrindleyplace. There is pro b a b l yno better advertisement on a

single UK site for the variety and vigourof brickwork than this re s o u n d i n gsuccess story located in the heart ofB i rmingham. Set around an attractivelylandscaped square with cafés andfountains, the scheme comprises a gro u pof speculative, brick-clad off i c ebuildings which are harmonious both int e rms of massing and materials. Yet thestyle of each could not contrast morewith its neighbours, ranging from thescholarly Graeco-Roman classicism of

Porphyrios Associates to theu n c o m p romising modernism of StantonWilliams.

Brindleyplace is the product of twoi m p o rtant generators; the enlightenedpolicies of Birmingham City Counciland the vision shown by developerA rgent. Consequently, a form e rindustrial wasteland has beent r a n s f o rmed into a vibrant urbans e c t o r, where the spaces between thebuildings are as important as thebuildings themselves.

Number SixThe latest addition to Brindleyplace isNumber Six, a £12.3 million, orange-red brick speculative office block andthe second building in the square tohave been designed by Allies andM o rrison. Its classical symmetry andsemi-industrial feel are imparted by aninsistent rhythm of brick piers and gun-metal grey fenestration. Such rigidf o rmalism marks out Number Six as aplace of work and the only building inthe development to eschew theasymmetric disciplines of themasterplan. This is generated from itscentral location within Brindleyplaceand the only building to face twos q u a res, the main square at the fro n tand the smaller, less formal OozellsS q u a re to the re a r.

The architect has exploited thisduality by making the elevations to thes q u a res calm and open, while those onthe side are – due to their subord i n a t erole – more solid and closed. Ye tdespite this duality, the building’s fourelevations are unified by a tripart i t esub-division which can also be seen onneighbouring Number Two: a double-s t o rey base of brick piers extendinga round the building and forming acolonnade on the front elevation; amiddle, four- s t o rey section with brickpiers expressing the office grid; and ontop, a two-storey glazed loggia thatp rovides an interesting silhouette.

A formal number

COMMERCIAL BUILDING

A new formal brick‘box’ provides a starkcontrast to the markeda s y m m e t ry ofBrindleyplace inB i r m i n g h a m .M o r e ov e r, its self-supporting brickworkhas helped deliverfurther quality atconstruction costs fa rbelow the norm

G e o rge Demetri appreciates the qualitiesof Number Six Brindleyplace

Client A rg e n t

C o n c e p ta rchitect Allies andM o rr i s o n

P ro d u c t i o na rchitect We e d o nP a rt n e r s h i p

S t ru c t u r a le n g i n e e rC u rt i n sC o n s u l t i n gE n g i n e e r s

Design and buildc o n t r a c t o rC a r i l l i o n

P h o t o g r a p h yP e t e rC o o k / V I E W

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A rr a n g e m e n tThe eight-storey building comprises8 , 5 0 0 m2 of office space arranged overseven floors. The ground floor is mostlytaken up by the reception area and a4 2 0 m2 restaurant facing Oozells Squareat the re a r. A relatively compact atriumwhich begins at first-floor level funnelsdaylight into the core of the office platesand rises to form the base of an openc o u rt y a rd around which the top twos t o reys are arranged. Because of itscompact size, this relatively shortv e rtical rise of atrium achievesc o m f o rtable pro p o rtions and thus avoidscomparisons with a utilitarian lightwell.

C o n s t ru c t i o nA two-storey basement substru c t u re ofin situ re i n f o rced concrete forms thefoundation for the building’s steelframe and composite floorc o n s t ruction. Cladding is cavity wallingwith external orange-red facing brickand internal concrete block leaf,separated by a cavity partially filledwith insulation. The original intentionwas to wrap a conventional half-bricke x t e rnal skin around the entire

s t ru c t u re, supported at floor levels onthe building’s steel frame. However, theconvoluted brickwork on the sideelevations would have necessitatedcomplex slab edge details and specialshaped mild steel support angles.

The solution adopted was the moreeconomical ‘off-frame cladding’a rrangement that obviates the need fora steel support system; a self-s u p p o rting, one brick (215mm) thick,Flemish bond external leaf was builtf rom the foundation level for the fullheight of the brickwork. It is re d u c e dto half-brick where necessary, mostlyfor the rebated vertical slots belowwindow sills. A constant-width cavityhas been maintained behind thev e rtically continuous wall which, fors t a b i l i t y, is tied back to the stru c t u re bysliding anchor ties. The large area ofbrickwork on the side elevationsnecessitated vertical movement joints ata l t e rnate piers to accommodate therm a land moisture movement.

A diff e rent construction on thef ront and rear elevations avoids theneed for vertical movement joints asbrickwork is mostly confined to half-

brick storey-height ‘piers’ between thewindows. Here, the construction iscavity walling with a half-bricke x t e rnal leaf. Running round thebuilding at every storey height arecontinuous string courses ofreconstituted stone which are built intothe brickwork and tied back to floorslabs with sliding anchors.

Overall, the crisp detailing onNumber Six, allied with its strict form a lcomposition, introduces a dynamicrhythm to a site where informality isthe order of the day. The design andbuild pro c u rement route chosen and theuse of new working methods,p a rtnering and prefabrication, haveresulted in a very economical buildingcosting only £1,073/m2 including fit-out– about 15 per cent less than thatn o rmally re q u i red for a similar buildingin Birmingham city centre. Yet thei m p o rtant point about Brindleyplace isthat the focus rests not on anyindividual building, but on the overallconcept. All parts are subservient to thewhole, a concept which has proved tobe a winner for the developer, the citycouncil and for Birmingham itself.

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Should the former students ofSouthlands College in Wi m b l e d o nget the notion to revisit their alma

mater – they’d be in for a big surprise.W h e re once there were motley teachingbuildings and student halls accumulatedpiecemeal since 1864, now stands‘ Wimbledon Parkside’, a very granddevelopment of Georg i a n - s t y l eresidences by Laing Homes. But if theylook closely they will see that the bre a kwith the past is not as absolute asmight first appear.

The key to Wimbledon Parkside is,

of course, its site – 3.7ha of woodedand landscaped grounds bordering thee a s t e rn edge of Wimbledon Common.An elevated position – with fine viewsover this conservation area and itsn e i g h b o u rhood proximity toWimbledon Village and the All EnglandClub – made it a prime prospect fordevelopment as the college upped sticksto nearby Roehampton.

In 1997 architect Lawrence &Wrightson was approached by LaingHomes to review its part i a l l yimplemented 1996 scheme for fre s h

Wimbledon uncommon

H O U S I N G

At WimbledonParkside yellow stockbricks contribute tothe unity of a well-executed piece ofG e o r g i a n - i n s p i r e ddevelopment in thisprosperous Londonsuburb

Laing Homes has served a winner inSW19. Sue Duncan takes a look

C l i e n tLaing HomesSouth We s tT h a m e s

A rc h i t e c tL a w rence &Wr i g h t s o n

C o n t r a c t o rC h a p m a nHouse – JohnL a i n gC o n s t ru c t i o nOthers –Laing Homes

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ideas – particularly re g a rding parking.The outcome was a radical re v i e w,including new options on layout andmix to enrich both commercial anda rchitectural qualities.

L a w rence & Wr i g h t s o n ’s Gart hHuxley describes the ’97 scheme as‘ m o re responsive to the unique qualitiesof the site, outward-looking rather thani n t ro s p e c t i v e . ’

And outward-looking it is –p a rticularly westwards across Parksidet o w a rds Wimbledon Common itself ands o u t h w a rds as the land drops steeplyt o w a rds the Quern m o re Roadb o u n d a ry. Four- and five-storey socialhousing to the north and east iss c reened behind mature trees.

Layout and mixBuilding has been confined to the upperlevels of the site, behind woodlandp re s e rved from the original gro u n d s ,laid out to create two linked butdistinct areas. The first is a form a llandscape garden open to the south andbounded by a six-storey apart m e n tblock (Chapman House) to the west.The rest of the development isp redominantly four- s t o rey: a terrace ofl a rge townhouses and flats oppositeChapman House and another of townhouses to the north. Then, opposite thegatehouse at Inner Park Road, is a two-s t o rey court y a rd development thatc reates a strong north-south axis withthe gated entrance.

A second, less formal, space isf o rmed by a terrace of larg etownhouses and flats to the west, townhouses to the north and a series ofblocks arcing southwards downhill.H e re the centrepiece is a turre t e da p a rtment block set among existingt rees. A thre e - s t o rey terrace of mewshouses links the two areas along then o rt h e rn boundary.

U n i t yThe challenge of providing a mix ofone-, two-, three-, four- and five-b e d room homes has generated a varietyof forms. Still, the development has aunity deriving from a common genepool of Georgian arc h i t e c t u re and arestricted palette of quality materials.This is characterised by yellowm u l t i c o l o u red stock bricks, red bricka rches, reconstituted stone features androofs of Welsh slate.

Chapman HouseChapman House sets the tone for therest of the development. It occupies thesame site as the original 1860sChapman House, the core building ofSouthlands College. It was arg u e dsuccessfully that its six-storey scale isconsistent with the tradition ofsubstantial Common-side re s i d e n c e sand, behind its screen of mature tre e s

on Wimbledon Parkside, it is, in fact,remarkably discreet.

It is actually three buildings – acentral block with two wings – with ahighly articulated elevation toWimbledon Parkside, punctuated bywindows and recessed balconies. Onthe court y a rd elevation, modelling isaccentuated by imposing turret bayspositioned at the centre of each block.With the exception of the turret flats allhave dual-aspect views onto thecommon and across the formal gardens.

Tu rrets with oversailing eaves

abound, as large projecting corner bayson all the apartment blocks. As adevice for providing dramatic light-filled space the turret has much torecommend it. That, plus a cert a i n‘jauntiness’ which stops the form a lgrandeur of the terraces being toooverpowering.

These turrets form just one of thea rchitectural elements developed atChapman House and condensed orextended elsewhere: white bases, re dbrick flat and semi-circular arc h e s ,f e a t u re stone dressings, parapet

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balustrades and dormer windows forexample. Though pains were taken tobe as authentic as possible – Huxleycites the recessed brickwork panelbelow semicircular arches – hec h e e rfully admits to ‘loosening up’beyond Chapman House while stillremaining faithful to the Georg i a nethos.

B r i c k w o r kT h e re are real practical limits to howauthentically Georgian you can be;elevations throughout are in stre t c h e rbond, with a bucket-handle joint ofb u ff cement mort a r. This reflects thefact that brickwork is a cladding,whatever the stru c t u re: be it to thec o n c rete-framed Chapman House, tothe brick/block cavity constru c t i o nwhich predominates, or to the four-

s t o rey timber-framed flats built first, atspeed, to establish a substantialp resence on the site.

‘ T h e re was never much doubt,’ saysH u x l e y, ‘that the elevations would be inLondon stock bricks; it was just achoice of which one. We went for amulti rather than a plain stock to give am a t u re established look.’ Sample panelsof brickwork were built on site and theconsistency of workmanship and colourindicates a close attention to qualityc o n t rol throughout the four- y e a rc o n s t ruction pro c e s s .

The lightness of the yellow stock, alightness of touch in layout combined

with generous views and open spacese n s u res this 193-unit development has aspacious feel to it. Car parking is amplebut discreet, with garaging underbuildings or integrated with them tominimise the extent and visual impactof open parking.

Like so many new developments,access to Wimbledon Parkside is viamanned security gates. Many units havebeen bought as rental pro p e rties withan eye to the Wi m b l e d o nchampionships. Indeed, if you hadcamped outside the lodge last July, asighting of the men’s singles championwas a distinct possibility.

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Student halls of residences haveoften been dull, uninspiring placeswith the only ‘colour’ coming fro m

students’ antics. But a trip to AstonU n i v e r s i t y ’s recently completedLakeside student residences will soondispel any such pre c o n c e p t i o n s .Located in Birm i n g h a m ’s concrete heartand adjacent to the inner ring road andan unforgiving circuit of underpasses

and roundabouts, the new £14 millionorange brick and terr a c o t t adevelopment brings colour and bolda rchitectural form into a mostlysoulless environment.

Design conceptBath-based architect Feilden CleggB r a d l e y ’s brief was to fit 651 studentson a tight urban site formerly used as a

Aston villas

H O U S I N G

The architecture ofAston University’sLakeside residence isa radical departurefrom the traditionalmould. So is the use ofan extra-long brickmodule that contibutesto the scheme’selegance andexcitement

New student housing in Birm i n g h a mi m p resses George Demetri

C l i e n tA s t o nU n i v e r s i t y

A rc h i t e c tFeilden CleggB r a d l e y

S t ru c t u r a le n g i n e e r / M & EB u ro Happold

C o n t r a c t o rJohn Laing

P h o t o g r a p h yD e n n i sG i l b e rt / V I E WG e o rg eD e m e t r i

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car park. This has been achieved withtwo blocks running almost parallel tothe ring road, each comprising asinuous lower section terminated by atower block. The western blockf ronting the ring road echoes the scaleof the city centre and is there f o reb i g g e r, with its eight-storey ‘wall’ and1 6 - s t o rey landmark tower block. Thee a s t e rn block facing the man-made lakebows to the scale of the lower- r i s ecampus buildings and comprises a four-s t o rey terrace and a nine-storey tower.

Between the two limbs is a spaceconceived by the architect as aE u ropean-style ‘court y a rd’, but whichhas the linearity more associated with atraditional street, albeit one withsecurity gates at each end. Nevert h e l e s s ,the result creates a strong sense ofe n c l o s u re which will no doubt facilitatethe social interaction and communityfeel which the architect intended.

A c c o m m o d a t i o nLakeside comprises flats of between sixand ten bedrooms sharing kitchen,dining and living facilities. The larg e rthan average study bedrooms makethem some of the biggest and best-specified student accommodation in thec o u n t ry, equipped with en suitefacilities, TV, telephone points and, asmost students have their own PCs,cabling for IT.

M a t e r i a l sThe elevations express a clear andlogical hierarchy of materials. Orangebrickwork is juxtaposed with a pristinet e rracotta rainscreen which standss u fficiently proud to be read as asecond skin. Slots cut into ther a i n s c reen serve to highlight theh i e r a rchy and to reveal the underlyingfenestration: long and thin whereindividual flats are emphasised andm o re substantial where five storeys ofl i v i n g - room balconies are revealed. Thei n t roduction of galvanised-steelbalconies and access stairs tomaisonettes adds a further layer. Muchof the development is capped by arecessed attic storey which is expre s s e dby dark render and oversailed by analuminium aerofoil-type ro o f .

C o n s t ru c t i o nBrick and block cavity walling is usedt h roughout the in situ concrete framec o n s t ruction, although the external leaf

becomes blockwork behind thet e rracotta rainscreen. Perf o rm a n c eguarantees provided by them a n u f a c t u rer of the mineral woolinsulation allowed the architect tospecify fully filled 150 to 200mm widecavities even at exposed high levelswithout fear of moisture transmissionto the inner leaf.

Facing brickwork is supported on

stainless steel angles located every others t o rey on the taller sections of thedevelopment with horizontal movementjoints at these locations.Ve rt i c a lmovement joints are provided re g u l a r l y.

The use of a special 290mm longbrick for all facing brickwork was inresponse to the large scale of thebuildings and to harmonise with themodule of the terracotta rainscre e n .

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The longer, flatter-looking brick iselegant and results in fewer mort a rjoints per square metre. Even thoughslightly more expensive than a standardbrick, the longer length was justified ong rounds of laying economies.

Bolted to the external face is analuminium framework which support sthe terracotta rainscreen andincorporates a 200mm cavity, chosenby the architect to make the rainscre e n

stand sufficiently proud of the adjacentbrickwork. The 400mm x 300mmt e rracotta tile becomes a 1,400mm-long‘plank’ on the tower ends in re s p o n s eto the larger scale involved.

The architect has clearly gone tog reat lengths to provide as mucha rticulation to the brickwork aspossible using a number of specialbricks. Window openings are unified bya variety of means: special sill bricks

f o rm continuous string courses while atthe head there is a projecting stre t c h e rcourse. Piers between windows havestack-bonded brickwork while the flankwalls of towers are articulated bys q u a re ‘panels’ within the brickworkwhich are formed by soldier coursesand stack bonding. The gentle curv e st h roughout the development wereachieved with no visible signs offaceting although no specially shapedbricks or terracotta panels were used.On the low-rise maisonette-typehousing facing the court y a rd ,galvanised steel channels built into thebrickwork at every floor level allowsafety rails and balconies to be slottedneatly into position.

Lakeside is a fitting statement by aninstitution which boasts that it has thehighest graduate employment rate ofany mainstream UK university. It joinsan elite corpus of student housingdevelopments distinguished byinnovative, quality arc h i t e c t u re, whichis re g rettably rare in the sector. But itwill be interesting to see whatp ro p o rtion of the country ’s burg e o n i n gstudent population can ultimately behoused in such expensive, ifenlightened, designs.

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You can walk from Wi g m o reS t reet to Oxford Street in acouple of minutes, but

a rchitecturally Wi g m o re Stre e t ,b o rdering the Marylebone conserv a t i o na rea, is light years away from its brash,c o m m e rcial neighbour. Designed by theKalyvides Partnership, 110-116Wi g m o re Street is one of the first newbuildings on the street in 20 years. Itoccupies a corner on the junction withDuke Street, facing south toward sO x f o rd Street, and wrapping round thec o rner that leads north to ManchesterS q u a re. The upper floors are off i c espace, let to an advertising company;the ground level contains a retail outletand a new restaurant, Zizzi, which alsooccupies most of the basement. Thebuilding is but one of several signs that

the character of Wi g m o re Street ischanging. Alre a d y, the bustle of OxfordS t reet is seeping up through tre n d yJames Street and St Christopher’s Place,and a Wagamama Japanese noodle baris directly opposite.

D i s c reet pre s e n c eNumber 110-116 is a model ofd i s c retion. While its mixed-use natureadds to the flow of new enterprisespenetrating Wi g m o re Street, its designe n s u res that these do not have a louds t reet presence but are contained behinda carefully ord e red facade. Even at stre e tlevel, the row of black granite columnsset forw a rd from the glazing exerc i s e ssome control over the appearance of theg round-floor tenants. To negotiate theshift in scale between the lofty Wi g m o re

Steel frame in a velvet glove

COMMERCIAL BUILDING

Deborah Singmaster welcomes a newa rrival to London’s West End

C l i e n tM o rg a nSindall

A rc h i t e c tThe KalyvidesP a rt n e r s h i p

C o n t r a c t o rC h a rt e rC o n s t ru c t i o n

P h o t o g r a p h yBrian Fowler

Soft texture and richcolour combine in asimple but sensualfabric in an impressivemixed-use building onL o n d o n ’s WigmoreStreet whichacknowledges itst r a d i t i o n a lsurroundings whiletaking an innova t i v eapproach to brickmodule, size and bond

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S t reet elevations and the Georg i a nresidential terracing in Duke Street, asteel and glass roof pavilion steps downtwo floors towards the street junction,and the window size and ratio ofopening to solid wall is reduced whenthe building turns the corn e r.

Building on traditionTryfon Kalyvides chose brick as thefacing material which would mostobviously reflect the Georg i a na rc h i t e c t u re of neighbouringManchester Square and Duke Stre e t ,while avoiding the monumentalityevident in many of the Vi c t o r i a nemporia on Wi g m o re Street, many ofthem faced in Portland stone, faienceand terracotta, as well as brick.Kalyvides says he likes using traditional

‘ e a rthy’ materials, ‘but in ac o n t e m p o r a ry way’. He there f o re chosea 52mm brick which had to be madespecially for the project, rather than as t a n d a rd spacing, 65 mm brick. Hetook the clients to see a re s i d e n t i a lscheme by Ian Ritchie on City Road,and various Rick Mather buildings, tosell them this variation on a stockLondon theme.

The smaller brick emphasises thehorizontal features of the mainelevation on Wi g m o re Stre e t ,counteracting the verticality set up bythe stacked windows in the uppers t o reys, and again mitigating anysuggestion of monumentality. Its non-loadbearing function is underlined bymetal channels, inset as a continuousband above the window heads, which

separate the vertical and spandre lbrickwork panels, and disconnect themvisually from the structural columns ats t reet level.

Intricacy without fussinessThe specially made multi bricks are alight buff colour and glow like honey ind i rect sunlight. Arrises are sharp butthe surface is sand textured, with theoccasional slim crease and a hint ofcolour flecks you would expect from amulti. They produce the quality of‘intricacy without fussiness’ whichKalyvides wished to capture. For himthe brick has a ‘velvety’ feel to it –simple but sensual.

Q u a rter bonding again emphasisesthe horizontal elements of the facadesand non-traditional brickwork, as wellas blurring the interaction betweenv e rticals and horizontals whichs t retcher bonding would havep roduced. ‘It gives an almost zigguratappearance,’ says Kalyvides. However,the surface areas of unbro k e nbrickwork are not quite large enoughto produce the optical effects possiblewith large planes of this bondingm e t h o d .

The joints, in a neutral mort a r, are6mm wide, ‘less crude than thetraditional 10 mm joint’, and arefinished with a neat weatherstru c kp rofile to modulate shadowing whenviewed from the street and add furt h e rrichness and variety to the elevations.In fact, this narrow joint is not a tru ed e p a rt u re from tradition. The jointingon the Georgian terraces in Duke Stre e tis also 6mm and the brick modulesmaller than standard .

Deceptive simplicityKalyvides’ aim to produce ‘an elementof quality without appearing to try tooh a rd’ has not been achieved withoute ff o rt. Initially he considered sourc i n gthe bricks in nort h e rn Europe, wherethey are standard, but a Britishm a n u f a c t u rer with a stro n ga rchitectural in-house support teame x p ressed enthusiasm for the schemeand deservedly won the contract. Itp roduced more than 40 sample panelsb e f o re the final choice was made.Similar rigour went into theappointment of the contractor.Kalyvides said: ‘We were very fussyabout bricklaying skills and made itclear from the outset that we would notaccept any compromise.’

The novel use of Continental-stylebrick and bonding may inspire othera rchitects to experiment with lessconventional brickwork. Already theKalyvides Partnership is working on aresidential scheme for the Home Off i c ein Marsham Street and plans to buildon its success at Wi g m o re Street byusing a similar brick cladding system.

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The grandeur and intricacy oftraditional structural brickworkis widely admired, but the

a p p reciation is accompanied by there g retful belief that such construction isa thing of the past, having long beensuperseded by more expeditiousm o d e rn methods. Sadly, thatresignation is bolstered by asupposition that craftsmen no longerhave the necessary skills and knowledgeto do such work.

T h e re f o re, to find a substantialquantity of new brickwork built in thetraditional manner is as surprising as itis exciting.

In the heart of the Sussexc o u n t ryside the present owner of af o rmer 16th century farmhouse wasf o rtunate to engage a young bricklayer,Nick Evans, for some new work on hisp ro p e rt y. Nick, like his grandfather,g reat-grandfather and generations ofhis family before, is an enthusiastic andskilful bricklayer craftsman. He wasengaged to construct the brick masonryelements of a new garden designed bylandscape architect Nigel Phillips. This

called for walls, gate piers, re t a i n i n gwalls, pond walls, steps and paving.

The masonry was built astraditional thick-bonded brickworkusing red multi-stock bricks jointedwith lime-based mort a r. For example,the retaining walls are of thick, solid‘gravity’ design, the thickness of thebrickwork being about a quarter or at h i rd of the height of soil to beretained. Today pre s t ressed re i n f o rc e dbrickwork would be an economicala l t e rnative, but many engineers woulduse re i n f o rced concrete and face it withbrickwork for good appearance,although that would be moree x p e n s i v e .

Pleased with the results, the clientengaged Nick to design and buildf u rther projects on his pro p e rt y. Tw onew decorative brick chimney stacks inthe Tudor style now grace the roof ofthe main house. One is a twin-fluestack featuring contra-rotating spiralson the two shafts and connected at thetop by a corbelled bridging term i n a l .The other is a slender simple shaft witha decorative pinecone-like texture .

Bonding with tradition

C R A F T S M A N S H I P

Michael Hammett meets a young manwith the skills and dedication to followthe old ways

B r i c k w o r kdesign andc o n s t ru c t i o nNick Evans

P h o t o g r a p h yM i c h a e lHammett Nick Evans

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Photographs1. and 7. New chimney stacks 2. Seven-bayed loggia3. Seat in arched recess4. and 8. Bar rel vaulting and groinedintersections within loggia5. Tudor-arched access to walled garden6. Gate pier with flutted arris of specialshaped bricks9. Arcading of the Orangery

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The OrangeryAt the source of a cascade feature inthe garden, Nick Evans created ac renellated pavilion with blind andopen arcades of bonded semi-circ u l a rgauged arches. The brickwork is inEnglish bond which gives it a suitablyrobust character and a corbel-s u p p o rted attached chimney stackf o rms a strong decorative element onone of the elevations. Within theparapet a glazed roof stru c t u re iss u p p o rted on cast-iron brackets.

Walled gard e n sT h e re are two walled gardens. One is aplain enclosure of 45 x 30m,s u rrounded by thre e - m e t re high walls.T h e re are two oak door entrances set indecorative brickwork openings withfour centred Tudor arches of corbelledmoulded bricks.

On two sides the enclosure walls areretaining walls to support the earth at ahigher level beyond. They are 1.34 mthick (six bricks) in English bond andt h e re is sectional bonding thro u g h o u t ,that is the bonding is arranged so that

t h e re are no continuous vertical jointswithin the wall.

Following 19th century stru c t u r a lbrickwork practice, to strengthen thebond, herringbone courses areincorporated. These are occasionalcourses (one in ten or so) of bricks laiddiagonally across the width of the wallwithin the space between bricks at theface and back surfaces of the wall.

The other garden is 25 x 20m withone entrance, again under a Tu d o ra rch. Opposite the entrance is a seven-bay loggia. An arcade of wide Tu d o ra rches, supported on decorativecolumns of spiral brickwork withs q u a re plinths and capitals enclose ab a rrel-vaulted ceiling. The three centrebays contain a water feature andseating. These bays are deeper than theothers and have vaults at right anglesto the main one. Carefully formed cutand rubbed special shaped bricks areused to form the groined intersectionsn e a t l y.

Set in each of the two side walls ofthis garden enclosure, a 2m wide seatingrecess is formed below an elegant semi-

c i rcular bonded gauged arc h .In other parts of the garden there

a re gate piers, some with ru s t i c a t e ddesign and others with chamfered andfluted arrises formed with bricks ofspecial shape.

Nick Evans is responsible for thedesign of all the brickwork feature sdescribed. In some parts where special-shaped bricks were involved, the CADDesign Advisory Service of the brickm a n u f a c t u rer supplying the bricksassisted with working up the details oftheir application.

Nick Evans trained at LewesTechnical College from 1985-88 wherehe obtained the City & Guilds Craftand Advanced Craft Certificates inBrickwork. He acknowledges theassistance provided by his workmate,not only in the role as bricklayer’sl a b o u re r, but from time to time helpingby laying the backing brickwork. Butall the bricks seen in these projects havebeen laid by one skilful man followingthe time-honoured techniques oftraditional bricklaying. It is an amazingtour de forc e .

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R ight now the new Rugby publicl i b r a ry and gallery overlooks acar park rather than the civic

s q u a re which was the originalintention. There is still a chance of thishappening and it would be good if itdid for, thus isolated, the building looksoverly rhetorical with its form a lsymmetrical facade and thre e - s t o rey all-glass reverse-apse entrance.

Because you can’t see round theback, what you are only faintly awareof is that this entrance stru c t u re is as e v e re geometrical shape. It is one sideof a thick brick tube with a glasshollow core whose roof slopes downinto its centre. So that, despite theunderlying classical quality, it has allbeen reversed: a recessed centre ratherthan a dominant one, the gables eitherside sloping the wrong way, and acurious agricultural rather thanpompous civic quality. Agricultural inthe sense of Italian farmhouse. Thebrick tube bit is real because thec u rving ridge of the roof is support e d

all the way round on a parapet wallwhich is itself semi-circular in plan.

Behind the glass entrance wall withits fins and spiders is another classicalelement: a curving row of white two-s t o rey-high columns supports the attict h i rd level containing the art galleryand, a floor below, a curving balconyf ronting the first-floor museum space.All white, it is an impressive space but,because of its unusual and dire c t i o n l e s srelatively narrow half-ring shape, youa re not quite sure what its real purposeis apart from being a narrow space youwalk across to get into the library.

Exciting volumes The library beyond is a big barn butb e f o re the entrance attaches to it therea re further complications in the form ofa circular brick tower, an ort h o g o n a lbrick and glass stair tower and ac u rving roof snuggling up alongside thehalf-cylinder of the entrance block.This section, at first- and second-floorlevel at least, accommodates the city’s

Space odysssey

PUBLIC BUILDING

The new Rugby publicl i b r a ry and art gallerycontradicts thereceived wisdom thatlibraries should bequiet and withdraw n .Dramatic geometry,yellow walls andswooping roof formsmake it an ex c i t i n gand stimulating placeto look at and be in

Sutherland Lyall explores re v e r s eclassicism in the heart of England

C l i e n tR u g b yB o ro u g hCouncil

A rc h i t e c tCrampin PringM c C a rt n e yGatt

S ru c t u r a lEngineer A ru p

C o n t r a c t o rA l f re dM c A l p i n eS p e c i a lP ro j e c t s

P h o t o g r a p h yM a rt i n eH a m i l t o nK n i g h t

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a rt gallery and museum. Inside atg round level this space is occupied by ac h i l d re n ’s library and then the gre a tl i b r a ry space: with a mezzanineoccupying the floor area above thebook stacks all under a wonderf u lswooping roof with terrific clere s t o rylight pouring in from the east. It’sp robably quite distracting because it’ssuch a nice space to be in.

And then you notice thecomplications: the roof does actuallyswoop because it has a doublec u rv a t u re and, just to make sure younotice this, it is supported on gre a tsteel cellular beams. Libraries aretraditionally quiet, rather withdrawnplaces. This is quiet but withdrawn itc e rtainly is not and you start to wonderwhy all libraries should not be excitingplaces to be in.

Asymmetrical compositionOutside again, you walk round theright-hand side of the entrance and thes e v e re formality gives way to an

asymmetrical composition of thre e -dimensional shapes in brick. The squattower is the dominant form and younotice wryly that the long curv i n ghorizontal window at second-floor levelhas an adjoining U-shaped windowa rrangement. Neither of these couldhave been possible without support i n glintels and some kind of intern a lp ropping stru c t u re. It is as if they havebeen sculpted out of the soft brickworkof the tower. You notice wryly becausejob architect David Glazebrook has justtold you that the selection of boring olds t retcher bond was certainly cheaperthan other more interesting bonds butwas actually the only bond which tru l yreflects the single-skin nature of thiswall stru c t u re. And that the use ofsoldier bond on one of the adjoiningwalls reflected the purely screen natureof that wall. You can’t expect totalconsistency in this business.

It may be a regional thing but therehas been a lot of rather pale brickworkn o rth of the 52nd parallel: Alan Short ’s

sustainable buildings, as a randomexample, are all in the same kind ofbrick. Speaking from the deep south,you wonder why architects from then o rth seem inclined to deny the darkred brickwork heritage of the industrialpast. It is not just industrial becauseRugby School, in quite bright re dbricks and lots of stone dressing, is justa c ross the road from the back door ofthis library.

G l a z e b rook points out that thedesign team had quite deliberatelydecided to go for a match with otherp a rts of the school which are in honey-c o l o u red stone not unakin to the colourand texture of old London stocks. Andyes there is something in the re g i o n a lthing. Glazebrook says: ‘Here in theMidlands we find the traditional darkred brick quite oppressive when it’sused en masse. Here we seized theo p p o rtunity to use a lighter brick andmake a match with the Rugby schoolstonework which is nearby and onroughly the same scale as the library. ’

2 6

A t South Quay Plaza in London’sDocklands, which runs eastf rom South Quay Docklands

Light Railway (DLR) station betweenMarsh Wall to the south and SouthDock to the north, the 1996 IRA bombblast severely damaged the RichardS e i f e rt-designed post-modern blocksdating from the late 1980s.

Of these, the South Quay Plaza IIand III (14 and 17 storeys re s p e c t i v e l y )have since been rebuilt, forming an‘enclave’ between the dock and a newretail mall opening onto Marsh Wa l l .But next to the station, behind

h o a rdings, there is a void where SouthQuay Plaza I has yet to be redeveloped.

Came the re c o n s t ruction, came therealisation that the place was a bit of amess anyway. ‘A discordant andf r a c t u red void, cramped by tallbuildings and without any naturalfocus,’ as landscape architect RickRowbotham of LDC describes it.

He might also have mentioned theDLR stru c t u re disfiguring its southernedge. Without an attractive enviro n m e n tand public spaces around theredeveloped blocks, the quarter woulds t ruggle to attract businesses back.

Renaissance at South Quay

L A N D S C A P E

On 9 Fe b r u a ry 1996 anIRA bomb ripped intoLondon Docklands.The ex p l o s i o n ,adjacent to the retailmall at South Quay,killed two, injuredm a ny more andcaused more than£100 million pounds ofdamage to buildingsand infrastructure.I m a g i n a t i v elandscaping, formalbut playful, has sincehelped unify andrevitalise the area

Sue Duncan takes a look at newlandscape in Docklands

C l i e n t sL o n d o nD o c k l a n d sD e v e l o p m e n tC o r p o r a t i o n /South QuayP l a z aM a n a g e m e n t

L a n d s c a p eA rc h i t e c tLDC

C o n t r a c t o rG a b r i e l( C o n t r a c t o r s )L i m i t e d

P h o t o g r a p h yBrian Fowler

2 7

Tr a n s f o rming urban anonymityFor that, a coherent landscape strategywas needed. A unifying theme wasessential, in LDC’s view, to bringtogether these unpromising elements.This theme should generate a decidedlyindividual character that wouldt r a n s f o rm space into place.

The game plan was to bring thefocus down to ground level. This shiftsthe gaze away from the re l e n t l e s sv e rticals of surrounding developmentwith a distinctive polychro m a t i cfloorscape that introduces new colour,t e x t u re, warmth and human scale. Wi t ,too.

A decorative pavement has beenu n rolled – like a carpet laid edge-to-edge across the plaza, but set on thebias to the prevailing grid. Its strikingp a t t e rns are designed to create a thre e -dimensional effect when viewed fro mthe surrounding offices or from passingDLR trains. You don’t need to scale tob o a rd room heights for the trompe l’oeilt r i c k e ry to work; even from first-flooro ffices the pavement starts playinggames with perc e p t i o n .

Renaissance influencesRowbotham cites as influences thet rompe l’oeil interiors of the ItalianRenaissance, and has used thetechnique before (using alta quart z i t e )on a scheme at the Royal Albert Dock.This time the materials and palette havechanged. The geometric motif is as q u a re module formed of silver/gre yc o n c rete block pavers in combinationwith clay brick pavers, using ac o n t rolled colour palette which

p ro g resses from dark blue, thro u g hbrindled to plain red. This transitionmimics the appearance of light andshade on which the optical illusion isbased. The colour handling is deft andthe execution precise – without themeticulously mitred corners betweenpavers the effect would bec o m p ro m i s e d .

Look closely at the ro u g h e n e d‘scabbled’ surface of the concrete unitsand you will notice a sparkle from thel i g h t - reflective granite aggregate theycontain. These are laid in herr i n g b o n ep a t t e rn, setting up a contrast in textureand rhythm with the clay units, whicha re all set in running bond. Thesemotifs sit within a ground of sunnyb u ff pavers, the warm end of thes p e c t rum coming as a welcome relief tothe all-pervasive steely blue cool ofcorporate Docklands.

The colour permanence of fired claywas a critical factor in specification.‘Any change in shade over time wouldhave destroyed the optical illusion soany possibility of colour fade had to beruled out,’ says Rowbotham.

Design consistencyJapanese pagoda trees – a ro b u s tspecies for urban environments – havebeen planted in the open pavementalong Marsh wall; but in the ‘enclave’section between offices and retail units,basement car parking below thec o n c rete slab precluded planting deep-rooted trees. However, deep raised bedsfaced with polished concre t eaccommodate substantial planting andsustain the diagonal theme – as do a

series of triangular beds edged withblue bullnose engineering bricks.

The clay pavers conform to BS6677: Part 1, transverse stre n g t hdesignation PB, making the pavingsuitable for vehicles, and there is nos h o rtage of them going down the pavedramp into the basement car park. Eachside of this ramp there is just a part i a lmotif, which seems rather arbitrary,and you wonder why it wasn’t simplyscaled down to fit the available space.Then you realise it’s designed to beviewed from above and is part of al a rger motif extending right across thed rop. Seen from that angle the patternreads as being on a single plane, withno visual hiatus where the contourschange.

On the first floor cafe terr a c ebetween buildings II and III, asubsequent adaptation of the motif, byothers, has used only three colours andhas dispensed with mitring. It works,s o rt of, but not as well as the original,which you can see on the watersidewalk just below.

The sculptural forms of the stainlesssteel lighting and bollards - an invert e dtriangle atop a slim column - re i n f o rc ethe triangular theme, and contribute tothe cohesiveness of the overall plan. It'sa shame there was no budget for thea rtworks and other impro v e m e n t senvisaged in LDC’s original pro p o s a l ;also that without South Quay Plaza I, itmust still be seen as a work in pro g re s s .That said, it is a considerableachievement, to reinvigorate a rathersad corner of Docklands with zing,brightness and humour. Even part i a l l y.

2 8

In Britain, brick masonry has a longu n i n t e rrupted history of use sinceearly mediaeval times and we tend

to re g a rd the structural imagery ofbrickwork as sacrosanct, even when weuse it as a cladding to other stru c t u r a lsystems. Our neighbours in Europe arenot inhibited by such a puritan outlook

and are much more adventurous… eveno u t l a n d i s h !

In these three new buildings thebrickwork is clad to framed stru c t u re s .F reed from the inhibitions of as t ructural function, the architects haveresponded by creating truly bizzareb r i c k w o r k .

Pushing the envelope

C L A D D I N G

Our neighbours are having fun with brick.Michael Hammett sees how it all ties up

Neuer Zollhof, Düsseldorf A r chitect: Frank GehryPlain, but certainly not plane, the brickwork cladding to a re i n f o rced concre t es t ru c t u re is tilted and artfully misaligned to create the distressed crumpled form ofthis development. The concrete stru c t u re has in situ re i n f o rced concrete inclinedwall panels which are the inner leaves of the external cavity walls. The outer leavesa re of smooth red wirecut bricks.

The brickwork is jointed in cement/sand mortar and supported at floor levels onlight stainless steel angles spanning between stainless steel standoff brackets at500mm centres to provide a cavity approximately 100mm wide. Similar supportangles and brackets support brickwork at the heads of window openings.

Between angle supports, lateral loads, from wind and the horizontal loadcomponent of the inclined plane of brickwork, are transferred to the re i n f o rc e dc o n c rete inner leaf by stainless steel wire ties. These are fixed into the concrete ata p p roximately 450mm horizontal and vertical spacing and subsequently built intobrickwork bed joints (see diagram, top left). The brickwork appears to be quitep recariously out of plumb, but it did not re q u i re temporary support duringc o n s t ruction and is securely stabilised.

P h o t o g r a p h yC h r i s t i a nR i c h t e r s

Diagram H a l f e nG e rm a n y

2 9

A r chitect : Mecanoo Architecten b. vPlane, but certainly not plain, thebrickwork here is cladding secured to asteel-framed stru c t u re. The amazingvariety of bond patterns is enhanced bya variety of bricks and the joints were

pointed with diff e rent coloure dm o rtars. Mortar joint profiles too werevaried. The whole effect is redolent ofrich, luxurious Kaffe Fassett knitting.

Wall-tie fixing to the steel frameallowed lateral and vertical adjustment

so that the ties could be located in bedjoints re g a rdless of the irregular spacingof courses. Bed-joint re i n f o rcement ina reas of stack-bonded work compensatesfor the loss of bonding norm a l l yp rovided by overlapping bricks.

C r a w f o rd Art Gallery Extension, CorkA r chitect: Erick van Egeraat Associated Arch i t e c t sNeither plane nor plain, this is gravity-defying brickworkand a far cry from tradition. It is brickwork built of bricksjointed in mort a r, but the mortar is an innovative thin-jointadhesive formulation developed by KNB, the Dutch tradeassociation of brick manufacturers. Its recipe is secret, but itis believed to have a high cement content and adhesiveadditives. It is quick setting (it stiffens within about sevenminutes and sets within 30) and has a very strong bond.

The sinuous curved form of the cladding takes its shapef rom a 152mm-thick re i n f o rced concrete shell cast in situbetween two layers of metal decking. The inner componentsof adjustable two-part wall ties were resin-fixed into thec o n c rete, stood off and masked to allow for 80mm-thicksprayed thermal insulation and bituminous waterproofing tobe applied to its outside. Outer components of the ties wereconnected, adjusted and built into brickwork bed joints.Allowing a 40mm clear cavity, the bricks were fixed with thespecial mort a r, its quick-setting, high-bond adhesivep ro p e rties permitting construction out of plumb withoutf o rmwork. As the brickwork shell curved over the top of thes t ru c t u re, temporary packing pieces were used to gives u p p o rt while the mortar set.

KNB approved of the application and, following checksby its structural engineers of the design detail, constru c t i o nmethod, site operatives and work in pro g ress, it provided aw a rranty of satisfactory perf o rmance.

The thin joints of this new system (4-5mm) reduce thecolouring influence of the mortar on the overall appearanceof the brickwork and the brick colour has a corre s p o n d i n g l yg reater impact. At Cork the particular appearance of thinjointed work seems to enhance the shell-like character of thebrickwork form s .

Netherlands Openluchtmuseum, Arn h e m

3 0

New development conceived withserious ‘green’ intent demandsa rigorous, holistic approach to

design. During the past ten or so yearsseveral notable houses have been builtthat explore the implications andpracticalities of constructing, equippingand living in homes that minimise theire n v i ronmental impact by ensuring lowe n e rgy consumption and eschewingtotal dependence on public utilities.

The virtue of the philosophy isgaining support and a gro u n d - b re a k i n gp roject has been developed in Surre y.The Beddington Zero Energ yDevelopment (BedZED) will make 82homes and 1,600m2 of workspaceavailable for sale or rent. Also pro v i d e da re leisure facilities, a health centre, an u r s e ry, energy generation and waterrecycling facilities. BedZED is fundedby the Peabody Trust in collaborationwith Bioregional, an independente n v i ronmental organisation, and BillDunster Architects, a practice thatspecialises in sustainable design.

The development has attractedattention from both pro s p e c t i v ecustomers and the press. Detailedcoverage of the whole development is tobe expected on completion, scheduledfor late 2001, but construction of thehighly insulated cavity walls is completeand this is worth attention.

Triple-glazed facades on southerlyelevations take advantage of solare n e rg y, but opaque walling is oftraditional materials and conventionalc o n s t ruction. Brickwork is pre d o m i n a n twith timber boarding to provide colourand textural contrast.

New bricks more cost-eff e c t i v eBrickwork is an economic choice as aninitial installation and in use too it isp robably the least costly of allmaterials as it is practicallym a i n t e n a n c e - f ree for the life of thebuilding. Reuse of materials was aprincipal consideration in thespecification and large quantities ofreclaimed timber joists, floorboard s ,doors and structural steel sections wereused. Reclaimed bricks werec o n s i d e red, but their popularity isreflected in high prices and new bricksw e re justifiable on grounds ofsustainability and cost-eff e c t i v e n e s s .The stock bricks used come from aS u rrey brickworks about 20 miles fro mthe site – one of several within the 35-mile limit considered reasonable.

The bricks form the 102mm outerleaf of a cavity wall. The inner leaf is ofmedium-density concrete block and theinner finish is 12mm plaster. Thet h e rmal capacity of the masonry innerleaf and internal compartment walls

Open wide for warm t h

S U S TAINABLE BUILDING

Michael Hammett looks at the widecavities at the innovative BedZED

3 1

helps to stabilise the temperaturewithin the houses by absorbing heat asthe temperature rises and slowlyreleasing it into the rooms as it falls.

U-value of 0.1 achievedThe cavity between the brickwork andblockwork leaves is 300mm. In thistwo layers of 150mm mineral woolinsulation bats are placed as the wallingis raised. The wall has a very low U-value of 0.1 (1).

Two-piece stainless steel wall ties,400mm long, join the two leaves at450mm horizontal and vertical centre s(2). At BedZED the inner leaf is raisedfirst with the shorter piece of the tie:the insulation and outer leaf followl a t e r. The two-part ties are morepractical, the longer, second-placedpiece being hooked in to the matingpiece as re q u i red. Long, one-piece ties,unless both leaves are raised together,get in the way of following work andcan be dislodged or cause injury.

The recent revisions to the BuildingRegulations Part L: Therm a lP e rf o rmance re q u i re a maximum U-value of 0.35 for external walls whenusing the Elemental Method ofcompliance. To meet this re q u i re m e n twith cavity insulation, cavity widthsg reater than 150mm may be needed. Itis not widely appreciated that the Codeof Practice for Masonry, BS 5628: Part1, now permits cavity widths up to300mm. It gives guidance for thespecification and spacing of wall ties(see table).

Avoiding condensationEnhanced thermal insulation in anyelement creates greater risk ofcondensation where insulation isi n t e rrupted locally or reduced by somedetail of construction, for examplew h e re cavities are closed at windowheads, jambs and sills. At BedZED thecavities are not closed by masonryre t u rns in these positions (3). Theinsulation continues to the reveal whereit abuts a heavy bituminous/polymerD P C sheet that is fixed by adhesive tothe reveal surfaces of the brickwork andblockwork. Separate lintels for the innerand outer leaves permit a similara rrangement at the head. Later, whenthe window has been secured to thebrickwork (by galvanised steel strapsspanning back to the blockwork) liningb o a rd is fixed to the interior reveals (4).

The BedZED walls will undoubtedlyresult in reducing heat loss to very lowamounts, and such a wide cavity withfull-fill insulation runs little risk of rainpenetration. Recently published BREguidance, Good Building Guide 44‘Insulating masonry cavity walls’ ( P a rt s1 and 2), gives guidance on variousc o n s t ructions relative to exposure ratingand the risk of rain penetration.

Wall tie selection for masonry cavity walls where each leaf is 90mm thick or greater and tiesa re spaced 900mm horizontally and 450mm vertically (ie 2.5/m2) (Based on Table 10 in BS 5628P a rt 3:2001)

Normal cavity Tie length Shape name of tiewidth (mm) ( m m ) in accordance with BS 1243:1978

a

Max 75 2 0 0 B u t t e rf l y, double triangle or vertical twist

76 to 90 2 2 5 Double trianglec

or vertical twist

91 to 100 2 2 5 Double triangled

or vertical twist

101 to 125 2 5 0 Ve rtical twist

126 to 150 2 7 5 Ve rtical twist

151 to 175 3 0 0 Ve rtical twist

176 to 300 b Ve rtical twist type

a A l t e rnatively pro p r i e t a ry ties designed and selected in accordance with BS DD 140 Parts 1 and2:1987 may be used

b Tie lengths are given in 25mm increments and provide for minimum embedment of 50mm in eachm a s o n ry leaf after allowing for material and building tolerances. The ties should not pro t rude from theface of the masonry. For cavities wider than 180mm the length should be a minimum of 125mm widerthan the cavity

c The length exceeds the maximum length specified in BS 1243, but 225mm long double triangular tieswhich otherwise conform to the standard should be suitable

d Ties of double triangular pattern similar to those of BS 1243, but having a strength conforming toType 2 of DD 140 Part 2, are available for this application. Consult the tie manufacturer

1

2

3 4

3 2

Ambion Brick Co LtdSwan House, Bosworth Hall, The Park,Market Bosworth, Warwickshire CV13 0LJTel 01455 292888Fax 01455 292877Email sales@ambion.co.ukw w w. a m b i o n . c o . u kN o rt h e rn Sales Off i c eTel 01388 603008South East Sales Off i c eTel 01403 241555South West Sales Off i c eTel 01752 880659

Baggeridge Brick plcFir Street, Sedgley, Dudley,West Midlands DY3 4AATel 01902 880555Fax 01902 880432Email sales@baggeridge.co.ukw w w. b a g g e r i d g e . c o . u kSales Office Tel 01902 880666London ConsultancyTel 020 7236 6222Rudgwick Sales Off i c eTel 01403 822212

Beacon Hill Brick Company LtdWa reham Road, Corfe Mullen,Wi m b o rne, Dorset BH21 3RXTel 01202 697633Fax 01202 605141Email sales@beaconhill-brick.co.ukw w w. b e a c o n h i l l - b r i c k . c o . u k

Bovingdon Brickworks LtdPudds Cross, Bovingdon,H e rt f o rd s h i re HP3 0NWTel 01442 833176Fax 01442 834539Email info@bovingdonbrickworks.co.ukw w w. b o v i n g d o n b r i c k w o r k s . c o . u k

B roadmoor Brickworks LtdW h i m s e y, Cinderf o rd, Gloucester GL14 3JATel 01594 822255Fax 01594 826782

The Bulmer Brick & Tile Co L t dBrickfields, Bulmer, Sudbury, S u ffolk CO10 7EFTel 01787 269232Fax 01787 269040Email bulmerbrickandtile@virg i n . n e t

Carlton Brick Ltd Grimethorpe, Near Barn s l e y, South Yo r k s h i re S72 7BGTel 01226 711521Fax 01226 780417D i rect Sales Line Tel 01226 715000

Chelwood Brick LtdAdswood Road, Cheadle Hulme, Cheadle, Cheshire SK8 5QYTel 0161 485 8211Fax 0161 486 1968Email marketing@chelwood.co.ukw w w. c h e l w o o d . c o . u k

Chiddingstone Brickworks LtdB o re Place, Chiddingstone, Edenbridge, Kent TN8 7ARTel 01732 463712Fax 01732 740264Email info@commonwork.orgw w w. c o m m o n w o r k . o rg

C o l e f o rd Brick & Tile Co LtdThe Royal Forest of Dean Brickworks,C i n d e rf o rd, Glos GL14 3JJTel 01594 822160Fax 01594 826655

WH Collier LtdAdswood Road, Cheadle Hulme, Cheadle, Cheshire SK8 5QYTel 0161 485 8211Fax 0161 486 1968

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Hammill Brick LtdE a s t ry, Sandwich, Kent CT13 0EH Tel 01304 617613Fax 01304 611036

Hanson Bricks Euro p eS t e w a rt b y, Bedford MK43 9LZL o n d o nTel 08705 258258K e m p s t o nTel 08705 258258B u t t e r l e yTel 08705 258258D e s i m p e lTel 08705 258258Fax 01234 762041Email info@hansonbricks.comw w w. h a n s o n - b r i c k s e u ro p e . c o m

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K i n g s c o u rt BrickK i n g s c o u rt, County Cavan, Ire l a n dTel +353 (0)42 9667317Fax +353 (0)42 9667206

Marshalls Clay Products LtdSouthowram, Halifax, West Yorks HX3 9SYTel 01422 306000Fax 0113 220 3555w w w. m a r s h a l l s . c o . u kSales Office Howley Park Woodkirk, Dewsbury, West Yorks WF12 7JJTel 0113 220 3535Scotland Sales Off i c eTel 0141 333 0985

N o rmanton Brick Co LtdWakefield Road Brickworks,N o rmanton, West Yo r k s h i re WF6 1BGTel 01924 892142Fax 01924 223455

N o rthcot Brick LtdB l o c k l e y, Gloucestershire GL56 9LHTel 01386 700551Fax 01386 700852Email info@nort h c o t b r i c k . c o . u kw w w. n o rt h c o t b r i c k . c o . u k

O rmonde Brick LtdC a s t l e c o m b e r, County Kilkenny, Ire l a n dTel +353 (0)56 41323Fax +353 (0)56 41314

Phoenix Brick Company LtdThe Brickworks, Campbell Drive, B a rrow Hill, Chesterfield S43 3PRTel 01246 473171Fax 01246 280345Email phoenixbrick@netscapeonline.co.uk

Red Bank Manufacturing Co LtdMeasham, SwadlincoteD e r b y s h i re DE12 7ELTel 01530 270333Fax 01530 273667Email sales@re d b a n k m f g . c o . u kw w w. re d b a n k m f g . c o . u k

Sussex Brick LtdF o u rteen Acre Lane, Three OaksHastings, East Sussex TN35 4NBTel 01424 814344Fax 01424 814707

Ty rone Brick Ltd48 Coalisland RoadD u n g a n n o nN o rt h e rn Ire l a n dBT71 6LATel 02887 723421Fax 02887 727193 Email info@tyro n e - b r i c k . c o mw w w. t y ro n e - b r i c k . c o m

The York Handmade Brick Co LtdF o rest Lane, Alne, York YO61 1TUTel 01347 838881Fax 01347 838885 Email sales@yorkhandmade.co.ukw w w. y o r k h a n d m a d e . c o . u k

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