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BRICKWORK AT MAGDALENE COLLEGE CAMBRIDGE

APRIL 2020

Brickwork at Magdalene College Cambridge

At a site in Cambridge, bricklayers have recently finished placing the final bricks at the top of the ventilation chimneys of the new library at Magdalene College. This is the final act in a long journey of completing the brickwork that forms the vertical structure of the building.  Many parties were involved in the process with us, including the College, the engineers, the suppliers, the contractor and the bricklayers. The brick columns and walls support visual precast lintels which in turn support the horizontal timber structure. A grid of L shape brick columns rises continuously to roof level to support the central brick chimneys which sit on top of every group of four L shaped columns.

Magdalene College’s existing buildings display rich tapestries of brickwork. The bricks are predominantly soft with textured surfaces. Weathering and repair work that has been done over centuries has produced mottled patterns enriching their character further. The colours are mostly reds with some browns and purples. While all of the brickwork in the College was important as a reference, the Grade I Pepys Building which is the current college library, will have the most direct relationship with the new building and so was the focus of our studies. The new building will house the main college library collection while the Pepys Building will be refurbished to house and display the Pepys Collection. The elevation of the Pepys Building that faces onto the Fellows’ Garden is formed of red, brown and purple bricks. The brick colours along with large mortar joints give an overall brown appearance from a distance.

While surveying the existing brickwork we noted that the size of the mortar joints have a significant role to play in the overall apparent colour and texture of the wall surface. The mortar joints of the existing buildings are generally larger than a standard modern brick joint and the bricks are typically smaller in height than a standard brick. The existing joints are also predominantly flush with visible aggregate in the mortar. The ratio of brick to mortar has an impact on the perceived scale of the building.

Together with the engineers Smith & Wallwork and Cocksedge, the builders, we arrived at the most appropriate ratio of brick to mortar for the new building. The brick size chosen is 5mm smaller in every direction than a standard brick and the mortar joint is 5mm larger. For the height, this produces a ratio of brick to mortar of 60:15 instead of 65:10.

Another aspect which was developed with reference to the existing buildings was the brick bond. The old loadbearing brick buildings are predominantly English garden wall bond. We decided to use this for the walls and Flemish bond for the chimneys to reflect their load bearing nature. The L shaped columns of brick that rise continuously from ground to roof level repeat throughout the plan in a pattern that continues to the external walls, resulting in re-entrant corners on all external corners. A recessed joint running the full height of the building sits between the L columns on the exterior of the building and the enclosing walls in English garden wall bond. The floor slabs are expressed on the elevations by soldier courses.

We looked at many different bricks from suppliers. The first brickworks that was chosen ceased production during the procurement process and the search began again. Samples which were considered to be potentially suitable were brought to site and compared to the existing buildings, particularly the Pepys Building. Cocksedge dry laid panels of the potential bricks beside the Pepys Building. A handmade brick by ‘York Handmade’ that Cocksedge had used on a previous project had a range of colours and textures that were complimentary to the Pepys Building. It was agreed with the College, Cocksedge and Smith & Wallwork that this was the most suitable brick to take forward.

We visited the factory in Alne, York with Cocksedge to understand how the bricks are made and to review dry laid samples. It was fascinating to learn how each part of the process has an impact on the final result in terms of strength, quality, colour, texture and shape. Many carefully honed skills are required for each part of the process.

The clay source is a Triassic mudstone in the Vale of York beside the factory. A joiner makes the timber moulds for each brick type. All of the visual bricks in the new Magdalene library are special sizes or shapes, so a new mould was required for every type. The moulds for the chimneys in particular were intricate pieces of joinery. The wet clay is then thrown by hand into the moulds. This requires accuracy and endurance. The wet bricks are then stacked on trays and prepared for the kilns.

The different colours are achieved by setting the bricks in different ways in the kiln; firing at different temperatures and also in some instances by the addition of surface sand and manganese oxide. Bricks are fired in the kiln for 80 hours. When the bricks come out of the kiln, they are then sorted by hand. The method used to sort the bricks in large quantities at the York Handmade factory means the risk of an unwelcome pattern appearing on the constructed wall is limited. There are four different colours used in the new library so the bricks were mixed in York before being delivered to Cambridge.

The team at Cocksedge built sample panels with the York handmade bricks. The aim was to check that the brick was the correct choice, to establish the most suitable ratio of the four colours and also to decide on the mortar mix. The mortar chosen was a mix of lime, cement and sand with the surface brushed to reveal some aggregate. The ratio of lime, cement and sand had to be carefully balanced and controlled to achieve the required strength, colour and texture.

We were keen to not have any visible cut bricks and so the list of specials grew. We worked out the various types needed to form corners, walls and chimneys. We named each brick with a letter. In the end, we had one brick for every letter of the alphabet. It was nice to see that when the bricks arrived on site they had their name imprinted onto their surface.

Cocksedge began carefully laying the first bricks in February 2019. The bricklayers were chosen for their experience working with old existing brickwork. We carried out workshops with the bricklayers before work began to discuss the various intricate parts of the building. It was very enjoyable to see the progress each time we visited site. When each floor level was reached the precast lintels and timber beams and slabs were placed onto the bricks.

Now through the newly formed windows one can see back across the College with views of the existing brick buildings.

LOSING OURSELVES

NOVEMBER 2016

Losing Ourselves

“Losing Myself” is not only the title, but also an accurate reflection of my experience during the journey towards realising the Irish contribution to this years Venice Architecture Biennale. It was one of both discovery and despondency, through some ups and downs that offered an insight into the demands of setting up an exhibition on the world stage.

Over a period of 6 months, we delved into the subject of dementia, to help form a strong body of research to support what would eventually become a final projection as an interactive piece in the depths of the large warehouses of the old Arsenale. The intention being that the installation would attempt to convey all of our findings yet at the same time create a sense of elation through its experience. Using the practice’s first-hand knowledge of working with people affected by this condition for over a decade through a project with the Alzheimer’s Centre in Dublin, offered us the opportunity to re-imagine designing a building through engagement with users of the Orchard Centre. It was clear to us from the very beginning that any proposal called for a much deeper long-lasting message that, as the exhibition’s curator Alejandro Aravena advised, should offer other professionals in our field the ability to learn from our lessons experienced.

We chose to do this as most architects would, through our drawings, and through our understanding of designing spaces for people with dementia.

All of a sudden and without much warning, our day-to-day workings as architects in the practice shifted, forcing us to hone our unkempt skills as trained drafters, creative writers and experienced PR and marketing experts; not to mention mediators, micro-managers and tough administrators. To say the process was challenging would be an understatement, yet fulfilling nonetheless.

The first sight into the magnitude of the task at hand was made clear once a score was established, setting out – like a script to a film – the sequence of drawings that would help to describe the day in the life of the inhabitants of the Orchard centre. This formed – layer after layer – a choreographed piece to be projected onto the smooth concrete floor, made up of a drawing count well into their hundreds. With this unexpected realisation we worked intensely to devise a new plan. One that involved a collaborative effort, and considerable favours from our peers and our friends who ultimately brought new ideas and a fresh take on such a complex and fascinating subject.

With renewed enthusiasm and a newly formed 16-strong team of drafters we ensued in a fortnight of drawing, line after line, all in a continuous motion of ink on the trace. The small studio next door to our office transformed into a workshop, filled with references and images of the Orchard Centre in Dublin to help inspire, with each of us in teams of four sat at specially designed drafting stations that recorded every move.

In the wake of this tremendous task, and whilst the pieces of the giant drawing puzzle were assembled, we worked through the strict limitations of the conditions set by the site to design the plainest solution to help hold our projectors carefully in place on elegant brass legs; known to us as the “Quadpods”. These creature-like contraptions, designed as simply as possible with the most delicate of touches to the ground, in order to impede on the ultimate purpose; to project the constructed image of the occupied Alzheimer’s Centre and in it’s daily life through inhabitation.

Following months of critical review, energised discussions and our inherent need to agonise over every detail we packed up the van and began our last stretch of the journey with the install in Venice. The logistics of fabricating and transporting our kit of parts to the old docks of the Artiglieri executed like a military operation thanks to the efficiency of our technical and construction team, Art AV. Tightly packed in large wooden crates the slender legs looked like swords prepared for a Royal Guards’ procession. Day after day we worked into the night with each and every task bringing the piece closer to life. All around us things starting to happen, with everyone working towards the final crescendo; the Biennale’s grand and highly anticipated opening.

Whilst we all had different ideas of how the research would ultimately embody itself as an installation, it was never clear how and if the message would successfully be conveyed to its wider audience. What can be said is that the most enjoyable response from the piece was the look of bewilderment coupled with wonder that fill the faces of visitors in the space. At that moment, a sudden comprehension came to life. Onlookers were invited into the daily rituals of the characters in a building that through circumstances of the mind experience the world with difficulty. It was a message we wanted to paint; that our ability to construct the built world around us in our mind, slowly becomes more challenged in the process of developing Alzheimer’s. Architects and designers have opportunities to address this issue front on, which is even more critical given that we are all likely to live longer.

A culmination of a body of research has emerged that we hope will help architects, practitioners and individuals dealing with dementia alike, to learn ways in which we can address this prominent condition that affects the way humans navigate and orientate themselves in space.