I N T E R N AT I O N A L M AG A Z I N E F O R B R I C K A RC H I T EC T U R E

IN THIS ISSUE:
Combining old & new architecture
Gaining more space with extensions
Upgrading buildings with bricks

#25
03  2018
www.architectum.com
2 EDITORIAL
XXX

CHRISTOF DOMENIG
CEO Clay Building Materials Europe

30
EXISTING BUILDING STOCK: PERFECT FOR
08
UPGRADE, REDESIGN AND OPTIMISATION
Building plots ripe for development are highly sought-after, yet – especially in cities – also
scarce and sometimes prohibitively expensive. The dream of living in a central location of-
ten calls for a special solution – whether it be a new construction in a narrow gap between
existing buildings, building on a former industrial site or change of use, or even extend-
ing existing buildings upwards or out, or replacing them entirely. With intelligent designs,
high-quality clay building materials, and special solutions, even these seemingly unpromis-
ing sites and old structures can be enhanced and used sustainably.
Old brick buildings have a distinctive charm – and provide a solid foundation for an upgrade
in terms of space or function. The qualities of traditional brick buildings can be combined
with the advantages of modern architecture to excellent effect. Whether the approach is
one of sympathetic modernisation or vigorous intervention, extension, expansion, improving
energy efficiency or change of use: with contemporary architecture, adapting an existing
building can become much more than a mere compromise. Blending old and new buildings
can result in a special aesthetic composition, or intentionally create strong contrasts to 18
achieve an outstanding effect.
The projects featured in this issue serve to demonstrate how careful planning and high-qual-
ity clay building materials can combine to create more space, greater quality of living, and
modern energy standards in existing buildings.

Christof Domenig

14

IMPRINT
EDITOR Wienerberger AG, 1100 Wien PUBLISHING HOUSE Starmühler Agentur & Verlag GmbH, 1010 Wien, www.starmuehler.at
CHIEF EDITORSHIP Andrea Blama (Wienerberger AG) GRAPHICS & DESIGN Starmühler Agentur & Verlag GmbH, Artdirector:
Thomas Tuzar, www.starmuehler.at PRINTING sandler print & packaging, Druckereiweg 1, 3671 Marbach an der Donau
PRODUCTION sandler print & packaging PHOTO COVER Design Storey
PHOTO REAR SIDE Sileghem & Partners
WIENERBERGER AG CLAY BUILDING MATERIALS EUROPE, A-1100 Wien, Wienerberg City,
Wienerbergstraße 11, T +43 (1) 601 92-10551, marketing@wienerberger.com,
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www.architectum.com

03|2018
 CONTENTS
XXX 3

04

24

EXTENSION
18 RECREATION OF ANCIENT FACADES
France

22 CONSERVATORY AS EXTENSION
OF TOWN HOUSE
Belgium

24 CONTEMPORARY EXTENSION
FOR 1950S BUILDING
United Kingdom

STANDARDS
04 NEWS
TRADITIONAL
26 NEW LIFE FOR AN OLD
05 RUSSELL JONES – Interview MILITARY HOSPITAL
Belgium

UPGRADING 28 BREATHING NEW LIFE INTO A

FORMER STOCK EXCHANGE
08 HORIZONTAL BRICK LINES Netherlands
FOR EXTENSION
16 30 BEAUTIFUL CRAFTSMANSHIP
Netherlands
FOR A STUD FARM
12 A STUNNING REGENERATION PROJECT France
United Kingdom
32 SUCCESSFUL BLEND OF
14 SHIMMERING BRICK FOR AN NEO-CLASSICISM AND
URBAN-INFILL PROJECT CONTEMPORARY DESIGN
France Switzerland

16 TRANSFORMING A WORKSHOP INTO 34 HANDMADE CLAY TILES FOR

AN ARCHITECTURE STUDIO PRESTIGIOUS ROOF RENOVATION
Belgium United Kingdom

03|2018
4 NEWS

Preserving a rich heritage and embracing

innovation – all in one product.

SMEED DEAN FACING BRICKS

The Smeed Dean range of facing bricks offers great flexibility to ac-
commodate all kinds of design requirements and aesthetic prefer-
ences. In shades ranging from plain yellows, to the traditional Lon-
don brick with its trademark black spotting, and highly-weathered
bricks that blend in easily with older buildings, Smeed Dean bricks
deliver a special touch. Their unique aesthetics make them ideal for
a wide range of projects, from new build housing and commercial
projects to renovation work. Available in three sizes and nine colours.
www.wienerberger.co.uk

KEYMER TRADITIONAL
HAND-MADE TILES
Keymer is one of the oldest established roof-
ing brands in the UK, crafting handmade tiles
and fittings since 1588. The use of local clay
produces unique, warm colours and textures,
and provides renowned durability. Every tile
weathers naturally to look better and improve
with every passing year. Delivery is available
throughout the British Isles, and Keymer tiles
are used on roofs from cottages to castles, and
supermarkets to town centres; we also export
to Europe, America and now even Russia and
Japan. Available in four ranges, with additional
fittings, finishes and ornamental options.
www.keymer.co.uk

Designed to make your

project look outstanding.

BRICK SLIPS: COMBINING AESTHETICS

AND ENERGY EFFICIENCY
Brick slips are the ideal solution for maximising usable space during façade reno-
vations. When lack of space prevents the use of a traditional brick, these brick slips
– only around 22 mm wide – are a very practical solution. Thanks to their slim profile,
brick slips also allow for numerous insulation solutions of varying thickness, yielding
lots of possibilities for energy savings. Our brick slips are also easy to use; all you need
to do is glue them in place on the façade surface. Once they are in place, they are
almost indistinguishable from traditional, thicker clay bricks. Available in many different
shades, offering the same qualities, aesthetics, and properties as clay bricks.
www.wienerberger.be
Ideal for façade renovations: saving space and energy

03|2018
 INTERVIEW 5

14A Garway Road, London W2 was reputedly the last un­

developed bomb site in the Bayswater and Notting Hill area.
It was created by an incendiary bomb during the 1940 Blitz
and remained untouched until June 2003.

URBAN SPACE
& HOUSING
Russell Jones established a studio in
London in 1993 that is renowned for
finely crafted Architecture and Design.
In this interview, he talks about how fine
contemporary architecture can coexist
with traditional building stock, making
best use of urban space and how
urban-infill projects can upgrade a
whole area or street.

I
n London, where your office is located, as in
all European cities, urban space is quite lim-
ited; how can we make best use of the rare
remaining space?
Ideally, making use of increasingly rare space would be
easy. However, in London the process from start to fin-
ish can be quite cumbersome. The problem is not so
much lack of imagination on the part of a good archi-
tect, but more a problem of the limits of local planning
policy, individual planners’ ability, and the planning
system in the location in which one is working.

With regard to the problem of densification in

urban areas, how can we re-use or upcycle ex-
isting buildings?
Although we do, from time to time, adapt and re-use
existing buildings in our projects, our main focus at
present is on spending time looking for remnant land
and backland sites, which can be used imaginatively
and appropriately for new housing. In some cases,
we instigate these projects ourselves and approach
developers; in other cases, forward-looking develop-
ers come to us to consolidate such sites.
Although it is possible to imagine successful results
on these kinds of site, in some cases, local planners
still do not support such development and, sadly, the
land remains derelict. The situation is slowly improv-
ing in London. However, the UK is some way be-
hind more progressive-thinking European Countries,
where considered, carefully-designed, and responsi-
ble development is – and always has been – a part of
the ongoing evolution of the urban fabric. <

03|2018
6 INTERVIEW

Jones established a studio in London in

1993 that is renowned for finely crafted
Architecture and Design. Together with
a small, dedicated team, the studio has
completed projects throughout the world.

< Is it quite common, or more of an exception,

for individuals to engage architects? Aren’t
most projects commissioned by developers?
The answer is generally specific to context. I will re-
spond to this question relative to London, where we
quite often work. Here you find a variety of approach-
es. On larger projects, a developer may employ one
architect or urban designer to produce the master
plan, and then a series of architects may be invited to
create individual schemes to consolidate a neighbour- enhance the location. We normally work with those
hood. This is a common approach. In some situations, who are more inclined to complete neighbourhoods
private developers work with local authorities, and carefully and by increments. The influence such de-
comprehensive design teams are appointed through velopers have can be significant in this context. If
competition or tender. We are generally involved with the work is of good quality, it lifts the neighbourhood
smaller-scale projects – projects on infill or backland and local community. In some locations where we
sites, many of which some developers would not con- have worked, other developers tap into this new en-
sider viable. In such instances, we are encouraged to thusiasm by rejuvenating and upgrading surround-
create something special, and not generic. ing building stock.
Russell Jones

What are the challenges and considerations
when working on an urban infill project?
One challenge is to convince the authorities to sup-
port such a development. Part of the process is
to prove to them that the work contributes to the
long-term improvement of the landscape in which
we are working. We also have to convince clients
to think of the long term, encouraging them to build
well, as many developers in London simply default
to building as cheaply as possible, without pride in
one’s achievement. Weathering, maintenance, and
longevity are not priorities in the UK’s urban land-
scape. This is one of the primary reasons we build
with brick in the UK. If used well, simply-construct-
ed brick architecture weathers well and requires
little maintenance.Some small-scale developers do
understand that they have to be responsible to the
urban context and only achieve what they can to
How can architecture upgrade a whole area/
street?
Our interest is in fitting in and belonging, enhancing
our clients’ lives. When one of our projects com-
pletes a terrace, or kick-starts the consolidation of
a tired backland site, this can stimulate the neigh-
bourhood in which we are working. Our small brick
mews house has contributed to the upgrading of the
neighbourhood it sits in. We have seen this on sever-
al of our infill projects: if the quality of the completed
project is beyond ordinary, both in terms of design
and craftsmanship, this apparent improvement in a
specific location can gradually lead to an overall im-
provement in an area.
How does the choice of material influence the
process?
With a material like brick, which has been used for

03|2018

thousands of years, it’s wonderful that it is constantly
re-considered, in every culture and every period, in
different ways. Whether brick is being used in Am-
sterdam, in Copenhagen, or in London, the way local
builders use the material ends up having an impact
on the nature of the finished building.
© Photos: Rory Gardiner, Russell Jones
You could easily construct a building out of
brick that looks quite contemporary.
Yes, brick is versatile. It’s a traditional and contem-
porary material and, if handled well, can produce
special architecture that eschews transient stylistic
tendencies.
INTERVIEW 7
This 2 storey brick house faces
onto a quiet cobbled mews. Its
90 m2 site, on land to the rear
of a listed building, was formerly
occupied by a disused garage
and derelict garden.
»If used well, Are there other reasons, apart from this optic
simply-constructed versatility, for choosing to work with brick?
There are the material qualities of brick: It has an
brick architecture
inherent natural richness, a grain and texture, and
weathers well superior weathering characteristics to many contem-
and requires little porary building materials, which fade, buckle, and
maintenance.«
don’t have a natural sense of gravity. Moreover, we
Russell Jones enjoy using materials that are familiar to a location, in
terms of colour, texture, and weathering characteris-
tics. We like to build with a material that will weather
beautifully and last. With brick, we appreciate that it
will also influence the building methods and details
that combine to create its essential character. >
03|2018
8 UPGRADING

HORIZONTAL BRICK
LINES FOR EXTENSION
The Singer building is the cultural heart of the village of Laren, the
Netherlands. Singer began life as a museum villa with a sculpture
garden, and is also a performing arts venue. The recent expansion
includes a state-of-the-art theatre and large public foyer. The new
clay brick façade reflects the local environment: specially shaped
bricks have been used to achieve the desired horizontal effect.

T
he newly-built foyer creates a connection be- FACTS & FIGURES
tween the two existing buildings, namely the
Project name
sculpture garden and the new theatre. Archi- Singer Laren Museum, Laren,
tectural firm krft teamed up with Sanne Oomen of Netherlands
Oomen Ontwerp to create the design for the new Architect
building. Oscar Vos, architect and partner at krft krft architects, Sanne Oomen of
says, “This was the first time we’ve been asked to Oomen Ontwerp
design a theatre. So, we started with extensive re- Products used
search, and spent days with the employees at Sing- Custom-made façade bricks
er. The design evolved from this process”. Year of completion
2017
LIGHT GREY BRICKS LEAD THE WAY An extra-long brick
in a light grey shade was chosen for the façade of the
new foyer. Vos says, “We chose this special colour to
give the plinth a light and accessible character. The
long bricks have been laid in random patterns with
a light mortar: this creates a monochrome surface,
which leads to the entrance”. The entrance gives vis-
itors an immediate glimpse into the sculpture garden
beyond the foyer.
The theatre rises above the plinth. “We wanted to
position it modestly, because the shape is actually
too big for the village. The volumes and colours of
the surrounding buildings, including a lot of roofs
with flat, clay tiles, were carefully examined. This
gave rise to the idea of using a sloping brick – a spe-
cially formed brick with a sharp edge, which gives
you a beautiful horizontal shadow effect when the Light grey bricks were chosen to give the
sun shines at a certain angle”. < museum a light and accessible feel.

03|2018
 © Photos: Christian van der Kooy

03|2018
UPGRADING 9
10 UPGRADING

The extension offers more

space and a new foyer.

03|2018
 UPGRADING 11

< CUSTOM-MADE PRODUCTS Vos describes the devel-

opment of this sloping brick as exciting: “We devel-
oped the shape in partnership with Wienerberger. A
similar mould already existed, and we modified it to
suit our ideas. We also designed new moulds for the
cornerstones – a fascinating process!” The sloping
bricks are fired in a mix of colours. “Like patchwork,
literally composed of colours from buildings in the
surrounding area. And a perfect match for the villa,
of course”, says Vos. The sharp horizontal lines en-
sure that the building merges with the landscape.
“The light on the façade is particularly beautiful in
the morning and in the evening”, says the satisfied
architect. >

03|2018
12 UPGRADING

The client was looking for something

highly energy efficient that would look
great in its idyllic location – making
brick the perfect choice.

The architects turned what was once a bit of an eyesore into something
that will leave a lasting impression on whoever sees it.

03|2018

A STUNNING REGENERATION PROJECT
Based in the Park Estate near Nottingham Castle, Nottingham, UK, Mews House on Ogle Drive is locat-
ed in an idyllic spot. At the bottom of the castle hill, it is surrounded by large detached villas and mews
houses. The original shell was in poor condition and was replaced with a clay brick façade, which is both
visually appealing and fits in with the aesthetics of the historic area.
T
he owner was keen to transform the site into
something truly special, and has certainly
succeeded – the project was featured on the
© Photos: Chiles Evans + Care Architects
Channel 4 television show Ugly House to Lovely
House as an example of how to update a once un-
sightly building. The structure was in desperate need
of renovation to its external façade. The original shell
of the 1980s construction was in poor condition and
built from inappropriate materials that clashed with
the aesthetics and Victorian heritage of the area.
UPGRADING 13
FACTS & FIGURES UPGRADING WITH BRICK The challenge faced by Chil-
es Evans + Care Architects was to create a more
Project name
Ogle Drive, Nottingham, UK pleasing aesthetic by upgrading the existing fabrics,
whilst also improving the building’s energy efficiency
Architect
Chiles Evans + Care Architects and complementing the local vernacular. This small
but challenging project was successfully achieved
Products used
Terca Marziale within budget.
Year of completion
2017 CONTEMPORARY BRICK WALL The architects chose
clay bricks to replace the original external skin with
a crafted brick wall, which incorporates a pattern to
create a new decorative façade. The brick of choice
offers a classic look enriched by aesthetic variation
in colour and texture. The product’s striking appear-
ance leaves a lasting impression – allowing the build-
ing to stand out, yet simultaneously blend in with its
surroundings thanks to its neutral tones.
NEW ENERGY STANDARD The renewal of the front
façade was driven by both aesthetic perception and
energy performance. Once the external brick was
removed, the poor state of the original construc-
tion was revealed in full. The building had no insu-
lation, and the internal skin of thermalite blocks was
cracked. It became clear that whatever material were
to be used, it would need to be durable and have
naturally energy efficient properties; clay offers both,
and has a long life span, which means that it will re-
tain these properties and continue to perform well
for several generations. Naturally, clay seemed to be
the best product to choose in combination with its
outstanding look – it was the right choice. >
03|2018
14 UPGRADING
XXX

SHIMMERING BRICK
FOR AN URBAN-
INFILL PROJECT
The 50 m-tall Allure development, in the famous
Batignolles district of Paris’ 17th arrondissement, France,
evokes a sense of lightness and finesse. The residential
project was built in amongst dense, existing architecture.
A façade panel system with integrated clay bricks boosts
the building’s sense of radiance, helping it to stand out
from the surrounding urban architecture.

B
efore the project even started, there was dia- FACTS & FIGURES
logue between the stakeholders, which proved
Project name
successful. These preliminary discussions were Allure, Paris, France
held to envisage how the new development could
Architect
look. FRESH Architectures and ITAR architectures FRESH Architectures and Itar
came up with the overall idea of Allure, a multi-fac- architectures
eted architectural composition. The development is Client
defined by the neighbouring buildings: a 15-storey Fernandes
tower, a seven-storey building, and town houses. Products used
“It’s a triangular site, and the idea for the buildings Kess terracotta panels from
stems from a giant origami sculpture, designed to the Terca range, in the shades
Elmore, Nero Zwart and Forum
open up views of the housing from every angle”, says Cromo
Julien Rousseau from FRESH Architectures.
Year of completion
2017
FINDING THE PERFECT SHADE FOR THE MID-HEIGHT
BUILDING Given the light colours of the concrete used
for the 15-storey tower, and the metallic and black
shades of the neighbouring buildings, the architects
opted to clad the mid-height building in insulating
clay bricks. A façade system with brick cladded
A façade panel system with clay
panels was used for its good insulating qualities and
bricks was chosen because it
because it is quick and easy to install. The panels combines insulating properties
consist of clay facing bricks on polyurethane foam with an aesthetic appearance.

03|2018
 UPGRADING
XXX 15

A combination of three shades

of clay brick was used to imitate
traditional Parisian brick.

insulation, which can be attached to the supporting

structure in a single operation using mechanical wall
fixings and dowel pins.

NATURAL AGEING OF THE MATERIALS To ensure the per-

fect combination of colours was used, a prototype
was installed on site to judge lighting, the shimmer-
ing effect and its appearance from a variety of dis-
tances. In the end three shades were chosen. The
panels create the impression of traditional brick, and
Julien Rousseau appreciates that “as with old bricks,
the patina will develop slowly. Over time, the grouting
becomes more emphasised and allows the building
to age naturally.”

CHOOSING THE RIGHT MORTAR The colour of the mor-

tar was also important, because it has a considera-
ble impact on how the colours of the facing bricks
are perceived and, therefore, on the success of the
© Photos: Géraldine Bruneel

colour combination. The light colour has a reflective

quality, appearing whiter in the sunshine. So, from
close-up, the view passers-by have is of a façade
broken up by joints, imitating Parisian brick. As they
move further away, the design resembles a textile
weave, and then creates a slight shimmering effect
from all angles of the building. >

03|2018
16 UPGRADING

TRANSFORMING A B
y setting up their offices in a former carpen-
try workshop in Zwevegem, Sileghem & Part-
ners, an architectural and engineering firm,

WORKSHOP INTO consciously chose to sustainably repurpose existing

heritage. The attention of the architects had been
caught by a small, abandoned, industrial building.

AN ARCHITECTURE They decided to save the outer brick shell and its
structure, whilst converting the whole into an ener-
gy-efficient office building. Top of their wish list was

STUDIO combining an open-plan feel (for the work space)

with the scale of a small, secluded, grassy area.

A MODERN CLAY TILE ROOF The deserted carpentry

A deserted former carpentry workshop in Zwevegem,
Belgium, has been converted into an energy-efficient
office building. The existing brick walls were finished with
a new glued brick volume with glazed clay roof tiles.
shop had been extended over the years, and then left
to gather dust and scars. The architectural firm did
not consider this a reason to tear it down. Instead,
they opted for careful renovation. The unnecessary
additions were demolished, and the damaged roofs
were replaced with a well-insulated flat roof, cladded
with clay roof tiles, that rests on the existing, steel

03|2018
 UPGRADING 17

Unnecessary extensions were demolished but

the useful brick walls were preserved. The new
office is a new and fresh interpretation of a
workspace and revitalises the whole street.

structure. The new walls are built in the same red- FACTS & FIGURES
brown colour palette of clay bricks. Without scream-
Project name
ing, the new building modestly attracts attention. Office building Slieghem &
Partners, Zwevegem, Belgium
ENERGY UPGRADE Well-planned layouts, substantial in- Architect
sulation, and careful attention to detail resulted in a Slieghem & Partners
K-value (thermal losses through the building shell) of Products used
27 and an airtightness rating of 0.7/h (n50). Underfloor Terca Egala Elise and Koramic
heating is powered by a condensing gas furnace. The Plain Tile 301 Wine Red glazed

net energy requirement is 112 kWh/m². Adding solar Year of completion

panels will bring the E-value down to 22. 2017

A PLACE TO FEEL GOOD AT WORK Even more impressive

than the energy efficiency statistics are the quality
of the workspaces and the way in which they were
© Photos: Sileghem & Partners

conceptualised, reworked, refined and built by the

architects. The spaces for intensive or group work
had to be precisely linked up, with special attention
to acoustic comfort and a sense of openness, where
possible, and privacy, where needed. >

03|2018
18 EXTENSION

The hand-moulded bricks are a

splendid material, durable and
requiring no maintenance.

© Photos: Grégory Tachet

03|2018
 EXTENSION 19

RECREATION OF
ANCIENT FACADES
The architect behind a contemporary extension to the preschool in
Ensisheim, France, chose hand-moulded bricks for the construction.
The preschool is located near the town’s historic centre, and the me-
diaeval buildings were the inspiration behind the idea to recreate the
appearance of ancient facades in contemporary shapes and colours.

T
he brief for the project to extend this building
was to create something in keeping with the
existing building and its immediate environ-
ment – the historic town centre of Ensisheim. The
tender was won by architectural agency FFW in Mul-
house. This small town in the Alsace potash basin is FACTS & FIGURES
still home to some beautiful 16th century residences, Project name
such as its Regency Palace, and the town ramparts Preschool Extension, Ensisheim,
date back to the 13th century. Not only was the pro- France
ject constrained by the need to respect this archi- Architect
tecture and a tight budget, it also had to be easy to FFW - Johann Froeliger

maintain due to its proximity to the preschool sports Client

grounds. The children throw a lot of balls around dur- SCHWOB in TRAUBACH le BAS
(Haut-Rhin)
ing their play and hit the façade regularly.
Products used
Hand-moulded Terca bricks in
FIRST CHOICE: HAND-MOULDED BRICK For Johann Agora Titan Grey and Agora
Froeliger there was never any question of using any- Silver Grey
thing but hand-moulded brick, because it “is a splen- Year of completion
did material, which also conforms to the stand- < 2017

03|2018
20 EXTENSION

A development that is in keeping with the town

architecture, delivered on a limited budget.

03|2018

»There was never any question of using
anything but hand-moulded brick, because
it’s a splendid material, which also conforms
to the standards of the French architectural
review board.«
Johann Froeliger, Architect
< ards of the French architectural review board, is
durable and requires no maintenance”. He chose
hand-moulded bricks in two shades, Agora Titan
Grey and Agora Silver Grey.
The architect likes “the natural and irregular look of
this brick”, which allows the creation of specific de-
signs on gable façades. The town’s mediaeval build-
ings were the inspiration behind the idea to recreate
the appearance of ancient façades in contemporary
shapes and colours. Moreover, the very specific pat-
tern used has enlivened the straight, sleek lines of
the extension. As the architect says, “you get differ-
ent shadow effects depending on the position of the
EXTENSION 21
sun”, which are accentuated by the two alternating
colours of brick. Light and shadow combine in dif-
ferent ways depending on the time of day, like tiny
sundials on the façade.
TRUST IN THE CONTRACTOR The architect defined a per-
centage of grey to be used per square metre, and
then left the contractor to lay alternating light and dark
bricks in a random pattern. The project represents a
traditional structure, in a natural material, with a con-
temporary twist. Now, the children can throw around
as many balls as they like – the brick façade of the
preschool building can handle them all! >
03|2018
22 EXTENSION

CONSERVATORY
AS EXTENSION OF
TOWN HOUSE
A town house in Ledeberg, Belgium, constructed on an unappealing plot, is home to
a young family. The conservatory serves as an acoustic and thermal buffer – the clay
facing bricks used in its construction support both qualities.

A
FACTS & FIGURES corner plot at a hectic crossing near a main from the outside, and the fresh air requires much less
road seems anything but an attractive site for heating to reach room temperature. With this spe-
Project name
Corner house, Ledeberg, Belgium
a young family’s first home. However, thanks cial ventilation system, and thanks to the orientation
to an affordable purchase price and simple, creative of the house, which benefits from natural light, the
Architect
STUDIOLO architectuur and solutions, STUDIOLO architectuur and Koen Matthys architects created an ideal solution for this difficult
Koen Matthys have created an undeniably intimate and comfortable building plot. >
Products used home in this busy environment. From the beginning
Terca Milosa Hoornbloem of the design phase, the conservatory was a crucial
Year of completion element in solving the plot’s many problems and
2015 adding value to the house.

AN EXTENSION AS SOLUTION The standard construc-

tion of the building was modified on the side where it
adjoins a public square by separating the outer wall
from the inner wall, creating an acoustic buffer be-
tween the home and the outside world. Thanks to its
orientation, this open area serves as both a thermal
buffer and a sun room in the colder seasons. The
outer wall also forms a visual screen, limiting the view
in from the street but, thanks to strategically placed
large windows, maintaining outward views. Internal-
ly, “indoor terraces” connect the living areas to the
extension at several levels. A brickwork wall embrac-
es the residential volume and the conservatory. The
facing bricks support the massive aspect of the large
façade, whilst also enlivening it with colour variation
in shades of grey and brown.

GOOD INDOOR CLIMATE The building uses a ventilation

system which draws fresh air in from the conserva-
tory. Consequently, no cold air is pulled in directly

03|2018
 EXTENSION 23

Optimal use of light and

space, combined with
brick building materials,
was key to achieving
building quality.
© Photos: Stijn Bollaert

03|2018
24 EXTENSION

Grevel Lane was a great collaboration between

the factory, the architects, and the Wienerberger
Heritage Services team to create and support a
unique project.

03|2018
 EXTENSION 25

CONTEMPORARY
EXTENSION FOR
1950s BUILDING
A modern extension formed part of the renovation of this tradition-
al Cotswolds building in Gloucestershire, UK. The addition had to
complement the existing architecture, adapting the vertical façade
tiles used on the wall and roof. Handmade roof tiles were created
especially for the project, in consultation with the architects.

L
FACTS & FIGURES awrence Grigg and Lydia Robinson from Design
Storey, an architecture and development com-
Project name
Grevel Lane, Gloucestershire, UK
pany, faced several practical and aesthetic chal-
lenges during the project. Not only did the renovation
Architect
Design Storey of the house need to create a usable space and add
bespoke features, it also needed to complement the
Products used
Custom-made roof tiles existing architecture whilst adapting the vertical tiles
for use on the façade and roof. This was particular-
Date of completion
2017 ly challenging, because every external surface was
clad in tiles, from the roof to the walls. Furthermore,
it was vital that the colour of the new roof comple-
mented the palette of the existing Cotswold stone
walls. It was decided to opt for custom- made roof
tiles, to ensure that the colour, format, and appear-
ance all met these exacting requirements.

EXCELLENT COOPERATION Lydia Robinson, the project

architect says, “Our brief was a challenging one,
as every external surface was clad in tile, from the
roof to the walls. However, we were keen to create
a monolithic and contemporary interpretation of the
Cotswold vernacular – and Wienerberger’s Herit-
age Services Team helped us do it. From the visit
to the factory to see our tiles being made, through
to working through the design details with the tech-
nical team, we were all committed to achieving a
high-quality result. Each tile is like a piece of art in its
© Photos: Design Storey

Every roof tile was handmade.
Materials and techniques were
adapted to fit the distinctive look
and feel associated with the
period of original construction
and the local surroundings.
own right – in fact, we love them so much that we’ve
displayed them on a shelf in the house!” This house
is now a beautifully renovated property with a con-
temporary tile-clad pavilion extension, and has been
featured on the British TV Show Best Laid Plans. >

03|2018
26 TRADITIONAL

NEW LIFE FOR AN OLD

MILITARY HOSPITAL
The Milho in Oostende, Belgium, is a former military hospital that
was redeveloped to create a new city quarter, specially designed for
young families. The hospital’s traditional brick buildings were retained,
preserving its charm. New structural elements were carefully integrat-
ed into the concept; clay bricks and roof tiles were used to create a
connection between the old and new spaces.

T
he hospital had a long history leading up to its
redevelopment. It was opened in 1913, but
was closed shortly after the German military in-
vasion of Belgium in 1914. In 1918 the complex was
severely damaged by a bomb. During the Second
World War, it was used as a storage facility before
once again serving its original purpose of a hospital.
It was closed in 1993 and, ten years later, officials
decided to redevelop the site and create a whole
new city quarter with 220 housing units.
PLENTY OF LIVING SPACE Today, 140 houses, 20 lofts,
and 60 apartments provide plenty of living space in
an environment with a special feel and in an ideal lo-
cation. Oostende is one of the most beautiful coastal
cities in Belgium and not only is the development near
the coast, it is also close to a nature resort. A new
cycle path along the coast passes directly through
it remain secluded and quiet. The former chapel has The historic buildings are at the
now been repurposed as an event venue for the local centre of the development; new
houses were only built around the
community, with a new, ornamental staircase, added edges of the plot in order to leave
by a local artist, to draw attention to its new purpose. the traditional aesthetic untouched.
BRICK COMBINES OLD & NEW The architects from Groep
III carried out the renovation of the existing buildings
according to an overall plan. The structure of the tra-
ditional building was upgraded and enhanced, and
remains clearly distinguishable from the new build,
but ties closely with it visually. This connection was
achieved by using construction materials common to
both the old and new buildings: clay bricks and clay FACTS & FIGURES
roof tiles. The use of brick and roof tiles was primarily
prompted by aesthetic considerations: they form an Project name
Milho, Oostende, Belgium
attractive whole. However, the architects had an in-
depth discussion with the Belgium Building Heritage Architect
Groep III
Agency before deciding on the specific colour and tex-
© Photos: Architectengroep III

the former military hospital. The historic buildings are ture of the facing bricks. The same degree of precision Products used
Terca Roedelands, Rijnvorm
at the centre of the development; new houses were was also applied to the restoration of the old bricks. and Koramic Flemish Tile 401
only built around the edges of the plot in order to The redevelopment is certainly a success – lots of Natrual Red
leave the traditional aesthetic untouched. The site is space to feel-good for families in a high-quality brick Year of completion
therefore partly surrounded by a brick wall, helping structure. > 2014

03|2018
03|2018
28 TRADITIONAL

BREATHING NEW
LIFE INTO A FORMER
STOCK EXCHANGE
The Beurs van Berlage (former stock exchange building)
in the heart of Amsterdam, in the Netherlands, is an archi-
tectural work of art, built from beautiful brick masonry. The
interior walls, constructed from glazed brickwork in a vari-
ety of colours, also reflect the history of the building, from
its original design by builder Berlage through the changes it
has undergone over the course of a hundred years.

A
msterdam Conference Centre Beurs van Ber- FACTS & FIGURES and ceilings were added. We’re reconstructing the
lage was built in 1903, and opened by the original design. Our priority is to make Berlage shine
Project name
then Dutch Queen Wilhelmina as the Dutch Beurs van Berlage,
again. Having done that, we’ll look at how we can
stock exchange and trading centre. It has a long his- Amsterdam, Netherlands introduce contemporary wishes and requirements”,
tory of trade, craftsmanship, and mercantilism. More Architect says the architect.
recently, it was redeveloped and converted into a Bierman Henket architects
first-class conference centre. Products used GLAZED BRICK DRAWS ATTENTION The blue, green,
Custom-made glazed black and yellow glazed bricks draw attention to the
RESPECT FOR THE PAST Janneke Bierman, architect façade bricks Beurs. But there are also entire walls in ivory white
© Photos: Wienerberger Netherlands

and director at Bierman Henket, talks about the
Beurs van Berlage with respect and compassion. In
recent years, she has supervised a number of dras-
tic renovations to the building. “We currently like it,
the colours and the glaze. But, twenty years ago,
everything had to be white, arches were bricked up,
Year of completion and warm brown. “For the restoration details, you’re
2017 looking for bricks that come closest to the original
colour, glaze, and texture”, says Bierman. During the
design process, there was close cooperation with
Wienerberger, to achieve the best colour nuances for
the glazed bricks. The development team found what

03|2018
 TRADITIONAL 29

»We’re reconstructing
the original design.
Our priority is to make
Berlage shine again.«
Janneke Bierman, architect and
director at Bierman Henket

The priority of the archi-

tects was to make the
Berlage shine again –
they definitely succeed-
they were looking for, choosing from a wide range of ed.The glazed bricks
colour samples and new glaze compositions. were custom-made to
fit the traditional design
schemes.
COMBINING OLD AND NEW At the Beurs van Berlage it
was possible to create a mixture for certain locations
using existing stones from a demolished wall. “That’s
the best thing”, says Bierman. “If you can blend the
old and the new together. It’s difficult with new open-
ings in the wall. Special bricks are needed there. So
they’re all new and made in exactly the right colours”.
The new doors and reconstructed elements are ex-
act-as-possible replicas. “If you know, you can see
differences, for example in the width of the joints”,
explains Bierman. “For most visitors, it looks like it’s
always been that way. That’s what gives us joy”. >

03|2018
30 TRADITIONAL

The new built stables include 14 stalls

for competition horses.
An authentic character is provided by a
mixture of traditional clay roof tiles in two
colours – dark amber and dark red.

FACTS & FIGURES

Project name
Haras Les Adélis,
Cambremer, France
Architect
Catherine Couverture
roofing company
Products used
Aléonard dark amber
and dark red
Year of completion
2017

03|2018

BEAUTIFUL CRAFTSMANSHIP
FOR A STUD FARM
The Haras Les Adélis stud farm in Normandy, France, specialises in breeding
race horses. The newly constructed stables provide 14 stalls for competition
horses, and had to be both comfortable and in keeping with the traditional,
local architecture of the old manor house.
B
efore Haras Les Adélis was transformed into a
prime stud farm, it was a hotel. Parisian lawyer
Philippe Druon has always had a passion for
thoroughbreds, and this prestigious project was the
realisation of a dream. The local region is known for
rearing racehorses and top-level show jumping hors-
es. In addition to the building work, the project also
included extensive landscaping work with the plant-
ing of 30 trees and the addition of new pastures.
HIGH-QUALITY STALLS To create more space, new
stables were built to provide 14 stalls for competi-
© Photos: Frédéric Miette
TRADITIONAL 31
tion horses. The new building had to blend in with
the other buildings on the property, including an
old manor house. The aim was to create a building
with an authentic Normandy character, typical of
the region. The Catherine Couverture roofing com-
pany succeeded in doing just that, over the course
of three months’ hard work in the depths of winter.
1700 m² of traditional clay roof tiles were incorporat-
ed into the structure.
Phillipe Druon says, “My wish was to create some-
thing beautiful and professional. The stables had to
fit in the landscape in harmony with the old building
stock.”
AUTHENTIC LOOK WITH TRADITIONAL CLAY TILES A
mixture of 80% dark amber and 20% dark red tiles
was chosen to create the desired look. The am-
ber-coloured tiles come out in nuanced shades, de-
pending on their position in the oven, which results
in greater, subtle variety of colour in the roof, lending
it an aged look. An authentic touch, even for a new
building! The final touch was provided by the client –
a chimney on the roof and finials made in a pottery.
The excellent craftsmanship has been awarded an
Aléonard trophy in the Public Choice category, rec-
ognising the aesthetic results and high professional
standards of the project.
Emmanuel Catherine says, “I believe that people who
see the building appreciate the absolute respect for
traditional architecture, which only comes with long
experience and continual commitment to profession-
al standards.” >
03|2018
32 TRADITIONAL

Old buildings often suffer from structural

shortcomings. External insulation is sometimes
ruled out for reasons of architectural preserva-
tion. Backing bricks allowed the developers to
accommodate both these considerations.

SUCCESSFUL BLEND OF
NEO-CLASSICISM AND
CONTEMPORARY DESIGN
The SIGA Guesthouse in Ruswil, Switzerland, was originally built in
1840 as the parish poorhouse and orphanage. Following a successful
renovation and extension, the building is now a hotel and training cen-
tre. The monolithic brick masonry combines architectural preservation
with modern external insulation.

T
FACTS & FIGURES he building, once home to Ruswil’s orphans
and the poor, is now used to accommodate
Project name
SIGA Guesthouse, Ruswil, guests of the Swiss company. The neo-clas-
Switzerland sical building, constructed in 1840, was extended,
Architect reconstructed externally, and finished to a very high
Scheitlin Syfrig Architekten standard internally. The guest house gives the com-
Client pany a face: durable quality with an understated ap-
Siga Services AG pearance. SIGA employees from around the world
Products used regularly attend training courses in Ruswil, and the
Porotherm T8 company’s European customers also receive training
Year of completion there. In the past, course attendees had to be split
2014 up and stay in various guest houses, but now the EXTENSION CREATES MORE SPACE In order to fit 75
new hotel can accommodate them all. guest rooms into the hotel, the building was extend-
ed on its narrow side, with a design that reflects the
EXTERNAL INSULATION AND BRICK The strong, robust strong geometric form and the rhythm of the origi-
appearance of the building, with its thick stone walls, nal building. The deep window recesses, the stone
was perfectly aligned with the requirements of SIGA walls, the large gable roof, and the materials used,
– the structural physics were not. Thick external insu- are all in keeping with the traditional appearance of
lation was ruled out because the company wanted to the building and allow visitors to feel its history. On
© Photos: Scheitlin Syfrig Architekten

retain the building’s traditional appearance. Instead,
hollow masonry bricks filled with perlite to offer built-
in insulation were chosen for the renovation. The up-
per floors of the building were removed and rebuilt
on top of the original ground floor, using the filled
monolithic bricks.
the ground floor, there are semi-public rooms such
as the reception area, event room, and the build-
ing’s restored chapel; the five upper floors house the
guest rooms and a staff room. The renovation and
extension have considerably enhanced the building
and it now meets all modern standards. >

03|2018
 TRADITIONAL 33

03|2018
34 TRADITIONAL
HANDMADE CLAY TILES FOR PRESTIGIOUS
When the 100 year-old roof of the Dokett Building – part
of the historic Queens’ College, in Cambridge, UK – was
in need of repair, handmade clay tiles were the only
solution. The project required the roof to be stripped and
recovered. Due to the prominent location of the building
on the university campus, and it being of local historical
interest, traditional handmade clay tiles were chosen.
03|2018
O
riginally constructed in 1911, the building has
served the world-renowned university for over
100 years, becoming a beacon of local history.
However, in 2014, with weathering beginning to take
its toll on the age-old structure, the iconic building
became the object of a major restoration project.
© Photos: BB+C Architects Limited
STUDENT HOME WITH ACADEMIC HISTORY The Dokett
Building is a site steeped in academic history, and is
named after the first President of Queens’ College,
Andrew Dokett. This magnificent building is a promi-
nent element of the college’s architecture; it can even

Built in 1911, Dokett Building has
3 staircases connecting 4 floors.
It provides accommodation for the
college´s students.
ROOF RENOVATION
be seen from the opposite side of the campus. It
provides accommodation for the college’s students.
Given the historical importance of the site, at the
heart of the University of Cambridge, clay roof tiles,
with their unique heritage aesthetic, were the natural
choice for replacing the roof.
RENOVATION AND MODERNISATION The roofing con-
tractors were tasked with stripping and re-covering
the entire 100 year-old roof. One of the main reasons
the roof needed replacing was that it hadn’t been
updated in decades. The accommodation needed
TRADITIONAL 35
The traditional handmade clay tiles
blend in perfectly within the historic
setting of the college.
FACTS & FIGURES to be drastically modernised, so new dormers were
created to allow for ventilation and new bathrooms.
Project name
Dokett Building, Queens’ College,
Cambridge, UK IMPROVING THERMAL EFFICIENCY The roofing solution
Architect needed have a similar aesthetic to an adjacent build-
BB+C Architects Limited ing, which had been renovated as part of an earlier
Products used restoration in 2005. By using an equal mix of clay roof
Keymer Traditional Elizabethan tiles in traditional shades, the developers succeeded in
and Antique roof tiles creating a new roof that was an incredibly close match
Year of completion with the surrounding buildings. Furthermore, the supe-
2015 rior heat retention qualities of natural clay mean that the
thermal efficiency of the building was also improved. >
03|2018
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