AUTUMN 2007

BRICK
Published for the Brick
Development Association

Bulletin

REST IN PEACE
Wilbury Hills Cemetery in Hertfordshire by mae

Peter Phippen on Alvar Aalto’s Villa Mairea

Artistic licence: Borgos Dance’s Louise T Blouin Institute
Near neighbour: British Library Centre for Conservation
 MARTa Herford, Herford, Germany
HERO

Designed by renowned architect Frank Gehry,

MARTa Herford is a German museum of
contemporary art and design, a centre of
excellence and information and a forum for arts,
events and presentations. Cracking the code
It is generally agreed

LEADER
that the Code for
Sustainable Homes
is based on some
sound ideas. It
charts a road map of improving
performance standards and relates
compliance to set dates. At the same time it
offers designers choice in the means by
which compliance is achieved. However,
the master stroke is that compliance at this
stage is voluntary and yet companies are
invited to gain commercial advantage by
marketing advanced products. Hence,
development work is being carried out
willingly by companies.
This issue of Brick Bulletin contains an
article by Dr Ali Arasteh (principal
engineer at the Brick Development
Association) on the code. It was also
featured in the presentations that formed
part of the ‘industry days’ held recently in
Swindon and Stoke-on-Trent and reported
on page 4.
In the first flush of enthusiasm, different
materials and designers have claimed that
their particular material or construction
technique will allow compliance at the
highest level. The harsh fact is that the
code does not present one clear way to
achieve compliance nor does it rule out
any material, so it is back to using the
tried-and-tested arguments for brick.
These are none the worse for having been
well rehearsed, but we need to repeat them
in the new context of the code.
Michael Driver, director
Brick Development Association

Cover photograph: Michele Panzeri

Photo: Architekturphoto © Arcaid, Kingston upon Thames, Surrey.

03
News Brick Awards 07
And the
winner is...
New appointment
The BDA is pleased
to announce the recemt
appointment of Katherina
Lewis as its new
marketing manager.
Katherina is a New
Zealander who has been
living in the UK for 18
months while working for
Abbey National. Her
previous experience
includes five years in the
building industry in a
variety of marketing
roles, mostly with a
concrete and concrete
masonry manufacturing
organisation.
As part of her new role
Katherina is the
editor of Brick
Bulletin.
04
Peter Phippen
OPINION
An antidote to amnesia
Designed in an age obsessed with the new, Alvar Aalto’s Villa
Mairea shows the architect’s interest in the natural and traditional
In 1937 Harry and Maire Gullichsen, the four steps to the living room, ahead is a
important progressive figures in Finland, fireplace of Wrightian proportion adjoining
asked Alvar Aalto to design a house for them, the wall of sliding doors to the courtyard,
but they dismissed his first design as too with a glimpse the other way into the music
traditional. They suggested he did something room. This is entered diagonally opposite the
more adventurous, and said they would foot corner formed by the windows along the east
the bill if any problems resulted. So began an and south. It forms one side of the library
architect-client relationship that would which was originally defined by movable
clearly marry the abilities of the individuals walls containing cabinets for
involved to create a unique work. storing paintings. It also served
The house sits on a flat hilltop as Harry Gullichsen’s office,
surrounded by pine forest. A lack of formal and acoustic problems led to
order is immediately apparent. Three Aalto enlarging and enclosing
materials are visible: grey granite for the the space.
plinth surmounted by full-height glazing The ground-floor spaces are
with panels of slim horizontal timber a generous height, but nowhere
battens and vertical boarding above forming is the two-storey volume used.
The 2007 Brick Awards ceremony Volume housebuilder Miller Homes Best refurbishment project Louise T a balustrade, all set forward of the white Bedrooms, all on the first floor,
was held at The Marriott for Coach House Mews, Bicester, Blouin Institute, London, designed
rough rendered plane of the main facade. look away from the courtyard.
Grosvenor Square Hotel, London The Quays, Nottingham and Trajan by Borgos Dance
on 5 November. Place, Worcester Best landscape project Pallant Appearing above and beyond is a positively The dining area is understated,
Congratulations to all the Innovative use of brick and clay House Gallery new wing, agricultural excrescence, a silo-like tower with a ceiling sloping down to a
winners. This year the supreme products Hanson Eco House at Chichester, West Sussex, designed clad in dark stained board and batten; Hugo glazed wall looking south over
award was won by Pallant House BRE, Watford, designed by Mark by Long and Kentish Haring could have had a hand in it. the courtyard.
Gallery new wing, in Chichester, Stewart TP Bennett Sustainability Two houses, London, However, Aalto’s own Paris Exhibition Villa Mairea is built around a grass courtyard, The house extends westward
West Sussex, designed by Long Specialist brickwork contractor of designed by Buschow Henley building also provides a precedent. It is using the forest tree trunks as its leitmotif. with a ground-floor loggia leading to the
and Kentish. the year Reussir Best international project
Best craftsmanship Restoration Sports Centre Het Marnix, Maire Gullichsen’s studio forming the south- sauna. It is protected from the north by a
The winners in the other of external fabric, Board of Amsterdam, Holland, designed by west corner of the building and oddly built root bindings sitting on pad stones, chest-high dry stone wall topped with grass.
categories were: Graduate Studies, Cambridge, Mecanoo Architecten, Hanneke over a largely glazed ‘flower room’. confirmation of Aalto’s knowledge of and The roof of timber battens is carried on
Best private housing development designed by David Eusden Hollander Compared with the clarity and rigour of interest in primitive and vernacular buildings concrete beams and columns, but adjoining
Quayside Lofts, Newcastle-upon- with SBC as the brickwork Worldwide Brick WNF Haupter his earlier works, inspired by classical or and traditional Japanese architecture. the sauna it changes to an all-timber structure
Tyne, designed by Conran & contractor Waltung, Zeist, Holland ‘heroic’ modern precedents, here Aalto has a We see here two more clues to Aalto’s with clusters of four poles bound together
Partners Best commercial building
different agenda. This is not a building that inspiration. The shape of the canopy could supporting beams and a deck of unwrought
Special award Poplar Cottage, GMPTE Headquarters, Piccadilly Thank you to everyone who
The Green, Walberswick, Suffolk Place, Manchester designed by entered – once again every will impress by its simplicity, by a reduction come from a cubist painting, but another timber. Both roofs are covered with turf. The
designed by Dow Jones Architects Weedon Partnership building was of extremely high to the simplest form, the use of one material source suggests itself. In an early sketch it balustrade to the terrace over the dining
Best public housing development Best public building Pallant House quality. and a clear structural logic. Rather it makes a appears almost as a real tree canopy above room consists of saplings arranged as in a
62-99 Schoolhouse Yard, Bloomfield Gallery new wing, Chichester, West We look forward to seeing feature of finding the most appropriate form, long straight trunks. These trunks of the pine traditional fence. Part of the wall to the dining
Road, London, designed by Sussex, designed by Long and even more entries for the 2008 structure and material for its parts and then forest are a leitmotif throughout the Villa room is clad, at the insistence of Maire
Richards Partington Architects Kentish Brick Awards.
melds them into a satisfactory whole, Mairea. The topology leads to columns Gullichsen, in bright blue faience tiles.
creating, to paraphrase Aldo van Eyck, a appearing in odd places, painted black or Although Aalto disowned them, his building
house with the variety of a city. white, paired, bound in rattan or faced with allows for just this sort of intrusion.
The design emerged slowly as a building timber slats. So there you have it, a work of architecture
Industry Days sheltering a grass courtyard on three sides. We enter in the crux of the plan, faced that is the product of a supremely gifted
Recently the BDA held an Industry Days conference over two days in two venues – This is the focus of the house, overlooked by with a sinuously curving head-height wall, architect, sufficiently confident to allow his
Swindon on the first day and Stoke-on-Trent on the second. The event gave members
the chance to highlight and discuss the key issues facing the brick industry. the living and dining rooms, the loggia and providing a parapet to the main floor level clients to play a constructive part in the
It was also an opportunity for the new Think Brick brand to be launched to sauna and within it a swimming pool defines behind. To our left, up broad steps, a large design. It is an antidote in an age obsessed
members. Think Brick represents the positive values brick has to offer – aesthetically its south-west corner. The final design was open living space is revealed. The leitmotif is with the new and showing amnesia to man’s
pleasing, sustainability, adaptability and excellent life-cycle performance. only arrived at after the foundations and immediately apparent: vertical poles devoid basic needs for shelter and for links to nature
Experts from a range of subjects were invited to speak on a variety of topics ground-floor slab had been poured. Aalto of function fixed to the parapet wall dividing and to his past.
including sustainability, thermal mass, and materials from alternative, recycled and went on to make even more changes, to Harry the hall from the dining room, beyond which
secondary sources (MARSS). Members were also able to meet and hear from the BDA
Gullichsen’s irritation. is the staircase of steel joists largely hidden by Alvar Aalto – Villa Mairea was published jointly by
team and to discuss the BDA’s plans for the next 18 months.
The response has been so positive that the Industry Days event is to be repeated The entrance is clearly visible; an a veritable forest of poles. the Alvar Aalto Foundation and the Villa Mairea
each year. irregularly shaped flat roof provides a Although a grand house, it is not Foundation, 1998.
generous sheltering canopy. It is supported overblown. There is no need to stifle the gasp Peter Phippen was a founder partner and former
both by a steel column, hidden from view by that escapes one with the drama of entering chairman of PRP Architects. His book The Mistress
a screen of slender timber poles, and by two the enormous volume of the living room at in the Home – Architects and Housing will be
clusters of poles lashed together with spruce Frank Lloyd Wright’s Taliesin East. Mounting published next year.
05

Louise T Blouin Institute
CASE STUDY
High culture
Project: Louise T Blouin Institute
Location: 3 Olaf Street, London,
W11 4BE
Architect: Borgos Dance
www.borgosdance.com
06
The building that is now the Louise T
Blouin Institute was originally used by
Hooper’s, the coachbuilder to Rolls-Royce,
Bentley and Daimler. Since its heyday the
building had deteriorated and architect
Borgos Dance faced the challenge of
revitalising it to fulfil its new function.
The brief required the building to be
given a further projected 60 years of life,
tackling years of neglect, superficial
repointing, rising damp and failing parapets.
The design needed to meet two
requirements – to create a dynamic
backdrop for the viewing of art from both
established and emerging contemporary
artists and to house the Louise T Blouin
Foundation’s London headquarters.
The foundation seeks to encourage a
better understanding of foreign affairs and
culture beyond borders through
international co-operation, exchange and
dialogue for the 21st century; and to explore
the broader practical significance of
creativity and the creative potential of the
human brain. The Louise T Blouin Institute
is unique as an arts centre: it is neither a
publicly funded gallery nor a commercial
gallery. Rather, it is one of the largest non-
government funded, non-commercial
cultural spaces in London.
The existing 3250m2, three-storey
warehouse building is located on Olaf Street
between Shepherds Bush and Holland Park
in Notting Hill. In past years, it has been
used by design and advertising companies,
which led to a number of fit-outs in the
mid-1980s and 1990s. It was necessary to
reinstate the original open-plan nature of
the warehouse in order to maximise the
space available for exhibiting art for the
foundation.
First and foremost, the project was one of
restoration and refurbishment, unravelling
the many changes that had been made over
the years and imagining a more symmetrical
and ordered facade. This entailed rebuilding
entire load-bearing masonry piers, lifting
arches to align with their neighbours, areas, which include a triple-height space,
correcting brick coursing and deflecting
The project was an exhibition space and a courtyard cafe that
arches over the greater percentage of one of restoration are open to the general public. The first and
windows, all with the aim of creating purer
and more balanced elevations. The entire
and refurbishment, second floors have been dedicated to offices
and flexible spaces for the foundation's
north corner, tower included, was largely unravelling activities.
rebuilt from the ground up.
Simultaneously with these works, a
changes and All 80 of the existing external windows
were reused, with each window lit from
completely new concrete and steel structure imagining a more within. Borgos Dance worked with US artist
had to be inserted to create the generous and ordered facade James Turrell to create two permanent
environmentally controlled spaces that were lighting installations – the first illuminating
required. In particular, the reconstruction of all the external windows and the second
floors and internal structures supported by lighting an architectural translucent screen
new internal foundations required lightweight concrete floors from two 27m at roof level. The windows can either be
considerable care in the sequencing of the long by 2.5m high roof trusses. Load transfer controlled individually or as a whole, along
brickwork’s temporary engineering relative to these new structures was achieved by jack with the roof, to create changing artwork on
to the new steelwork. stressing the hanging structure into position the exterior of the building. The result is a
With Arup Engineering, the team and retrieving the load from the ground dramatic space internally and externally to
removed all columns from the ground floor, floor columns. showcase both the building itself and the
using Macalloy steel bars to suspend the The ground floor houses the main public exhibitions within.
07
 Wilbury Hills Cemetery
CASE STUDY
In sympathy
It’s not often one thinks about sustainability
when it comes to burial sites, but for mae, a
young architectural practice based in north
London, this was a component of its brief
for the Wilbury Hills Cemetery on the edge
of Letchworth Garden City in Hertfordshire.
Mae was presented with the challenge of
developing a burial site in a sensitive
agricultural landscape. The client brief
stressed that the design should be
sympathetic to its natural surroundings.
Mae consulted with local faith groups to
ensure that the chapel could be used by the
widest cross-section of the community.
The design and set-out of the chapel
building came from observations of the
manner in which black timber-clad barns in
Bedford are grouped together. The main
hall is set at a slight angle to the volume of
the entrance and office, helping to produce
a softer building silhouette in the landscape.
The chapel forms an intimate space to
accommodate 100-120 mourners. The main
hall window faces west-north-west out to
the landscape; this orientation delivers a
clear wall east-south-east, so Christians and
Muslims have an orientation to Jerusalem
and Mecca. The outer face of this wall forms
a space for a timber bench, protected from
the prevailing wind, and memorial plaques
for those whose ashes are buried in the
herb garden adjacent to the chapel.
The building is non-denominational and
is also used as a classroom for local school
08
children for nature studies, and as a prayer
and celebration space for families. The
external walls each have a gable to reinforce
the multi-orientation of its function; this
allows the roof pitch to be dropped in an
informal manner, lowering it into the 1m
fall between the hard landscape and the
children’s burial area behind.
A colonnaded mausoleum structure
was included in the first phase of site
development as a result of a request from
Letchworth’s local Sicilian community,
whose cultural preference is for this form of
interment rather then burial below ground.
The major material used for the buildings
at Wilbury Hills was stack-bonded brick with
colour-matched mortar. A hard-fired
blue/grey iridescent brick complements the
normal material for mausoleum niche
closers and memorial plaques, usually
highly polished black or grey granite or
slate and in some cases white marble.
The client and design team felt this type
of brick would be more suitable than the
more locally prevalent soft red brick as it
was important to present a high-quality
finish. The density of the hard-fired bricks
also minimises water ingress from driving
rain on the exposed and windy site.
Due to the size of the mausoleum, the
openings and columns all needed to be
stack-bonded. This technique is continued
throughout the chapel externally and
internally for the main hall, giving an urban
feel despite the building’s rural setting.
Timber was used throughout the chapel,
main hall and mausoleum to soften the
look and to reflect the feel of Bedford’s
barns. A large slatted timber shutter, used
for the entrance area, slides on the sort of
rail one would find on a barn. All the doors,
which are large enough for coffins to be
carried in and out, are simple boarded larch
timber. The mausoleum building features a
grey zinc standing-seam roof – like that of
the chapel – supported on a brick
colonnade with a simple timber structure.
The burial ground will be developed
over the next 100 years and so far only a
quarter of the mausoleum has been built –
meaning the Wilbury Hills Cemetery will
be an ongoing project for mae.
Project: Wilbury Hills Cemetery
Location: Wilbury Hills, Stotfold
Road, Letchworth SG6
Architect: mae LLP Architects
www.mae-llp.co.uk
09
 British Library Centre for Conservation
CASE STUDY
By the book
The British Library Centre for
Conservation is a new addition to the
existing British Library building, adjacent
to St Pancras Station in central London.
The challenge for architect Long &
Kentish was to design a building that
complemented the preceding high quality
build, while providing a state-of-the-art
facility designed to meet the specific
technical requirements of book, sound and
paper conservation.
It was important that the centre was
both physically and emotionally connected
to the heart of the British Library as
previously the functions within it – the
National Sound Archive, book binders and
conservationists – had been situated away
from the main building.
The design for the centre had to meet
the highly specialised needs of book
conservation and sound recording
processes to ensure high standards of care
for the library’s priceless collections. A
critical part of this was the requirement for
10
a controlled internal environment and
superior light conditions. The interior also
had to be specially designed in order to
incorporate the bespoke work desks of the
conservationists.
Located towards the back of the existing
building, Long & Kentish’s innovative
design saw the new building converge with
the existing library on the first floor by
means of a terrace, which also serves as a
roof over the loading bay below. This
meant that the centre could be serviced
through the same main entrance as the
existing library.
For Long & Kentish the entire process
was a collaborative effort, involving the
client as well as the bricklayers and
engineers. Low-maintenance high-quality
finishing materials that weathered
naturally were selected. Charnwood Forest
Dark Victorian Red Mixture clay bricks
(the same bricks used on the original
building), green oak and natural zinc were
used – thus avoiding the powder-coated
painted metalwork found on the original
British Library.
It was important to Long & Kentish to
make the new building subtly different
from the existing one, but to maintain a
sense of continuity. The intention for the
new building was to create a monolithic
look that would still hold the interest of the
observer as they approached the building.
The mortar and pointing was a key part of
this strategy.
The mortar was brushed flush to the
bricks, rather than raked, using a soft
bristle brush to expose the natural grit of
the mortar, a mix of one part ordinary
Portland cement, one part Totternhoe
hydrated lime, three parts Wareham
(Raymond Brown Pit) washed soft sand and
three parts Wareham (Raymond Brown Pit)
washed sharp (3mm sieved) sand.
The brick walls of the building are
contrasted with timber elements such as
the gently curved wall of untreated, sawn
green oak battens on the first floor of the
terrace and the green oak timber trellis on
the east facade. Over time it is intended for
the trellis to be covered by climbing plants,
which will grow into a green wall facing St
Pancras Station.
The windows and doors have been set
back from the facade with brick jambs and
suspended brick soffit. On the east
elevation the wall partially consists of
honeycomb brickwork with frogs, to allow
for cross ventilation of the loading bay.
Another requirement of the brief was
that the building had to meet blast
resistance standards. A stainless-steel sheet
has been incorporated in the vast majority
of the wall build with all windows and
doors and their fixings designed
accordingly. The window frames are set Project: British Library Centre for
Conservation
behind the brickwork with the skins
Location: St Pancras, 96 Euston
attached to the brickwork. Road, London NW1 2DB
Long & Kentish achieved a BREEAM Architect: Long & Kentish
‘excellent’ rating for its design of the Architects
centre, which sits harmoniously alongside www.longkentish.com
the original library.
11
 Design & specification Code categories in detail
TECHNICAL

The Code for Sustainable Homes Category 1 Energy & carbon dioxide emissions (total credits 29, total points 36.4)
Energy & carbon dioxide
emissions
Dwelling emission rate
Ene
1
Mandatory
Yes
Points
18.8
Impact
Direct environmental impact, major greenhouse gas
In the first of a two-part feature, the BDA’s principal engineer Dr Ali Arasteh explains Building fabric 2 No 2.4 Thermal performance of building envelope on its own – surface area,
insulation & air tightness
how points are scored in the Code for Sustainable Homes Internal lighting 3 No 2.4 Energy efficient lighting, reducing CO2 emissions
Drying space 4 No 1.2 Minimise amount of energy used to dry clothes
Energy labelled white goods 5 No 2.4 Encourage use of energy efficient goods & minimise CO2 emissions
External lighting 6 No 2.4 Energy efficient lighting, reducing CO2 emissions
The findings of the Stern Report on the Fig 1 Possible options to achieve code level 3 ● Level 3 Zero/low carbon energy technologies 7 No 2.4 Reduce carbon emissions & encourage renewables use
Cycle storage 8 No 2.4 Promote wider use of bicycles & demote car use for short journeys
Economics of Climate Change, high emissions 60 EcoHomes ‘very good’ level Home office 9 No 1.2 Reduce need to commute to work
from domestic housing and government EST’s ‘best practice’
7.7 Category 2 Water (total credits 6, total points 9)
concerns over the performance of buildings 50
12 12 ● Level 4 Water Wat Mandatory Points Impact
resulted in recent revisions to Part L of the 10 Exemplary performance Internal potable water use 1 Yes 7.5 Reduce consumption of potable water
5.7 External potable water 2 No 1.5 Encourage recycling of rain water & reduce mains water used for gardening
Building Regulations. Regulatory changes 40 10 ● Level 5

Code points
achieved reductions of 25% and 20% (on Exemplary performance with high Category 3 Materials (total credits 24, total points 7.2)
14 14
average) in 2002 and 2006 respectively. 30 9.7 standards of energy and water efficiency Materials Mat Mandatory Points Impact
Environmental impact of materials 1 Yes 4.5 Encourage use of materials with lower environmental impacts
But using regulations to control emissions 2.8 2.8 2.8 ● Level 6 over their life cycle in roofs, external & internal walls,
met with criticism and so in December 2006 20 5.5 5.5 5.5 Aspirational standard based on zero carbon floors & windows

Mandatory
the government published the Code for 2.2 2.2 2.2 emissions and high performance across all Responsible sourcing of materials –
4.5 4.5 4.5 basic building elements 2 No 1.8 Recognise & encourage specification of responsibly sourced materials
Sustainable Homes, a step-change in sustainable 10
4.5 4.5 4.5 environmental categories for the basic elements
home building practice. It provides a voluntary 5.8 5.8 5.8
Responsible sourcing of materials –
finishing elements 3 No 0.9 Recognise & encourage specification of responsibly sourced materials
assessment scheme which has a series of 0 A dwelling must reach minimum standards for the finishing elements
Option1 Option2 Option3
environmental performance targets. These before being awarded points under the code.
● Category 9 Ecology Category 4 Surface water runoff (total credits 4, total points 2.2)
are set higher than regulatory levels, thereby ● Category 8 Management
Credits do not have the same value between Surface water runoff Sur Mandatory Points Impact
motivating designers and home builders to ● Category 7 Health & well-being categories and environmental impacts are Reduction of site surface water runoff 1 Yes 1.1 Reduce risk of localised flooding
improve building performance. ● Category 6 Pollution assessed using the credits and Issue Weighting Flood risk 2 Yes 1.1 Safeguard against excessive flood damage
● Category 5 Waste Note: compliance with the mandatory elements of this category does not score points.
The code is a set of sustainable design ● Category 4 Surface water run-off
Factors. Points are obtained by multiplying
principles based on performance, addressed ● Category 3 Materials each credit by its Environmental/Issue Category 5 Waste (total credits 7, total points 6.4)
● Category 2 Water Waste Was Mandatory Points Impact
through nine key categories: Weighting Factor (reflecting the relative Household waste & recycling facilities 1 Yes 3.6 Recognise outside/inside storage space for waste management
● Category 1 Energy and CO2
● Category 1 Energy and CO2 importance of each issue), divided by the total Construction site waste management 2 Yes 1.8 Recognise positive impact of site waste management on efficient use of resources
Minimum mandatory standard number of credits in the category. It is Composting 3 No 0.9 Encourage the provision for composting household waste
Note: compliance with the mandatory elements of this category does not score points.
● Category 2 Water and registering the site. The date of important to note that the maximum possible
Minimum mandatory standard registration determines which version of the points in any category is numerically the same Category 6 Pollution (total credits 4, total points 2.8)
Pollution Pol Mandatory Points Impact
● Category 3 Materials code will be applied. as its Environmental/Issue Weighting Factor. Global warming potential (GWP)
Minimum mandatory standard Code assessment is carried out in two stages: Table 1 shows the status of all nine of insulants 1 No 0.7 Reduce global warming resulting from emission agents, use & disposal of foamed
No credits at entry level Design stage assessment Assessment carried categories, whether mandatory or not, materials
NOx emissions 2 No 2.1 Reduce the emissions of nitrogen oxides (NOx), from boilers, into atmosphere
● Category 4 Surface water run-off out to tender stage. Once the assessor is together with minimum and maximum
Minimum mandatory standard satisfied with the performance of possible point scores. A total score of 100 is Category 7 Health & well-being (total credits 12, total points 14)
Health & well-being Hea Mandatory Points Impact
No credits at entry level environmental issues, a report is submitted to available across the nine categories but only Daylighting 1 No 3.5 Improve quality of life through daylighting & reduce energy to light homes
● Category 5 Waste BRE to receive an interim code certification. 90 points are required for code level 6. This Sound insulation 2 No 4.6 Reduce noise complaints
presents the possibility of choosing the most Private space 3 No 1.1 Improve quality of life
Minimum mandatory standard Post-construction review stage Carried out on a
Lifetime homes 4 No 4.6 Encourage accessible & ‘future adaptable’ constructions
No credits at entry level completed dwelling to ensure details set out at convenient sub-categories for code levels 4
● Category 6 Pollution design stage have been adhered to. Once the and below. This is illustrated in Figure 1, Category 8 Management (total credits 9, total points: 10)
Management Man Mandatory Points Impact
● Category 7 Health and well-being assessor is satisfied a report is submitted to above left, which shows three possible Home user guide 1 No 3.3 Provision of guidance for home users to understand and operate their homes efficiently
● Category 8 Management BRE to receive final code certification. options to achieve code level 3 (EcoHomes Considerate constructors’ scheme 2 No 2.2 Encourage environmentally & socially considerate managed construction sites
Construction site impacts 3 No 2.2 Encourage site management in a manner to mitigate environmental impacts
● Category 9 Ecology ‘very good’ level/ EST’s best practice). Security 4 No 2.2 Encourage design of developments where people feel safe, fear of crime does not
Each design category scores a number of Scoring: For more information on the Code for undermine quality of life
percentage points, with the total establishing ● Level 1 Sustainable Homes please contact the Brick
Category 9 Ecology (total credits: 9, total points 12)
the ‘star rating’ for the dwelling. Formal Above regulatory standards Development Association on 01344 885 651. Ecology Eco Mandatory Points Impact
assessment may only be carried out by EcoHomes ‘pass’ level Ecological value of site 1 No 1.3 Encourage development of land with limited value to wildlife
Ecological enhancement 2 No 1.3 Encourage ecological enhancement of a site
licensed, registered individuals known as code EST (Energy Saving Trust) good practice In the next issue of Brick Bulletin we will take Protection of ecological features 3 No 1.3 Protect ecological features during site clearing & construction phases
assessors. All training, registration and for energy efficiency a closer look at various categories and highlight Change of ecological value of site 4 No 5.3 Reward for improving & minimising reduction of ecological value
licensing is carried out by the BRE. ● Level 2 how brick and brickwork score in Category 3, Building footprint 5 No 2.6 Optimise land & material use through efficient use of building footprint
The process involves choosing an assessor EcoHomes ‘good’ level the materials section. Environmental impact categories No of credits Environmental weighting factor
in Category (as % of total possible points score available) = maximum points
Table 1 Category status Category 1 – Energy/CO2 29 credits 36.4%
Minimum standard No Minimum Standards Category 7 – Health & well-being 12 credits 14.0%
Category 9 – Ecology 9 credits 12.0%
CODE ENERGY & CO2 WATER OTHER MATERIALS SURFACE WATER R/O WASTE POLLUTION HEALTH & WELL-BEING MANAGEMENT ECOLOGY
LEVEL STANDARD POINTS STANDARD POINTS POINTS
Category 8 – Management 9 credits 10.0%
(% BETTER MIN MAX (LIT/P/D) MIN MAX MIN MAX MIN MAX MIN MAX MIN MAX MIN MAX MIN MAX MIN MAX Category 2 – Water 6 credits 9.0%
THAN 2006 Category 3 – Materials 24 credits 7.2%
PART L)
Category 5 – Waste 7 credits 6.4%
1* 10 1.2 36.4 120 1.5 9 33.3 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12 Category 6 – Pollution 4 credits 2.8%
2** 18 3.5 36.4 120 1.5 9 43 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12 Category 4 – Surface water run-off 4 credits 2.2%
3*** 25 5.8 36.4 105 4.5 9 46.7 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12 Total 104 credits 100.0%
4**** 44 9.4 36.4 105 4.5 9 54.1 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12
5***** 100 16.4 36.4 80 7.5 9 60.1 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12 Rearranging the categories in terms of maximum points, ie environmental weighting factors, gives a better indication of areas where higher points can be scored.
Note: all points have been rounded down
6****** Zero CO2 18.8 36.4 80 7.5 9 64.9 0.2 7.2 - 2.2 - 6.3 0.7 2.8 1.1 14 2.2 10 1.3 12

12 13
 Design & specification
TECHNICAL
Mortar joint profiles
The mortar joints in brickwork have a significant influence
on its overall appearance. Mike Hammett looks at the detail
Mortar joints have a marked effect on the
appearance of brickwork. They account for a
surprisingly large proportion of its surface area
– slightly more than 17% in stretcher bonded
work. The colour and texture of the mortar
and the joint profile are all important factors.
A variety of joint profiles are used. Some
reveal the edges of the bricks and so accentuate
their individual forms, others obscure the
edges and merge bricks and mortar to a
homogeneous surface. The most popular are:
‘flush’, ‘bucket handle’, ‘weather struck’, and
‘recessed’ or ‘raked’. These can be formed as
‘jointing’, that is, completed as the brickwork is
laid, or as 'pointing' – with the joints left
recessed to receive the later addition of mortar
in which the joint profile is formed. Some
other profiles, for example ‘weather struck and
cut’, are only practicable as pointing.
As bricks are laid, mortar is squeezed from
the bed joint. When the brick is properly set in
position excess mortar is skimmed off at the
surface. To do this a trowel is held at an angle
to the wall surface with the edge under the
projecting mortar; it is then run forward along
the line of the bed joint to cut off the excess.
The trowel should not be scraped up or down
the face of the brickwork because that will
smear mortar onto it. Any cavities in cross
joints (vertical joints) should be made good
and excess mortar cut off flush to match the
bed joints.
14
Flush joint
For a ‘flush’ joint profile no
further working need be done.
Because flush joints are
formed without compacting the
surface of the mortar they are less
resistant to water penetration
than profiles formed by tooling.
For other joint profiles the
mortar is left to stiffen slightly
and then tooled. The time taken
for the mortar to reach the correct
consistency varies considerably
and checking should start after
approximately 10 minutes. It
must be stiff enough not to flow
or adhere to tools, but not so stiff
that it crumbles and breaks away
when tools are applied.
Flush joints are formed without
compacting the mortar surface, so are
less resistant to water penetration
Bucket handle
A ‘bucket handle’ joint is formed
with a jointer that is half round or
circular in section. The tool is
pulled along the joint in contact
with the edges of the bricks on
either side. Cross joints are
finished first, then the bed joints.
The diameter of the tool
determines the depth of the
curved recess – a small diameter
of 12mm produces a strongly
curved deep profile while one of
25mm produces a shallow curve
only about 2mm deep.
Purpose-made metal jointing
tools are available, but off-cuts of
metal or rubber tubing are
frequently used. Metal and plastic
tend to polish the surface of joints
and this can produce a harsh
character. Off-cuts of hard rubber
hose (such as those used in car
engines) compact the mortar
surface, but roughen it slightly to
leave an attractive sandy texture.
Timber dowelling produces a
similar texture, but is best
avoided as it wears quickly and so
leads to inconsistency. Whatever
tool is chosen, its use should be
consistent throughout the work.
Shallow bucket handle joints and
mortar to match the bricks
emphasise the plain surface of the
brickwork
Weather struck
‘Weather struck’ joints are formed
with trowels. The inset edge of the
joint should not be exaggerated,
about 2mm is enough – the
thickness of a trowel blade is a
guide. The forward edge should
finish on the edge of the brick.
Cross joints are formed first. A
small pointing trowel is held with
its edge pressed into the mortar
against one brick and drawn
across the joint against the other.
A right-handed bricklayer tends
to form the inset on the left side
and draw to the right. Either
direction is acceptable, but make
sure that it is the same
throughout the work; otherwise
the brickwork will look patchy.
Bed joints are formed with the
straight edge of a normal trowel
pressed into the mortar against
the upper brick and, while
holding it against the edge of the
lower brick, pushing it along and
down.
The straight sloping surfaces
of the bed joints tend to catch the
light and accentuate them. This
joint can give the work a neat,
well-ordered appearance and
looks best with well-formed
regular bricks.
Weather-struck joints can give the
work a well-ordered appearance
Weather struck and cut
‘Weather struck and cut’ joints
are formed as pointing. The inset
edge is produced as it is with
‘weather struck’, but the forward
edge is projected about 2mm
beyond the brick surface. For the
cross joints the projection is cut
vertical and straight using the
edge of a pointing trowel. For the
bed joints the projection is cut
using a straightedge and a
‘Frenchman’, a knife with a
specially shaped blade. The
straightedge has blocks to hold it
off the wall surface to avoid
smearing and so that the mortar
cut off can fall down and away.
This profile also accentuates
the bed joints and looks well with
well-formed regular bricks.
If used with irregular bricks,
inevitable variations in the width
of the joints tend to produce a
heavy, somewhat coarse
appearance.
Weather struck and cut pointing looks
best when used with well-formed
regular bricks
Recessed
‘Recessed’ joints are raked out to a
consistent depth. A wheeled
jointer is an effective tool for this.
The raked profile can be left as
roughened texture, but it is better
to compact the surface of the
mortar to improve its resistance to
rain penetration. A square-edged
jointer or a slipper iron in a
wheeled jointing tool can be
used.
A recess of about 5mm
produces a good visual effect;
exaggerated recessing of 10mm
or more should be avoided.
Recessed joints impede the
flow of rainwater down the
surface of the brickwork, which
tends to get wetter than it does
with other profiles.
For this reason recessed joints
are not recommended unless the
bricks are eminently frost-
resistant, that is, conforming to
durability designation F2 in BS
EN 771-1 Specification for Clay
Masonry Units. They are not
recommended in locations liable
to severe exposure to wind-
driven rain for brickwork in
which resistance to water
penetration is important.
Using the same bricks as for the
bucket handle joint, recessed joints
and contrasting mortar dramatically
change the brickwork’s appearance
Brickwork with thin joint mortar
A modern development in
brickwork is the use of
proprietary thin-joint adhesive
mortars. They are not applied
with a trowel. The mortar is
pumped, via a hose, to a hand-
held applicator designed for
accurately placing a controlled
quantity of mortar along a bed
joint and on the ends of bricks
about to be laid. The bricklayer
places the bricks and the mortar
squeezes to within 5-10mm of the
face of the work.
Typically the joint width is
about 5mm. It can be left without
further manipulation, but a
narrow square-edged jointer is
sometimes used to firm the
mortar within its recess. The joint
profiles described above are not
applicable to such thin joints.
The joints comprise only
about 9% of the surface area of
brickwork and their effect on its
appearance is greatly reduced.
However, the technique is
particularly appropriate to well-
formed regular bricks. The thin
joints enhance the precise
character of this type of masonry.
The richness of the brick colour is
more apparent with thin joint
adhesive mortar
15
 Michael Driver
BACKGROUND

BDA: promoting the best of brick

The Brick Development Association (BDA)
was established to promote the best possible
uses of clay brickwork and clay paving. This
includes maintaining and disseminating the
traditions that have made brick one of the
great materials of construction. But it also
includes supporting ongoing research into
new uses for brickwork that will ensure its
use well into the third millennium. Helping
the BDA achieve these goals are its members
who together account for over 98% of clay
brick manufacture in the UK and Ireland.
The BDA’s wide range of activities is
designed to promote excellence in the
architectural, structural and landscape
applications of brickwork. These are
spearheaded by the Brick Bulletin, the annual
Brick Awards – which have become one of
the most prestigious events in the
construction industry calendar – and by BDA
technical staff, who lecture to schools of
architecture and engineering, as well as at
CPD events.
The BDA provides comprehensive advice
and information on every aspect of brick
construction. Architects, engineers,
specifiers and members of the public can
access a comprehensive resource on the
practical, technical and aesthetic aspects of
brickwork either by telephone, the website
(www.brick.org.uk) or through the extensive
range of BDA publications. BDA staff work
on the drafting of technical publications,
codes and standards. They represented the
industry on the committees that formulated
the new harmonised European standards and
are currently involved in revisions of the
technical literature to take account of the
new standards.

Member companies
Baggeridge Brick plc
Fir Street, Sedgley, Dudley,
West Midlands DY3 4AA
T 01902 880555
F 01902 880432
E email. enquiries@baggeridge.co.uk
W www.baggeridge.co.uk
Sales office:
T 01902 880666
F 01902 880432
E sales@baggeridge.co.uk
London consultancy:
T 0207 2366222
F 0207 248 6363
Rudgwick sales office:
T 01403 822212
F 01403 823357
Blockleys Brick Ltd
Sommerfeld Road, Trench Lock,
Telford, Shropshire TF1 4RY
T 01952 251933
F 01952 265377
E sales@blockleys.com
W www.michelmersh.com
Bovingdon Brickworks Ltd
Pudds Cross, Bovingdon,
Near Hemel Hempstead,
Hertfordshire HP3 0NW
T 01442 833176
F 01442 834539
E info@bovingdonbricks.co.uk
W www.bovingdonbricks.co.uk
Broadmoor Brickworks Ltd
Whimsey, Cinderford,
Gloucester GL14 3JA
T 01594 822255
F 01594 826782
E sales@broadmoor-brickworks.co.uk
Bulmer Brick & Tile Co Ltd
Brickfields, Bulmer, Sudbury,
Suffolk CO10 7EF
T 01787 269232
F 01787 269040
E bbt@bulmerbrickandtile.co.uk
Caradale Traditional Brick Ltd
Etna Works, Lower Bathville,
Armadale, West Lothian
EH48 2LZ
T 01501 730671
F 01501 732991
E Carolyn@caradle.co.uk
W www.caradale.co.uk
Carlton Brick
Grimethorpe, Near Barnsley,
South Yorkshire S72 7BG
T 01226 711521
F 01226 780417
E sales@carltonbrick.co.uk
W www.carltonbrick.co.uk
Charnwood Forest Brick Ltd H G Matthews Phoenix Brick Company Ltd
Old Station Close, The Brickworks, Bellingdon, The Brickworks, Campbell Drive, Barrow
Shepshed, Near Loughborough, Chesham, Bucks HP5 2UR Hill, Chesterfield S43 2PR
Leicestershire LE12 9NJ T 01494 758212 T 01246 471576
T 01509 503203 F 01494 758077 F 01246 471683
F 01509 507566 E info@hgmatthews.com E info-phoenix@tiscali.co.uk
E sales@charnwoodforest.com W www.hgmatthews.com W www.bricksfromphoenix.co.uk
W www.michelmersh.com
Ibstock Brick Ltd Wm C Reade of Aldeburgh Ltd
Chartwell Brickworks Ibstock, Leicestershire, LE67 6HS Aldeburgh Brickworks, 70-72 High Street,
Bore Place, Chiddingstone, T 01530 261999 Aldeburgh, Suffolk IP15 5AF
Edenbridge, Kent TN8 7AR F 01530 257457 T 01728 452982
E info@chartwellbrickworks.com W www.ibstock.co.uk F 01728 454957
W www.chartwellbrickworks.com Scotland: E reception@msoakesltd.co.uk
Glasgow Tel: 0870 9034001
Coleford Brick & Tile North West: Swarland Brick Co Ltd
The Royal Forest of Dean, Parkhouse Tel: 0870 9034007 Thrunton, Whittingham, Alnwick,
Brickworks Cinderford, North East: Northumberland NE66 4SD
Gloucestershire GL14 3JJ Throckley Tel: 0870 9034004 T 01665 574229
T 01594 822160 Eastern: F 01665 574400
F 01594 826655 Leicester Tel: 0870 9034008 E chris@swarlandbrick.fsnet.co.uk
E sales@colefordbrick.co.uk West Midlands:
W www.colefordbrick.co.uk Lodge Lane Tel: 0870 9034006 Tyrone Brick Ltd
South West: 48 Coalisland Road, Dungannon,
Dunton Brothers Cattybrook Tel: 0870 9034010 Northern Ireland
Meadhams Farm Brickworks, South East: BT71 6LA
Blackwell Hall Lane, Laybrook Tel: 0870 9034012 T 02887 723421
Ley Hill, Chesham F 02887 727193
Bucks HP5 1TN Kingscourt Brick W www.tyrone-brick.com
T 01494 772111 Kingscourt, Drumsgill,
F 01494 791255 County Cavan, The York Handmade Brick Co Ltd
E sales@duntons.com Ireland Forest Lane, Alne, York YO61 1TU
W www.michelmersh.com T +353 (0)42 9667317 T 01347 838881
F +353 (0)42 9667206 F 01347 838885
Errol Brick E info@kingscourtbricks.ie E sales@yorkhandmade.co.uk
Inchoonans Road, W www.laganbrick.com W www.yorkhandmade.co.uk
Errol, Perth PH2 7RB
T 01821 642653 Michelmersh Brick & Tile Co Ltd W H Collier
F 01821 642427 Hillview Road, Church Lane, Marks Tey,
E info@errolbrick.co.uk Michelmersh, Romsey SO51 0NN Colchester, Essex CO6 1LN
W www.errolbrick.co.uk T 01794 368506 T 01206 210301
F 01794 368845 F 01206 212540
Freshfield Lane Brickworks Ltd E sales@michelmersh.co.uk E sales@whcollier.co.uk
Danehill, Haywards Heath, W www.michelmersh.com W www.whcollier.co.uk
Sussex RH17 7HH
T 01825 790350 Normanton Brick Co Ltd Wienerberger Ltd
F 01825 790779 Altofts Brickworks, Greenfield, Wienerberger House, Brooks Drive,
E sales@flb.uk.com Road, Normanton, Cheadle Royal Business Park,
W www.flb.uk.com West Yorkshire WF6 2DJ Cheadle, Cheshire SK8 3SA
T 01924 892142/01924 895863 T 0161 491 8200
Hammill Brick Ltd F 01924 223455 F 0161 491 1270
Woodnesborough , Sandwich, E office@wienerberger.co.uk
Kent CT13 OEJ Northcot Brick Limited W www.wienerberger.co.uk
T 01304 617613 Blockley, Near Moreton-in-Marsh,
F 01304 611036 Gloucestershire GL56 9LH The Brick Development
E info@hammillbrick.co.uk T 01386 700551 Association Ltd
W www.hammillbrick.co.uk F 01386 700852 Woodside House, Winkfield, Windsor,
E info@northcotbrick.co.uk Berkshire SL4 2DX
Hanson Building Products W www.northcotbrick.co.uk T 01344 885651
Stewartby, Bedford MK43 9LZ F 01344 890129
London, Butterley, Desimpel, Red Bank, Ormonde Brick Ltd E brick@brick.org.uk
Butterley Wilnecote Range: Castlecomber, County Kilkenny, W www.brick.org.uk
T 0870 609 7092 Ireland
F 01234 762040 T +353 (0)56 44 41323
E info@hansonbp.com F +353 (0)56 44 41314
W www.hansonbrick.com E ormondeb@iol.ie
W www.ormondebrick.ie