Design ibstock Brick Winter 2016/17

DESIGNfrom IBSTOCK BRICK

WWiinntteerr 22001166//1177–––––––––––––––––––––––––––In this issue: Porphyrios Associatesin Swansea, Dallas Pierce Quintero,CF Møller, Aedas, Sixtwo Architects,plus setting out brickwork guide,and Ibstock’s Atlas brickworks

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DESIGNfrom IBSTOCK BRICK

4 Winter 2016/17 – Ibstock Update

6 Elmfield Court is a fully-affordable apartment buildingnear London’s Battersea Park by CF Møller

12 The Courtyard House by Dallas Pierce Quintero exploitsthe decorative effect of a brick wall inside and out

18 With its brick facade features, the Foundry in Salford, bySixtwo Architects, brings elegance to the industrial shed

24 Brick brings familiarity, variety and permanence toPorphyrios Associates’ Swansea University Bay Campus

32 Aedas Architects’Two Smithfield in Stoke-on-Trentresonates with its site’s brickmaking tradition

38 Technical guidance on Setting Out Brickwork

42 Ibstock’s Atlas factory profiled

46 Brick Response: Adrian James

Ibstock Brick LtdLeicester Road, Ibstock,Leicestershire, LE67 6HSt: 01530 261999f: 01530 257457e: [email protected]

Ibstock Sales Office:0844 800 4575Design & Technical Helpline:0844 800 4576Sample & Literature Hotline:0844 800 4578Special Shapes and BrickworkComponents Sales Office:0844 736 0350

©Ibstock Brick 2017Published by Ibstock Brick Ltd

NEW SHADES OF GREY

In tune with the trend towards theuse of non-earth brick colours,Ibstock has introduced a range ofgrey bricks. Providing a strikingalternative to familiar buffs andcreams, the new Tidal Dark Greyand Silver Grey (below) have beenadded to the Linear range of longbricks. They are available inlengths up to 490mm and heightsof either 50 or 65mm, and offer acost-effective, sustainablealternative to imported products.

For a more traditional format, thenew Leicester Grey Stock (bottomleft) combines the soft texturesnormally associated with a stockbrick with a warm grey colour hue –ideal for introducing a highlight,feature or indeed a whole facade.

The latest addition to the Ardenfamily, the Arden Grey (bottomright) combines the look of a truewaterstruck brick with an inorganicgrey colour.

IBSTOCK SUCCESSES ATTHE 40th BRICK AWARDS

Ibstock won three awards at theBrick Development Association’s40th Brick Awards, taking its totalwins since 2005 to 77, more than anyother brickmaker. The stunningbuilds feature bricks from Ibstock’swide-ranging portfolio of colours,textures, sizes and finishes to achievea huge variety of aesthetic effects.

Projects using Ibstock bricks pickedup the top accolade in threecategories. Best Individual HousingDevelopment went to Dallas PierceQuintero’s Courtyard House(bottom right and p12, featuringStaffordshire Blue Umbra Sawtoothand Standard, ph: David Butler).Best Large House Builder went toLinden Homes, for Gloucester’sGreyfriars Quarter, by StrideTreglown (bottom left, Audley RedMixture, Commercial Red), andWilshere Park (mid-right, HeritageRed, Bexhill Red and Parham Red).

The distinctive arcaded pavilion ofthe Brentwood School LearningResource Centre in Essex (top, ph:Anthony Coleman), by Cottrell &Vermeulen, won Best EducationBuilding, where Ibstock’s distinctiveHeritage Red Blend harmonises withthe existing school buildings.

IbstockUpdate

4 • IBSTOCK DESIGN •WINTER 2016/17

AAbboovveeA2 Dominion, winners ofthe Ibstock-sponsoredWhat House? Best ExteriorDesign award.

WHAT HOUSE? AWARDS

Often referred to as the ‘Oscars’ ofthe housebuilding industry, theWhat House? Awards is the UK’smost prestigious new homes event.The 2016 awards ceremony, held atLondon’s Grosvenor House Hotel inNovember, was attended by 1,700figures from the industry. WilliamHague, former MP, ForeignSecretary and Conservative Partyleader, presented the prizes. Ibstocksponsored the award for the BestExterior Design, in which Gold wentto A2 Dominion/Fabrica, silver toHill and bronze to David WilsonHomes. For a full list of winners, seethe WhatHouse? Awards website:www.whathouse.com/awards/

red!

IBSTOCK DESIGN •WINTER 2016/17 • 5

In addition, Ibstock-Kevingtonproducts were used in the NewportStreet Gallery (by Caruso St JohnArchitects), which picked up theSupreme Award. The innovativeproject used precast lintels andbeams, together with CNC-cutbrickwork, all of which weremanufactured by Ibstock-Kevington.Merchant Taylors’ School DesignCentre (mid-left, ph: Mark Hadden),another Ibstock project, wascommended in the category of BestEducation Building.

“As brick continues to retain itsposition as the number oneconstruction material of choice”,says Andrew Halstead-Smith, groupmarketing manager at Ibstock,“we are seeing more innovative andcreative applications of brick, whichreally showcase its tremendousdesign capabilities. Architects,specifiers and contractors arepushing the boundaries in creatingbreathtaking designs, as these award-winning projects demonstrate. As aresult of these continued pioneeringapplications, the calibre of buildsshortlisted at this year’s awards wasincredibly high, so to have threeprojects where Ibstock bricks wereused receiving awards, in addition toplaying a part in the Supreme Awardwinner, is testament to the versatilityof Ibstock’s wide-range of options.”

Elmfield Court, a residentialdevelopment near London’sBattersea Park by CFMoller,features 22 fully-affordableapartments. Setbacks, deepbalconies and light brickfacades lend a human scale tothe project, in keeping withadjacent residential terraces.

Rhythm ofthe Street


Elmwood Court is a five-storey, all-affordablehousing scheme near Battersea Park, London.Designed by CF Møller Architects within thetradition of the Victorian terrace but in a modernidiom, the development comprises ground-levelretail space with 22 residential units above. Theproject is built on the site of an underutilised carpark that has been transformed into a sharedgarden, acting as a new focal point for anestablished Peabody estate. The majority ofapartments feature dual-aspect living spaces andtwo balconies, one facing south-east and anotheroverlooking the communal garden.

The shifting facade composition of large brickopenings on alternate floors reinstates theoriginal line of the street and promotes aninhabited and enlivened facade. Grouped verticalwindows reference the Victorian context and theoverall arrangement maximises the courtyardspace to the rear and offers clearly defined blockentrances flanking the retail space. The deepinset balconies with a southerly aspect create abuffer between the road and private spaces. Thebalconies are separated by white-rendered storagecupboards which translate the idea of the ‘gardenshed’ to a dense urban context whilst creatingaccents in the elevation. Full-height openingsthroughout maximise daylight penetration to allhabitable rooms and upper-level setbacks lightenthe massing of the block, reducing its scale inresponse to its urban context.

The elevations are clad in light coloured brick –a material found within the local vernacular andwhich has immediate associations with domesticand residential architecture. Brick is an extremely


long lasting and durable material, which agesgracefully. The soft, buff brick appearance of theIbstock Bradgate Light Buff was selected inresponse to the tones and textures found withinthe Victorian streetscape. Precast lintels withpositively-keyed brick facings (not illustrated)enhance the façade treatment, framing the largeterraces facing Battersea Park Road. Thesecomponents were carefully coordinated with thetraditionally-constructed stretcher bondbrickwork to give a seamless overall appearance.

Another challenging detail was forming thedelicate brick piers that separate the groupedwindows. The solution involved bespoke steelwind-posts to support the traditionally-constructed brickwork and Juliet balconies.

AARRCCHHIITTEECCTTCF Møller Architects

BBRRIICCKKCCooNNTTRRAACCTTooRRDurkan

PPHHooTTooGGRRAAPPHHEERRMark Hadden

BBUUIILLDDIINNGGElmwood Court, London BoroughofWandsworth

BBRRIICCKKSSIbstock Bradgate Light Buff


At ground floor, the building is recessed toprovide a soffit above the residential entrances.The urban realm is further articulated with atexture of projecting headers in a Flemish bond.For continuity, the same brickwork has also beenused to clad the street level of an adjacentbuilding. This extends and strengthens therelationship between the new apartment buildingand the wider estate.

The building has been designed to achieve Codefor Sustainable Homes Level 4. The units are 100per cent Lifetime Homes compliant and theproject provides two wheelchair-accessible two-bedroom apartments.

Vertically-laid brickworkenhances both the minimaldimensions and tactilequalities of Dallas PierceQuintero’s award-winningCourtyard House.

Interiorexpressions



A series of small courtyards provides the mainsource of daylight for this two-bedroom house,built within the walls of an L-shaped infill site inLondon. The challenge for architect DallasPierce Quintero was to create a home without asense of overlooking, that nonetheless protectedthe daylight enjoyed by neighbours. The fourcourtyards open up sightlines through theproperty, creating functional outdoor spaces forpassing through, dwelling in and looking into.

The client’s brief called for a home that wasmodest. This drove the entire design, from theoverall massing through to the choice of thematerials. “Brick fitted this brief perfectly”, saysDallas Pierce Quintero, “as an everyday materialthat, with a bit of care and attention, can lookextraordinary”. An Ibstock Staffordshire SlateBlue brick was chosen as part of the minimalpalette, both in a standard and a sawtooth shape.Both were laid vertically, with the sawtooth towaist height and the standard above that,creating a unique appearance.

The use of brick on the two principal elevationsdemonstrates the importance placed on usingmaterials that respond to the site conditions.The plot was surrounded on all sides by masonrywalls, with an existing beautiful, long brick wallto the longest edge. The use of the vertically laidbricks resonates in a contemporary and eye-catching way with the existing re-pointed wall.

The use of brick both on the outside and insideof the building makes the house feel larger thanit its dimensions. With space at a premium, a keydesign decision was to blur the distinction

between inside and outside by extending one ofthe external brick walls into the house. “Thebrick finish looks equally stunning inside andout”, say the architects. “The natural variationsinherent in its colour, together with itsrobustness, make it perfect as an internal finish.”

The use of a shaped brick, and the manner inwhich it has been laid, has created a surface thatis unusually tactile and visually softens thebuilding. “When we show visitors around thebuilding”, say the architects, “we find that peopleare drawn to the sawtooth brickwork, they watchhow light falls on the wall and stroke it. Thebricks look like a basket weave: both hard andregular whilst also soft and undulating. Theresult is a unique surface that’s appearanceconstantly changes over the course of the dayand which champions the use of brick.”

The Courtyard House was recognised as the BestIndividual Housing Development in the 2016Brick Awards. It also won a RIBA London awardin 2015, and was long-listed for the RIBA Houseof the Year. The jury said that “the experience ofbeing in the house was extraordinarily light andairy, with a subtle and sensitive sense ofconnection between inside and outside spaces,reinforced by details such as bringing the bluebrick wall from the courtyard into the house.”


CCoonnssttrruuccttiioonn sseeccttiioonn1 Profiled fibre cementboard roofing, 2 timberjoists supported by steelsections, 3 IbstockStaffordshire slate bluesmooth bricks laidvertically, 4 galvanisedsteel window surround,5 fire-rated doubled-glazed window, 6 IbstockStaffordshire slate blueUmbra sawtooth brickslaid vertically, 7 timberframe, 8 IbstockStaffordshire slate bluesmooth bricks laid in linewith bricks above,9 brickslot drain.

BBrriicckk ffaaccaaddee ddeettaaiillss ((rriigghhtt))3 30-mins fire-rateddouble-glazed doorand frame, 4 30-mins fire-rated -double-glazedwindow, 5 frames coupledtogether, 6 screwembedded 50mm intostructural timber frame,7 two layers plasterboard,10 vapour control barrier,11 weatherproofingbreather membrane,12 structural timberframe, 17 IbstockStaffordshire Blue Slatebrick, 19 mortar,21 galvanised steelwindow surround,28 kitchen worktop,32 brick support,33 intumescent mastic.

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AARRCCHHIITTEECCTTDallas Pierce Quintero

BBRRIICCKK CCOONNTTRRAACCTTOORRBrooks Contracting

PPHHOOTTOOGGRRAAPPHHEERRSSTomGildon, Rachael Smith, David Butler


BBUUIILLDDIINNGGCourtyard House

BBRRIICCKKSSIbstock Staffordshire Slate Blue Smooth,Umbra Sawtooth Staffordshire SlateBlue Smooth

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Chamfered planes of brickarticulate the long elevationsof the Foundry, a newindustrial development inSalford that aims to invest theoften neglected ‘warehouse’type with greater visualinterest and ambition.

Industrialaesthetic



LeftChamfered setbacks are‘carved’ from the linearbuilding form to add visualinterest and mark theentrances to the differentindustrial units.

RightVisualisation and planshowing the two linearbuildings which align a newlandscaped pedestrian route.


The Foundry is a new industrial development inSalford, designed by Sixtwo Architects, with morethan 40,000 square feet of warehouse andindustrial accommodation, split between twoblocks.

The brief was to design flexible workspace thatstood out from local alternatives through itsdesign quality, and which brought character andindividuality to the industrial shed. Thedevelopment was also to be sensitive to theadjacent grade-one listed Ordsall Hall, andincorporate a new public route from the Tudorhouse through to the River Irwell.

The architects looked to develop a freshapproach to the much neglected architecturaltype of the industrial warehouse. A limitedpalette was employed, articulating six individualchamfered features that express the industrialunits’ entrances, while also framing vistas towardsOrdsall Hall and the river. This established alogical hierarchy to the composition, with amateriality that referenced the ornate brickdetailing of Ordsall Hall. Brick detailing was alsointroduced to help reduce the apparent scale ofthe development. A variety of sliding galvanisedsteel shutters lend further individuality to theunits while helping secure vulnerable areas.

A new public boulevard links the Hall bothvisually and as a route through the developmentsite, to the riverside walkway. This has alreadyproved to be a catalyst for redevelopment andpedestrian movement within the locality.

AARRCCHHIITTEECCTTSixtwo Architects

BBRRIICCKK CCOONNTTRRAACCTTOORRWilliamsTarr

PPHHOOTTOOGGRRAAPPHHEERRSSBen Draguisky, James Andrews

IBSTOCK DESIGN • WINTER 2016/17 • 23

BBUUIILLDDIINNGGFoundry, Salford

BBRRIICCKKSSIbstock Birtley Northern Buffand others

LLeefftt//rriigghhttSixtwo was keen to avoidusing the standard aluminiumcladding that is typically usedon industrial warehouses, sodeveloped a design thatemploys traditional materialswhile also providing acontemporary aesthetic.

Sixtwo selected Ibstock’sNorthern Buff brick to formthe sculptured entrances thatare key elements in thescheme. For each of the twoblocks of twelve units, theentrances are paired andadopt individualisedchamfered forms within acommon architecturallanguage.These volumes areseemingly ‘carved’ out of thebuilding mass, varying inheight and depth, but withchamfers at a common angle.

The chamfers use both atraditional cavity wall and abrick-slip system, with thechamfer to the soffit beingbased on a standard oversized73mm-high brick-slip system.This common angle ensuredthat the bricks on thechamfers coursed throughwith the standard 65mm highbricks on the vertical planes.

As well as the sculptedentrances, portions of theNorthern Buff brick deviatefrom a stretcher bond to anEnglish bond, with alternatingheaders protruding.Thecomposition adds visualinterest, breaking down thescale of the building andrelating to Ordsall Hall, thefrontage of which featuresheader-bonded brickwork.

Brick facades imbue the newBay Campus at the Universityof Swansea with a sense offamiliarity, variety, permanenceand gravitas. Masterplanned byPorphyios Associates, thecampus incorporates studentresidential blocks that arebased on traditional collegiatemodels, but built usingfast-track state-of-the-artconstruction technologies.

Tradition andTechnology



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Swansea University’s new £450m Bay Campus, adevelopment by St Modwen in partnership withthe university, occupies a large coastal site threemiles to the east of the city centre, takingadvantage of the west-facing aspect across sanddunes to the sea. The masterplan, by PorphyriosAsoociates, is generated as much by a publicrealm of interconnected urban spaces and greenareas as by urban blocks, lending an underlyingsense of structure, orientation and place. Withinthis, character and diversity is a priority, andcontrasts of formal and intimate, lively and quiet,hard and soft are sought wherever possible withminimal means. In terms of its appearance, theproject employs traditional materials – primarilybrick and reconstituted stone – but it has beenbuilt using fast-track construction techniquesthat employ steel- and concrete framing.

Porphyrios Associates’ student residential blocksare organised along principles of collegiatemodels, with a strong urban edge that addressesthe public realm of the street, and innercourtyards that address the private life ofstudents. The ‘megablocks’ of the masterplan arereduced to smaller urban blocks by secondarypedestrian streets, and permeability is achievedby passages and openings between buildings.

Entrances to the courtyards vary in scale andmaterials, while gates to the north protect privacywhile maintaining the porosity of the blocks.Entrances to those residential buildings withinthe collegiate courts are via the internal courts,helping foster identity and activity.

The residential buildings provide a range ofaccommodation – standard rooms, premium

BBeelloowwA clocktower anchors thecorner of Gwalia Square,the central public spaceon the campus, for whichit acts as a beacon.

LLeeffttElevation of the mainstreet; masterplan andfirst-phase studentresidences block plan.


rooms, twin rooms, wheelchair-accessible rooms,one-bed flats and two-bed flats – and these aredistributed throughout the blocks. Some largerflats for mature and family residents, however,are concentrated in one block, close to commonfacilities that cater for their particular needs.All the student accommodation is organised inprivate clusters, each with its own common roomwith kitchen facilities. Large ‘community’facilities are provided in the development zoneswhere residents can congregate and relax.Student facilities located in the ground level ofthe residential blocks facing Dylan Thomas Wayinclude the dining hall and bar, coffee shop,laundrette, mini market and student services.

Taller residential buildings are located alongthe northern edge of the campus and lowerbuildings towards the south to maximise seaviews and take advantage of the orientation.The massing is generally additive, and variationis introduced by differentiating the buildingsthough composition and colour, as well as bymeans of setbacks and modulation of the skyline.

The residential buildings by PorphyriosAssociates are articulated laterally to achieveanimated elevations of variety and diversity.Other student residences within the masterplan,designed by Hopkins Architects (who alsodesigned a number of the departmental andteaching buildings) are treated as a large‘palazzo’, adding another variation of theresidential type to the campus.

The residential buildings by PorphyriosAssociates are finished in bonded brickwork with


BBeellooww,, lleeffttThe campus library featuresbrick and reconstitutedstone facings.

OOppppoossiitteeStudent residences aregrouped around courtyards.

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stone detailing and surface plane, all of whichadds interest and diversity to the elevations.Windows and doors have flat brick arches andare made in polyester powder-coated (PPC)aluminium. Entrances are marked throughporches or door with surrounds, while therooftop plant rooms are screened by brickparapet walls with ‘openings’ that are filled by ametal mesh.


reconstituted stone to the bases, entranceporches, window/door surrounds, trims, sills andparapets. The brickwork to the residences has apalette of three colours: red-orange, yellow andred-brown, with the reconstituted stonecomponents matching natural Portland stone.The blocks are articulated so as to suggest acomposition of smaller buildings using verticalbreaks, expressed by a change of brick colour,

AAbboovveeA palette of brick colours,stone facings, buildingheights and setbacks addsvariety and interest to thestudent residential blocks.

RRiigghhttStudent residences aregrouped around, andentered via central courts.


AARRCCHHIITTEECCTT AANNDDMMAASSTTEERRPPLLAANNNNEERRPorphyrios Associates

BBRRIICCKKWWOORRKK CCOONNTTRRAACCTTOORRVinci Construction

PPHHOOTTOOGGRRAAPPHHYYNeil Perry

BBUUIILLDDIINNGGSwansea University Bay Campus

BBRRIICCKKSSIbstock Ivanhoe Cream, HimleyWorcester Mix, Leicester Red Stock,Precast arches, lintels, pistols with slips

Two Smithfield echoes thescale and proportions of thenineteenth-century buildingsin Stoke-on-Trent, while its useof brick responds to the formerrole of its site in the localbrickmaking industry.

BrickworkFoundations



Building on the rich tradition of brickmakingand ceramic design within Stoke-on-Trent andthe surrounding area, Two Smithfield is a simpleyet subtle exercise in brick detailing andproportion in which specific details are pickedout with ceramic colour and non-standard bricks.Following the rhythm and character of the urbancontext, the brick bays and overall structuralproportions are designed to feel part of the localtownscape. Two Smithfield also represents amarked contrast to its more colourful neighbour,One Smithfield.

The brownfield site is bounded on all four sidesby roads, including the Stoke-on-Trent inner ringroad, and slopes from north to south. Historicallyit had hosted part of Stoke’s brick-makingindustry, and a surviving brick kiln on the eastpart of the site has been incorporated within theoverall masterplan. Several other derelict andrun-down buildings were cleared as part of theenabling works for the new development. Thesite had a number of coal mining shafts beneathit, and it had been used for open-cast coalcollection, so ground conditions were very poor.

Two Smithfield sits adjacent to Stoke’s culturalquarter, with the city theatre, museum andlibrary and arts centre all located in the vicinity.The site also connects to the city’s main retailand commercial centre, and is seen asstrategically important in linking the Universityof Stafford into the rest of the city centreamenities, including the new bus interchange.

Two Smithfield has been designed to meet thecity council’s high sustainability standards as well


as its need for an agile working approach andflexible departmental operations. The buildingwas to be designed to allow for a mixed-modeform of air conditioning, where externalopening windows are used to assist andsupplement the internal system. This in turnrequired a central atrium space that allowed forthe free movement of air across the floor platesand then out through the atrium roof at highlevel. The building was to be BREEAM excellentand capable of subdivision into separatetenancies on a floor-by-floor basis. The councilwas keen to see local materials used as part of thearchitectural approach and also wanted to allowfor ‘active’ uses on the ground floor spaces oneither side of the main entrance.

The unstable nature of the ground and itsformer use for mining operations meant thatsignificant enabling and engineering works hadto be undertaken prior to the start of buildingwork. The slope on the site and the changes inground levels around the building meant thatthe rear of the ground floor building space is setinto the ground and so access from the rear isrestricted and requires lift and stair provision.

Sustainability features include a mixed-modeventilation system with underfloor air, exposedthermal mass, cooling only when required, low-velocity air distribution, solar control glazing,district heating energy transfer station, air-sourceheat pumps, and AHU with heat recovery. Thebuilding is fully accessible and compliant withPart M of the Building Regulations.

AARRCCHHIITTEECCTTAedas

BBRRIICCKK CCOONNTTRRAACCTTOORRExplore Manufacturing

PPHHOOTTOOGGRRAAPPHHEERRLukeWhite


BBUUIILLDDIINNGGTwo Smithfield, Stoke-on-Trent

BBRRIICCKKSSIbstock Staffordshire Slate Blue Smooth,Ibstock Staffordshire Blue BrindleSmooth, Ibstock Himley Ebony Black,Ibstock Blue Glazed, Umbra SawtoothNatural Blue, Bat Boxes Cheddar Red,Swift Boxes Natural Blue

Designing and setting outbrickwork correctly creates amatching and balancedappearance, particularly at revealson either side of door andwindow openings and at the endsof walls.

Setting out starts at the designstage where the design of abuilding, including openings,should ideally be set out to brickco-ordinating dimensions,eliminating the requirement tocut bricks on site.

In this briefing only stretcherbond, also known as half-bond,is considered, although the basicprinciples will apply whateverbond is used.

Technical:Setting outBrickwork

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Comprehensive design and technical guidance for brickwork is available in theTechnical Information Sheets section of Ibstock’s website, under Design &Specification, Application & Construction and Site Practice & Troubleshooting.See: www.ibstock.com

For any help or advice, contact Ibstock Design & Technical: [email protected]

38 • IBSTOCK DESIGN • WINTER 2016/17

DESIGN – Co-ordinating SizeBrickwork should be set out using asa ‘unit’ dimension the co-ordinatingsize of the brick, ie one brick lengthplus one nominal 10mm mortarjoint – usually 225mm for standardmetric bricks. The mortar joint actsas a ‘buffer zone’ and is adjusted tosuit the actual brick size duringconstruction. (a)

All brickwork dimensions aredetermined by one of threeconditions: brick plus two joints(CO+) – brickwork above or belowdoor and window openings; brickplus one joint (CO) – brick panel withopposite return ends; and brick only(CO-) – brick piers or panels betweenopenings. For example, if a span ofbrickwork is required to encompassfour whole bricks over an opening, amortar joint will be needed at eitherend; therefore the co-ordinating sizemeasurement (CO+ condition) is900mm (four brick lengths plus fourx10mm mortar joints).(b)

Co-ordinatingsize 225

C

10 102.5

65

10 10Worksize 215

112.5

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CO +(elevation)

CO (plan)

CO-(plan)

FIGURE 1Design toMinimise Cutting

CO condition

CO - condition

Door or window opening

4 x CO+

4 x CO

4 x CO -

* Brick maybe omitted

*

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b


890mmThe bricks should be spaced out to fit the co-ordinating space therefore the mortar

joints will be adjusted accordingly

Courses set-out with 10mm mortar joints

Start point Perpends gradually running over Result - overhang at end of course

Start point Perpends remaining central tobrick below

Result - neat finish at end of course

Courses set-out to a co-ordinating size with varying mortar joints

plumb every fourthor fifth perpend

plumb every fourthor fifth perpend

CONSTRUCTIONThe bricklayer should set out thebrickwork at foundation level,marking the position of openingsand adjusting joints toaccommodate any brick sizevariation.

TOLERANCESBS EN 771-1 requires that thedimensions of a clay masonry unitshall be declared by themanufacturer and also whichtolerance category the meanvalues fulfil. Information on bricktolerances can be found inIbstock’s Product Portfolio andon its website.

It is important to understand thatbricks complying with the BritishStandard have varying shapecharacteristics, depending on themethod of manufacture. Whenusing different products in thesame wall, for example wire-cutproducts at ground-levelchanging to stock bricks higherup, they may be classified todifferent tolerances. If theguidelines on setting out arefollowed this should not causeany problem. However, if a rigidlymeasured 10mm mortar joint isused there will be inevitableproblems with perpends runningout of plumb.

Before laying, units from eachproduct type should be blendedso that the overall appearance ofthe finished work is uniform andwithout patches or bands ofcolour. This will also help toblend any variations in size.

It is important not to set-out usingthe actual size of the bricks on siteas the dimensions of futuredeliveries may differ. (c)

PERPENDSPerpends are the positions ofvertical joints between the bricks(not the actual vertical jointsthemselves). Their locationshould be decided at foundationlevel. The verticality of perpendsis visually important and theplumbing of every fourth or fifthcourse and the ‘eyeing out’ inbetween will produce satisfactoryresults. In addition, the fourth orfifth perpend in each courseshould be plumbed and suitablymarked. (d)

d

c

REVERSE BONDThis is where the end bricks in agiven course are showing astretcher face at one end of thepanel and a header face atthe other.

It can also apply at either side ofan opening containing a half-brick dimension in its width andwhere broken bond and brickcutting may be consideredunacceptable. It is unlikely to beacceptable if reveal bricks of acontrasting colour are used as adecorative feature as theappearance is not balanced. (g)


REVEALSThe positions of the reveals,ie the sides of window and dooropenings, should be identifiedwhen setting out the first fewcourses. This should ensureunbroken perpends for the fullheight of the wall. (e)

BROKEN BONDThis is the introduction of cutbricks into a length of wall which,if properly considered, willmaintain satisfactory appearanceand achieve a minimum quarterbond. It tends to arise beneathwindow openings, where shortlengths of brickwork are neitherfull-brick nor half-brickdimensions. Alternatively, the cutbricks can be placedsymmetrically at each end of arun of brickwork. (f)

Opening

4 1/2 bricks

Cut bricks located at each end

Cut bricks located centrally

position of windowopening to be built

reveal bricks positioned at ground level

plumbed perpends

reveal

DPC

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g

ANGLESWalls which include angle bricksshould be set out to the face side aswith any facework. The use ofsquints will maintain half bond.Longer angle bricks (often referredto as dog-legs) will also maintainhalf-bond but the shorter ones willinvolve some cutting of the standardbrick to maintain the bond. (h)

PLINTHSStepped plinth courses at the baseof a wall will increase the wall lengthexternally and may result in a non-co-ordinating dimension. Thesetting out dimension shouldtherefore be the brickwork abovethe plinth courses so that anycutting to accommodate theincreased length is in the plinth andlower courses only. (i)

COPINGS AND CAPPINGSSpecial consideration must be givento fixing a line and pins whenplacing a course of copings orcappings. It is good practice toconsider the most obvious ‘sightline’ or side most likely to be seen.As the bricks will vary in size thefavoured edge or arris of the coursebeing laid will be the ‘trued up’edge. Where copings or capping areto be viewed from both sides, someselection of units to a common sizewill be necessary.


External angle using squint bricks

Angle using external angle bricks

Co-ordinating dimensions

C C

C

CC

C

220 225 225

(C = cutback)

cut brick dimension

Plinth bricks

h

i

Ibstock’s Atlas factory in Walsall,West Midlands, was built in 1990,initially as a paver plant that couldmanufacture and supply claypavers throughout the UK. As thepaver market started to diminish,however, the plant investigatedthe potential of making newproducts for which demand wasexpected to increase.

As a result, in 1992 Atlas started tomanufacture blue special bricks.These products proved to be verysuccessful, and the plant enjoyeda busy and profitable few years.In due course, however, Ibstock’sacquisition of the Lodge Lanefactory in Cannock led to theproduction of blue specials beingtransferred there.

In 1999 Atlas was asked to makelarge format blocks, a type ofproduct that, at that time, wasotherwise unavailable from anyother manufacturer in the UK.Following a significant investmentprogramme, Fireborn waslaunched, offering architects andother specifiers British-madelarge-format clay blocks in fivedifferent widths, in four differenttextures and in six colours.

Atlas also developed ElementixExpress, Ibstock’s rainscreen

cladding system which is available infive different colours, two heightsizes and in lengths up to 500mm.

More recently, Atlas has developeda linear range, which includes fivedifferent widths (215mm, 290mm,327mm, 440mm and 490mm) withheights from 50mm to 290mm, andavailable in 11 colours and sevendifferent surface textures.

Atlas also offers a premium cutand bond service, and the plantincorporates a purposed-builttemperature-controlled bondingroom. These facilities primarilyservice Atlas’s own Fireborn andLinear products, although thefactory has recently started to cutand bond all the Ibstock Glazedunits, using specially developeddiamond-edge silent blades for chipfree cutting, which is an essentialfeature in cutting glazed bricks.

Due to come on-stream in 2017 atthe Atlas works, is a new cuttingarea. This is currently underconstruction, and will include threemasonry saws, a tile grinder and aspecially-made tile cutting sawwhich will enable the plant toincrease the capacity of its cuttingand bonding department, as itlooks to expand and innovate withnew products and services.

Profile:Ibstock’sAtlasWorks


LLeeffttThe Aston Brain Centre byRPS accommodatesclinical and researchspace, and housesincluding one of the UK’smost advanced MEGscanners. The BREEAMExcellent building sitsalongside the existingAston Day Hospital.

OOppppoossiitteeThe £6m European Centreof Excellence for Researchinto Bioenergy (EBRI) atAston University inBirmingham, designed byAssociated Architects,is projected to achieveBREEAM Excellent, andwill use biofuel for power,heating and cooling.Rainscreen claddinggrounds the building intothe landscape whileglazing and texturedmetal mesh provide acounterpoint on theupper floor levels.


LLeeffttA £6m mixed-use projecton Portland Road in Hove,East Sussex, was designedfor the Affinity SuttonGroup by Conran &Partners. EmployingIbstock’s Multi colouredFireborn Linear bricks(490x102x50mm), thedevelopment comprises35 affordable rentapartments, includingfour wheelchair-accessible units, plus adoctor’s surgery,pharmacy and twocommercial units.


AAbboovveeAssociated Architects’newly completed libraryat Birmingham Universityemploys 440x65mmsilver black Linear bricksfrom Ibstock.

AAbboovvee lleeffttLinear bricks at PortlandRoad in Hove, East Sussex,by Conran & Partners.

LLeeffttFireborn Natural Creambricks feature atUnilever’s Leatherheadheadquarters office,by DeNovo Architects.


AAbboovvee,, bbeelloowwThe Farook-E-AzamMosque at Stockton onTees, designed by ArchiStructure, features brickfacades punctuated byarched window panels.Ibstock’s wirecut Cheddar

Golden brick contrastswith large-formatFireborn Cream bricks,while panels of large-format Fireborn Redbricks, made by Atlas toan Islamic star pattern,provide decorative relief.

What factors tend to lead you touse bricks?

Brick is our de facto norm. Oddson it’s the right choice for thecontext, the budget and thecreative intent. The question ismore why not to use brick thanwhy to use it: I might plump forsomething else if the context orthe building method suggestsotherwise, but a bigger budget canjust mean more fun with brick.

What can bricks offer in terms ofcreativity?

Brick is dreamily versatile. It is asmall, repetitive element, laid byhand without the need forelaborate prefabrication. It cantake its own weight so it doesn’tneed support, but for moregymnastic applications there arefancy systems for invisibly hangingit. A brick skin can warp and wraparound just about anything. Itsplasticity makes it a designer’sdelight.

Which brick projects by your ownpractice are you most pleasedwith, and why?

First, my own house, built 20 yearsago on the bank of the Thames,was my first solo design foray, and

BrickResponse:Adrian James


I still like its meaty pilasters andarches. It was determinedly un-trendy (see the photo on the facingpage). I’m not embarrassed by it.

Second, a pair of mews houses inJericho, Oxford, where we used along, thin brick with tight joints.The brickies struggled butpersevered and the result is crispand nicely textured.

I’m also pleased with the wide archover the entrance to our teachingblock at Shrewsbury School. Thereare metre-deep reveals to the wholefront facade. It’s got serious heft.And our latest completed brickproject, a house called Incurvo(see Design, Autumn 2016),is a sculptural, voluptuous joy.

Which brick projects by otherarchitects have impressed orinfluenced you most, and why?

Golly, I love a good arch: the Bathsof Caracalla, the Balcombe Viaduct,Thiepval, Kahn in India (obvs) andoh yes, Mario Botta’s brickcathedral at Evry, Paris are all worththe pilgrimage. I’ll probably betrolled for saying it, but I love JohnOutram’s outré architecture.I worked with John on a buildingin Texas which is truly awesome;a forest of elephantine brick

columns. What most influencedme though were not his buildingsbut his tenets that:a: What matters most in a buildingis that it embodies a BeautifulIdea. The strength of the Brutalistidea is what makes its ugliness so,actually, beautiful.b: What matters least is what otherarchitects think. Architects dodrearily conform to the currentzeitgeist and fear their peers;much better to follow your passionhowever unfashionable.

Do you see brick as a material ofthe future?

Right now brick is very ‘in’, butthat is sure to change. The currentfad for exotic shapes and colourswill pall. But whatever, I’m surebrick per se will persevere. It isquintessentially sustainable,maintenance free, effectivelyeternal. And key to its survival is itscontextuality – brick makes abuilding belong.

To my mind, the challenge aheadfor brick is how to become a truecladding material, applied ratherthan tied to a structure. We need abrick slip system with integrity andversatility. I look forward to atwenty-first century take on themathematical tile.

TTooppAdrian James, seen here atthe BalcombeViaduct, is adirector of Adrian JamesArchitects, twice winnerof the BDA Brick Award forthe best individual house,plus many other awards.

AAbboovveeJohnOutramAssociates’Duncan Hall, RiceUniversity,Texas (1996,ph: Kendall Heaton,executive architect).

RRiigghhttClockwise from top left:Mill Street (James) house(1997, ph:CharlotteWood), Incurvo (ph: FisherStudios, see Ibstock DesignAutumn 2016), Jerichohouses (2011, ph: FisherStudios) and Hodgson Hall,Shrewsbury School (2015,ph: Fisher Studios).

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SwanseaUniversityBayCam

pusresidences,byPorphyrio

sAssociates(photo:N

eilPerry)

TheCourtyard

House,byDallasPierce

Quintero(photo:RachaelSm

ith)

Design ibstock Brick Winter 2016/17

Design

Transcript of Design ibstock Brick Winter 2016/17