CONTEXT - Fall 2023

Brick

Uncovering the Philadelphia Brick

Union Craftworkers

Brick Notes

HANOVER® PREST® BRICK

HANOVER® PREST® BRICK

The selection of Hanover’s Prest® Brick sizes, colors, and textures allow endless design possibilities. Today, architects are rediscovering the method of paving with small individual units and incorporating it into residential projects. Modern municipal and urban areas have only emphasized the original advantages of using pavers.

DESIGNING BY THE BOOK

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Julius Blum is proud to supply you with a variety of components and systems for all your residential, commercial, and municipal builds. It is all compiled for you in our comprehensive catalog, No. 21, or online at juliusblum.com.

To see your vision come to life, look to the book.

IN THIS ISSUE , we highlight brick, an essential Philadelphia building material, to understand more about its history, impact on construction, and design potential.

18 Uncovering the Philadelphia Brick

22 Union Craftworkers by Franca

Trubiano

Suggestions? Comments? Questions? Tell us what you think about the latest issue of CONTEXT magazine by emailing context@aiaphila.org. A member of the CONTEXT editorial committee will be sure to get back to you.

Photo: Timothy Kerner, AIA

Construction, commercial, and personal injury litigation

Professional and business licensure requirements and compliance

Contract preparation and review, consultation and risk management

Business transactions, dispute resolution, and employment practices

MILBER MAKRIS PLOUSADIS & SEIDEN, LLP

WHAT IF WE ALL C AME TO G ETHE R WITH DIFFE R ENT PE R SPE C TIVES TO I G NITE NEW IDEAS?

At Thomas Jefferson University we do just that. We dare to ask bold questions. Can the future of architecture empower global sustainability? Can an industrial designer get a surfer back on his board? How can a textile design weave the ocean into fabric?

But asking tough questions isn’t enough—we need to answer them. So, we are converging people, ideas and perspectives to find leading-edge solutions for real-world design opportunities and challenges. Driving progress and growth.

Built for a future that has yet to be defined, Jefferson is crossing disciplines to bring unrivaled innovation and discovery to higher education and to answer the questions that will redefine possible

WHY DRI-DESIGN?

Dri-Design Tapered Series panels have the ability to create a unique effect of rich texture, giving buildings their own individual identity. Although painted a single color for the Mill Woods Library project, the multifaceted wall panels allow nature to create its own color palette as natural light re ects differently off each individual piece. Even with this unique look, Dri-Design’s signature ease of installation and water management system are maintained, and only a single plane of substrate is needed.

• No sealants, gaskets or butyl tape means no streaking and no maintenance for owners.

• Not laminated or a composite material, so panels will never delaminate.

• At Dri-Design, we have a strict policy of recycling and creating products that the world can live with.

• Fully tested to exceed ASTM standards and the latest AAMA 508-07.

• Available in a variety of materials and colors.

• Non-combustible and NFPA-285 compliant.

Mill Woods Library, Seniors and Multicultural Centre - Edmonton, Alberta

Architects: Dub Architects and HCMA Architecture + Design

Opening September 15, the National Liberty Museum's fall exhibition, Project Liberty, invites visitors to apply design thinking to real-world issues.

Community Open House & Pop-Up Tours

October 7, 10-5 pm

Project Bus Stop: A Design Challenge for Philadelphia with Ulysses Sean Vance

October 11, 6-8 pm

2023 BOARD OF DIRECTORS

Rob Fleming, AIA, LEED AP BD+C, President

Brian Smiley, AIA, CDT, LEED BD+C, President-Elect

Robert Shuman, AIA, LEED AP, Treasurer

Jeff Goldstein, AIA, Past President

Fátima Olivieri - Martínez, AIA, Secretary

David Hincher, Director of Sustainability + Preservation

Phil Burkett, AIA, WELL AP, LEED AP NCARB, Director of Firm Culture + Prosperity

Erick Oskey, AIA, Director of Technology + Innovation

Tya Winn, NOMA, LEED Green Associate, SEED, Director of Equity, Diversity + Inclusion and Public Member

Ximena Valle, AIA, LEED AP, Director of Design

Kevin Malawski, AIA, LEED AP, Director of Advocacy

Fauzia Sadiq Garcia, Director of Education

Timothy A. Kerner, AIA, LEED AP, Director of Professional Development

Danielle DiLeo Kim, AIA, Director of Strategic Engagement

Michael Johns, FAIA, NOMA, LEED AP, Director of Equitable Communities

Clarissa Kelsey, AIA, At-Large Director

Sophia Lee, AIA, CPHC, LEED AP BD+C, WELL AP, At-Large Director

Scott Compton, AIA, NCARB, LEED AP, AIA PA Representative

Mike Penzel, Assoc. AIA, Director of Philadelphia Emerging Architects

Luka Lakuriqi, Assoc AIA, SEED, Director of Philadelphia Emerging Architects

Kenneth Johnson, Esq., MCP, AIA, NOMA, PhilaNOMA Representative

Rebecca Johnson, Executive Director

CONTEXT EDITORIAL BOARD

CO-CHAIRS

Harris M. Steinberg, FAIA, Drexel University

Todd Woodward, AIA, SMP Architects

BOARD MEMBERS

David Brownlee, Ph.D., FSAH, University of Pennsylvania

Julie Bush, ASLA, Ground Reconsidered

Daryn Edwards, AIA, CICADA Architecture Planning

Clifton Fordham, RA, Temple University

Fauzia Sadiq Garcia, RA, Temple University

Timothy Kerner, AIA, Terra Studio

Milton Lau, AIA, BLT Architects – a Perkins Eastman Studio

Jeff Pastva, AIA Scannapieco Development Corporation

Eli Storch, AIA, LRK

Franca Trubiano, PhD, University of Pennsylvania

David Zaiser, AIA, HDR STAFF

Rebecca Johnson, AIA Philadelphia Executive Director

Elizabeth Paul, Managing Editor

Jody Canford, Advertising Manager, jody@aiaphila.org

Anne Bigler, annebiglerdesign.com, Design Consultant

Laurie Churchman, Designlore, Art Director

Undergraduate | Graduate Pre-College | Summer Intensives

tyler.temple.edu

TIMOTHY KERNER, AIA Principal, Terra Studio and CONTEXT Editor

TODD WOODWARD, AIA Principal, SMP Architects and CONTEXT Editor

BRICK BY BRICK

Last year, we devoted an issue of CONTEXT to the exploration of wood. With this issue, we present the second of our single material explorations and consider that quintessentially Philadelphian substance — the humble brick.

At one time, Philadelphia was a center of brick production and, of course, we live and work in the results across the city. Brick has never failed to engage the imagination of architects. The scale of a brick — easily graspable and enormously configurable — allows for a wide range of expression and exploration. The use of brick in architecture has implications for design and craft, for climate and environment, and for building our communities. Brick is a conventional and durable building material, embedded in the history of design and construction within many traditions. In our current era of thin, framed wall construction, brick should be respected for its thickness, permanence, and durability.

This issue presents a few perspectives on the topic of brick and innovative examples of its use. The articles begin with an essay on the Philadelphia Brick and the historic concepts associated with its use. We then consider the experience of those who assemble the walls we design. The third article takes a look at brick technical documentation in the form of Brick Notes and considers what they say about design, construction, and the education of design professionals. In the Opinion section, Rob Fleming rephrases Louis Kahn’s famous conversation with a brick to address issues related to sustainability. Expression presents the work of Michael Morgan, an artist who pushes the expressive limits of the material. And finally, Design Profiles present three architectural projects that explore the creative possibilities of brick today.

Brick is a common material that possesses unique physical properties, holds a surprising history, and forms an enduring part of the character of our city. We hope this issue of CONTEXT contributes to an increasing awareness of the materials of architecture and their expressive potential in your work.

Dear Friends and Colleagues,

As we usher in the fall of 2023, I am thrilled to share with you the exciting happenings at AIA Philadelphia. With the changing season comes a series of events and initiatives that we are eager to bring to the forefront.

First and foremost, I am delighted to announce the 19th edition of the DesignPhiladelphia Festival, set to take place this October. Once again, the festival will weave its magic across the city, with a diverse array of events and activities. Our festival hubs at Cherry Street Pier and the Center for Architecture and Design will be abuzz with creativity and inspiration. We invite you all to immerse yourselves in the celebrations of design excellence that this festival has come to be renowned for. You will not want to miss our KickOff Party on Wed. October 4th — so get your tickets now.

During this year’s DesignPhiladelphia Festival, AIA Philadelphia is proud to present a new signature program: Home Tours by Local Architects. The Board made the decision to bring this offering to Philadelphia as it serves to establish a direct connection with the public, emphasizing the value of hiring an architect. Tour attendees will witness firsthand the decisions and information that architects employ in crafting homes that not only exude exceptional beauty but also prioritize health and sustainability.

As we venture into the bustling fall season, we have tailored our educational offerings to cater to your interests and professional growth. While we will not be hosting the Forum on Architecture

Playful Learning Series — Making the world a learning experience for kids. This three-part series will explore the Playful Learning Landscapes global movement that combines placemaking with early learning opportunities. Using Science-Informed Design and following a set of research-based principles, public spaces in all environments — not just spaces associated with youth patrons — are transformed into playful learning exercises.

Session 1: Thursday, September 7, 2023 | 11 AM - 1:30 PM

Attendees will explore the principles and science behind the playful learning movement, they will learn the design process, and begin to identify how to weave these experiences into designs.

Sessions 2: Thursday, September 21, 2023 | 11 AM - 1:30 PM

Attendees will learn about real world case studies and best practices.

Session 3: Thursday, October 5, 2023 | 8:30 - 11:00 AM

Attendees will participate in a design charette.

and Design, we are excited to present a thought-provoking series on Playful Learning throughout September and October. Additionally, in partnership with ULI Philadelphia, we are proud to host the first Urban Resilience Forum, tackling critical issues to ensure a more resilient future for our cities. And for those seeking last-minute educational credits, we have brought back the beloved Procrastinators Pro Con in December – an easy, affordable opportunity to wrap up your requirements in a collegial setting.

As we embark on these initiatives, our commitment to promoting sustainability, equity, and innovation remains unwavering. Through each event and program, we strive to strengthen the architectural community and foster a deep appreciation for the transformative power of design.

I look forward to welcoming you all to the DesignPhiladelphia Festival and witnessing the positive impact of our Home Tours by Local Architects program. Let us embrace this season of learning, growth, and celebration together.

Cheers, Rebecca Johnson Executive Director, AIA Philadelphia

PHOTO: SAHAR COSTON-HARDY

SNEAK PEAK.

A quick look at the homes featured in the 2023 AIA Philadelphia Homes Tour

Get ready for the first annual AIA Philadelphia Homes Tour, where private homeowners open their doors to the public for an up close and personal tour led by the architect. Don’t miss this once-in-a-lifetime opportunity to go inside and get behind the scenes of some of Philadelphia’s residential treasures. Check out the houses.

Mid Century Classic: Complete renovation for mid-century modern enthusiasts in Penn Valley.

Outlet House: An energy-saving rowhome designed using Passive House principles and adapted to serve first responders during the COVID-19 pandemic.

Filigree House: Featured in the NY Times and Architect Magazine, among others, the interwoven brick façade is a focal piece for the design and a functional screen.

Rittenhouse Restoration: Featured in WHYY, Philly Mag, and The Inquirer, this home showcases thoughtful historic preservation with cutting-edge energy-saving technologies.

NoLibs Modern Rowhome: Solar panels in the city? This newly constructed home is precertified for Passive House (PHIUS+ 2018) and will ultimately be net zero capable.

Mark your calendars for October 14-15 , as this is one of the year’s most anticipated events of the 2023 Design Philadelphia Festival.

>> NEW VENUE, NEW STYLE, NEW SWAGGER. Save the date for the 2023 Design Awards Celebration. Join your friends and colleagues as we honor the best and brightest in the AIA Philadelphia design community. Tickets go on sale soon, check the AIA Philadelphia event calendar for details.

WHERE: 2300 ARENA WHEN: NOVEMBER 9, 2023 | 5:30 - TBD

RESILIENCE

Save the date: October 19, 2023 for the AIA Philadelphia + ULI Philadelphia Joint Urban Resilience Forum. Attendees will learn what Philadelphia’s leaders are doing to address the effects of climate change, how Philadelphia Water Department, Trust for Public Land, and Patterson Elementary School’s collaboration could solve stormwater problems while providing environmental justice and educational opportunities, how commercial property owners can improve building system efficiencies and much more.

ULI PHILADELPHIA + AIA PHILADELPHIA TEAM UP TO TACKLE PHILADELPHIA’S

VOLUNTEER IN THE CLASSROOM

Volunteering is not just a way to give back to your community. It’s a new way for your firm to grow, to build stronger relationships with your colleagues, to learn new skills, and create heartwarming memories with the students of Philadelphia. We love watching classrooms transform over the short period of time the volunteers are in there. Hear what some of our volunteers have to say.

“I’m working with children that are so sweet and energetic around what they’re learning. When it’s time to say goodbye, although it’s sad, it also makes you realize how much they appreciate you being there. I receive thank you cards and even hugs.”

— Denise Thompson, FCA

“Designers often talk about what we can do to shape the future for the better. In essence, that is why we entered the field. Of the million different ways to shape the future, I think learning how to teach young students — especially students that are underrepresented in practice today — is one of the most direct and valuable contributions we can make in order to develop presentation and management skills.”

— Madji Alkture, KiernanTimberlake

The students are never the only ones who walk away feeling deeply impacted. We are always looking for architecture and design professionals to volunteer in our classrooms. If you are interested, please reach out to liza@philadelphiacfa.org.

“When you know you have reached a student, and they are excited about the content — it is one of the best feelings. I also really enjoyed how I rediscovered a simple love for architecture and design by breaking the content down to a level that a 5th or 6th grader could connect with it.”

— Henri Brooks, Atkin Olshin Schade Architects

DesignPhiladelphia runs October 4 — 15 with hubs at Cherry Street Pier and the Center for Architecture and Design (Center). Anchored by Thomas Jefferson University (Jefferson) as presenting sponsor, the 2023 Festival will be a healthy mix of emerging and veteran designers showcasing cutting-edge innovation and celebrating the strength and vitality of the local design community. This year’s Festival will offer over 60 programs and exhibits happening throughout the city and at the two hubs during the 12-day festival.

Learn more about the Festival Signature Events below, to see the full calendar, please visit the DesignPhiladelphia website.

Program Highlights

Jefferson Bamboo Pavilion

Installation

October 4 – 15, 12:00 – 9:00 PM |

Cherry Street Pier

Jefferson Fashion Face-Off

October 5, 6:00 – 8:00 PM |

Center for Architecture and Design

JeffSolves MedTech Product Design

October 5, 12:00 – 1:030 PM |

Location TBD

Jefferson Textile Design Symposium

October 5, 9:00 – 12:00 PM and 2:30 – 3:30 PM | Location TBD

DesignPhiladelphia Kickoff Party

October 4, 2023, 5:30 – 9:00 PM | Cherry Street Pier

Party attendees get a first look at the immersive installations by Jefferson, Drexel University, Temple University Tyler School of Art and Design, Gensler, BRDG, Hoffman Design Group, Unform Studio, American Institute of Architects, Philadelphia Chapter, and more. Enjoy eating and drinking in the open-air venue on the Delaware River. The Kickoff Party raises critical dollars to support the year-long programming and planning of DesignPhiladelphia.

Design is Inclusive Exhibition

October 4-15, 12:00 – 9:00 PM | Cherry Street Pier

A signature event of the Festival, this year’s exhibition is full of exciting emerging designers honing their craft right here in Philadelphia. Including displays by Ann Dinh, a designer & researcher; Laura Bertapelle, designer and fabricator; and Steph Trowbridge, a woodworker and ceramist.

Kids Fest

October 7+8, 12:00 – 9:00 PM | Cherry Street Pier

Kids Fest is programming is filling up with lots of hands-on experiences to entertain the future designers in your life. With goodie bags sponsored by Kikkerland and workshops and events by Pals Socks, Ms. Amy Art Teacher, and the Center for Architecture and Design’s very own Wondering Studio featuring lessons in Architecture and Design Education — you won’t want to miss this exciting weekend-long festival within the Festival.

PHOTO: CHRIS KENDIG

UNCOVERING THE PHILADELPHIA BRICK

BY TIMOTHY KERNER

One way to stump a bunch of architects is to ask what these three nineteenth century buildings had in common: the Jacoby Brothers clothing store in Los Angeles, the National Lighthouse on the Mississippi River, and the Temple Court building in Manhattan. The improbable answer is they were all built with Philadelphia brick.

There is no question that we occupy a city with an inordinate number of brick buildings. But it is considerably less well-known that for over two hundred years Philadel-

phia was a leading fabricator and exporter of brick.1 And this was not just any old brick, it was nationally recognized for its quality of composition, distinctive color, and manner of fabrication. These characteristics were tied to geological conditions, industrial processes, and cultural practices. In the closing decades of the nineteenth century, Philadelphia brick was an integral part of an architectural style that sought to blend handcraft and industry with an original expression of place.

When William Penn and Thomas Holme laid

their street grid between the Delaware and the Schuylkill rivers, they could only hope there would be enough suitable clay to construct their settlement. The Great Fire had consumed London just sixteen years prior, offering an indelible lesson on the dangers of building with wood. In 1685, Penn proudly reported that his town had “advanced to Three hundered and fifty feven houfes,” with “Divers Brickerys going on … and fome Brick Houfes going up.” 2

Penn’s colony was fortunate enough to be sitting on an enormous deposit of clay which owed its physical composition to unique geological and climatic conditions. Eight thousand years prior, the southerly march of the great Northern Glacier came to a halt sixty miles north of Philadelphia. As temperatures rose and the ice melted, torrents of water flowed to the sea. The river we now refer to as the Delaware was five to ten miles wider than its present width and covered the entire area of the future city. Fine fragments scraped from lands to the north settled to the bottom of the river and in a few thousand years the Philadelphia Brick Clay Deposit was formed.

Jacoby Brothers, Los Angeles, LA Times, 1892, left. Brickyards on the Varlé Plan of the City and Its Environs, 1795, right.

Colonial settlers found easily extractable clay just below the surface of the city. As the population expanded west from the Delaware, brick yards sprouted in front of the advancing edge of urbanization, as can be seen in the area west of Broad in [Figure 2]. The brickyards were not the only areas of extraction, however. Wherever the ground was excavated to build a new structure or lay pipes in the street, brick fabricators arrived to harvest the clay.3

Brickmaking did not require complex equipment; kilns were made of the brick itself and the only other materials required were clay, dried grass to bind the clay, and wood for the fire. The clay was thrown into a “ring pit” and churned with water by a horse drawn shaft. The workable mixture was then pressed by hand into wooden molds and deposited along the ground to dry. The bricks were later stacked in a kiln and fired for several days. The raw clay was grey, but it turned orange/red during the firing process. Examples of early Philadelphia bricks can be seen in the walls of eighteenth-century buildings, such as Carpenter’s Hall, the Quaker Meeting House at 5th and Arch, and Independence Hall. These bricks were laid in a Flemish bond with lengthwise “stretchers” alternating with “headers” that bound the wythes of the wall together.

As technology improved during the nineteenth century, kiln fires reached temperatures

of over 2,000 degrees, allowing the iron molecules in the clay to join with oxygen molecules and form ferrous oxide. This molecular reaction imparts a deep red to the brick, which is the color most associated with the renowned Philadelphia brick. At the height of production in the final decades of the 1800s, there were over fifty brickyards in the city, employing almost 3,000 men and boys producing more than 200 million bricks per year. This quantity was sufficient to meet the city’s needs during this intense period of industrial and residential expansion while also allowing for significant brick export.

New York had not been treated so kindly by the glaciers and was left without a sufficient supply of clay to meet its construction needs. Builders there typically purchased bricks from New Jersey and Philadelphia. The high regard for Philadelphia bricks can be seen in nineteenth-century real estate advertisements. Apparently, the best houses in Brooklyn were built with Philadelphia face brick. [Figure 3].

Larger New York structures were also built with brick imported from Philadelphia. The Benedick on Washington Square was designed by McKim, Meade and Bigelow (pre-White) in 1878

to provide rooms for bachelors and studios for artists. It is now a dorm for NYU. The Temple Court office building was constructed in 1881 along an entire block of the Financial District. It employed Queen Anne and Renaissance Revival motifs on its ten-story brick façade and is considered the oldest, existing precursor to the New York skyscraper.5 In 2016, it was luxuriously restored to serve as the Beekman Hotel and Residences [Figure 4].

New York was not alone in its appetite for brick from Philadelphia. They were in demand across the country by those willing to pay the extra expense. The 1892 flagship store of Jacoby Brothers [Figure 1] — the largest clothing retailer in Los Angeles — was declared by the LA Times to be a “triumph of modern architecture … The

Temple Court Building, 1881, now Beekman Hotel and Residences, New York, top. Elegant houses for sale, the BrooklynDaily Eagle, Nov 3, 1869, left.

MAP: GEOGRAPHICUS.COM PHOTO: COMPASS.COM

structure is of iron, Philadelphia brick and ornamental brown stone.”6 In 1890, the Pensacola News reported that the new County Court House was “a building that will add greatly to the architectural beauty of Pensacola… The material is Philadelphia pressed brick.” 7

Philadelphia brick set a national standard of quality. As a St. Louis brickmaker declared “no brick made, except the Philadelphia Pressed Brick, will compare with those made by our machine.” 8 There was an attractiveness to the Philadelphia brick color that was difficult to explain. According to one correspondent, “Philadelphia red brick is as unapproachable in its way as Philadelphia golden butter.” 9 Some suspected the attraction could be related to a certain amount of gold within the red. According to an 1877 report in the Anaheim Gazette, “In the clay of which the Philadelphia bricks are made, gold was found in the proportion of about forty cents worth to the ton. Each brick contains a sufficient amount of gold to make a glittering show of two square inches, if brought to the surface in the form of leaf.” 10

As attractive as it was, the brick’s source of appeal was not limited to its color. Philadelphia brickmakers were recognized for their fabrication expertise, which emphasized human labor and judgement more so than in other cities. An 1899 report on the brickmaking industry stated that “contractors and builders… contend that the hand-made bricks

are much better than the machine-made ones… hand-made bricks command a better price.” 11 This is surprising to hear from a time when mechanization and industrial development were directly linked to concepts of American progress.

To understand this seemingly contrarian attraction we turn to John Ruskin, the renowned nineteenth-century critic of art and architecture. Ruskin considered machine production contradictory to human nature and nature itself. He equated the demands of mechanical precision with the ideals of perfection inherent in Greco-Roman Classicism, which he considered as oppressive as the machine. According to Ruskin, when the worker is forced to conform to concepts of perfection, there is no room for individual expression.

Ruskin praised Gothic architecture — especially the Venetian kind — for the freedom afforded to the craftsperson. “Examine once more those ugly goblins, and formless monsters, and stern statues, anatomiless and rigid; but do not mock at them, for they are signs of the life and liberty of every workman who struck the stone.” 12 Ruskin considered human imperfections integral to our concepts of beauty. “All things are literally better, lovelier, and more beloved for the imperfections which have been divinely appointed.” 13

Although Ruskin was speaking of ornament and not brick specifically, the connection

between bricks and human craft is apparent. Through their size and heft, bricks in general express their relationship to the hand of the assembler. The color, texture and form of the Philadelphia Brick express a quality of craft that is linked to the fabricators and the characteristics of the place of fabrication.

Frank Furness was Philadelphia’s leading architect of the late nineteenth century, and his Ruskinian Gothic buildings brandished Philadelphia brick with bold originality. Many consider the University of Pennsylvania Library to be his masterpiece, and some claim it as the most important work of nineteenth century American architecture.14 It has been likened to the offspring of a cathedral and a railroad station. This strange creation possesses distinct features of both parents — a towering edifice, stout columns, exposed iron structure, menacing gargoyles, vast light-filled spaces, shadowy recesses, glass floors, and great red walls of brick and terra cotta. The brick is even brought to the interior as if to remind scholars of the material nature of the city in which they labor.

Furness’s library received national acclaim and was declared the most advanced college library in the country.15 But the popularity was short-lived. Just two years later, Chicago unveiled the Columbian Exposition, which captivated the country with the classical ideals of the “White City.” McKim, Meade and White rose to national prominence and neo-classicism became the

Nineteenth-century hand powered brick press.

desired form of civic expression. Stone façades concealed brick and iron structures within.

Classical perfection was in, Industrial Realism was out, and white was the new red. For the next seventy years, American architecture was judged by its adherence to European models, and in Ruskinian terms, the country fell into a period of architectural oppression.

Furness suffered a hard fall from fashion and his library came to represent all that was wrong with Victorian architecture. In 1908, a writer for Architectural Record asserted that “nothing more grotesque could be imagined.” 16 Over the subsequent decades, the University treated the building with utmost disrespect, chopping off details, truncating the four-story reading room, and slating the building for demolition. Meanwhile, brickmaking declined with the depletion of the city’s clay deposits, and the term Philadelphia brick faded into history.

The classical blinders that obscured the brilliance of Furness’s design were lifted in the 1960s with help from Denise Scott Brown and Robert Venturi. After their firm’s extensive res-

toration thirty years later, the New York Times declared the library to be “precisely the kind of building that everyone used to hate, and that it is now nearly impossible not to love: a Victorian monster, its deep, flaming rust brick and terra-cotta arches… at once hysterical and serene… The restoration has produced a warm, glowing building, a structure that is far softer than any of the photographs, old or new, lead one to expect.” 17

The Furness Library is a singularly Philadelphian creation, a celebration of railroads and industry, and a meditation on the pursuit of knowledge. This masterwork of baked earth is a locally sourced manifestation of the designer’s intense creativity and the builder’s craft, and a unique expression of the character of place. We can all be grateful that the Furness Library stands today as testament to the values embedded in its brick.

Citations:

1. Thomas C. Hopkins, Clays and Clay Industries of Pennsylvania, Pennsylvania State College, 1899, p. 52.

2. Harold E. Gillingham, “Some Early Brickmakers of Philadelphia,” The Pennsylvania Magazine of History and Biography, 1929

3. Hopkins, p. 47.

4. Ibid. p. 58.

5. Landmark Preservation Commission, “Temple Court Building and Annex,” 1998. p. 1.

6. “Stupendous, A Colossal and Progressive Clothing Firm.” Los Angeles Times, October 2, 1892, p. 14.

7. “Public Buildings,” The Pennsacola News, February 14, 1890, p. 17.

8. Leavenworth Daily Commercial, February 7, 1869. P. 3

9. “New Yorkisms,” The Evening Telegraph, October 20, 1868. P. 8.

10.“Natural Dissemination of Gold,” The Anaheim Gazette, July 7, 1887, p. 5.

11. Hopkins, p. 55.

12. John Ruskin, ‘The Nature of the Gothic,’ volume 2 of The Stones of Venice, 1851. p. 161.

13. Ibid, p. 171.

14. Melvil Dewey to Provost William Pepper, 20 April 1887, University of Pennsylvania Archives

15. Michael J. Lewis, “This Library Speaks Volumes”. The Wall Street Journal, November 14, 2009.

16. Huger Elliott, “Architecture in Philadelphia,” Architectural Record 23, April 1908, p. 296.

17. Paul Goldberger, “In Philadelphia, a Victorian Extravaganza Lives,” The New York Times, June 2, 1991, Section 2, Page 32.

Timothy Kerner is principal of Terra Studio, adjunct professor of architecture at Temple University, and a member of the AIA Philadelphia Board of Directors.

The Furness Library, University of Pennsylvania, 1891.

PHOTO: RICHARD ANDERSON

UNION CRAFTWORKERS EDUCATION AND ADVOCACY FOR THOSE WHO BUILD WITH MASONRY

BY FRANCA TRUBIANO

Even in the twenty-first century, construction is a dangerous undertaking for many who work in the building industry. Using all manner of power tools in highly constrained environments for the purposes of building remains hazardous for human life, and particularly for those who build with masonry. Masonry construction can be difficult and arduous, and those who labor in the trowel trades know this all too well. Are we, as design professionals, sufficiently aware of this fact? Do we address the very real human risks associated with building with masonry when we detail and specify the use of brick, block, stone, tile, and plaster?

The fatality rate for work-related injuries reported to the Occupational Safety and Health Administration (OSHA) by way of incident reports Form (OSHA-170) between 1970 and 2022 was just over 30%, yet the rate for those employed in the construction industry was over 50%.1 In 150,000 OSHA incidents, that were serious enough to involve the OSHA 170 form, over 30% were construction related: 3.4% of which were associated with the trowel trades while 17% were linked to carpentry. Undoubtedly, carpentry occasioned more incidents, yet masonry incidents were more fatal.2 Significantly, however, according to the Illinois Economic Policy Institute, in “over 37,000 OSHA inspections in the construction industry in 2019, … union worksites ha[d] signifi-

cantly fewer health and safety violations.”3

And as argued in this essay, increased access to education throughout the career of masons and tile setters is a necessary precondition for ameliorating the health and safety of those who labor on our behalf.

Craftworkers learn best practices, acquire greater expertise, and are acculturated to safer and more equitable work environments when they formally apprentice and participate in forms of continuing education. This is the on-going mission of the International Masonry Institute (IMI) and its affiliated organizations, charged with instructing masons, contractors, and designers on the manufacture, installation, and performance of unit masonry.4 Triangulating knowledge between designers, laborers,

and industry leaders ensures the sharing and co-creation of best practices in detailing and construction. To this end, according to Roy Ingraffia, National Director of Industry Development at IMI, the group contributes to the education of design professionals by providing “technical support services at no cost” that help the “design and construction community better understand masonry and tile and restoration approaches … so they in turn choose to work with the people who have the appropriate skills to install or repair masonry products, materials, and assemblies.”5 In addition, key to the mission of IMI and the International Union of Bricklayers and Allied Craftworkers (BAC), is “attracting and maintaining a younger and more diverse workforce” of

“union masons and union masonry contractors.”6 According to Ingraffia, increased diversity amongst the ranks of trowel craftworkers is key to their future. To this end, they seek to “make these crafts more attractive, and also more viable and relevant for the future.” 7 For IMI, increased participation is only possible when “the door is open to everyone.”8 Challenges remain substantial, however: attracting new trainees to the trowel trades is difficult enough, ensuring they stay is even more so. As Ingraffia notes: “It’s one thing to put a trowel in someone’s hand and to teach them a trade, … the harder part is supporting them through all the other things that weigh them down in the world, whether it’s financial insecurity, food insecurity, the risk of

deportation, or support during pregnancy.” BAC and its affiliated organizations offer their members access to health and maternity benefits, childcare discounts, and access to the International Health Fund and the International Masonry Training and Education Foundation. In matters of equity and fairness, Ingraffia affirms: “we seek to make sure that everyone has the opportunity to succeed.” In this way, both IMI and BAC are “advocates for migrant workers … who come to the US seeking opportunities.”9 As supporters of organized labor, both groups speak on behalf of trowel craftworkers who may be “unorganized and who are potentially exploited.” 10 As Ingraffia described, craftworkers who have achieved demonstrable skills are entitled

to the same wage regardless of gender, place of origin, or mother tongue. [Figure 1]

And yet, as noted by Matt Stafford, Northeast Regional Representative of BAC, successful outreach to migrant mason communities remains a challenge in the Philadelphia region.11 Many are understandably reticent to participate in quasi-institutional programs, however, it will be critical to gain the participation of our newly arrived neighbors as future union craftworkers as they already labor in this space with much knowledge, enthusiasm, and commitment. They are also the best hope for circumventing decreased numbers of young people who choose to become mason apprentices. As Stafford noted, in the early 1990s, when filling

1 BAC-Local-1-PA-DETraining-Center.

PHOTO: MATT STANLEY, FOR IMI

the ranks of new apprentices, “everybody was somebody’s son or grandson or nephew.” 12 When he started his own apprenticeship in 1991, masons were second and third generation apprentices. This is no longer the case as intergenerational masons in our region have all but disappeared. As Stafford reminds us, notwithstanding “bricklayers and trowel tradespeople are earning a good living, when it comes time for their children to start thinking about what they are going to do for a living, because the work is so physically hard and strenuous, people want better for their children.” 13 Even so, masons have increased their economic position over the past decade at a rate that has outpaced fellow trades people. According to data from the US Bureau of Labor Statistics, on average, between the years 2000 and 2022, members of the trowel trades (brick and block masons, stone masons, cement masons and concrete finishers, and terrazzo workers and finishers) earned

to intuit. Working in extreme conditions (hot or cold) is not for everyone. Neither is working at heights and hanging off a thirty-story swing scaffold. As signaled by Stafford, at “forty, fifty, and even sixty you’re still working the same way in the same conditions, lifting the same material, as the twenty-five-year-old sitting next to you.” 15 The difference is that “the twentyfive-year-old goes home that night to play in a softball game while you're immediately hitting the couch [in pain].” 16 Increasingly, recruiting new masons is difficult because high-school graduates may not have access to the kinds of resources needed to work in the construction industry, “including a driver’s license or a vehicle.... It’s not very realistic to think that you’re going to get to construction projects all around Philadelphia” on public transportation. Hence, BAC recruits amongst individuals in their mid-twenties who may be more financially established including returning

“needs to have organizers, people to connect with the migrant workforce that look and talk like the workforce.” 19 Seeking to collaborate with migrant community organizations and church groups, BAC believes that helping immigrant and migrant workers gain access to dignified middle-class jobs is critical. That includes supporting their gainful employment in the US if needed. One tool at their disposal is the ‘Deferred Action Program’ which according to BAC “provides a path for immigrant workers to stand up to corrupt contractors, expose the shadow economy in which these bad actors thrive, and obtain work authorizations that will afford them the workplace protections that all workers seek.”20 Stafford believes more such programs are required: “Every day we have members who are retiring, which means our ranks are decreasing, but the amount of construction and the amount of masonry and tile in construction is increasing.” 21 A solution is needed for migrants that addresses the very real risks associated with choosing a career in the trowel trades.

higher salaries (in mean annual wages) than both carpenters and electricians, earning 8.3% more than carpenters and 23.6% more than electricians.14 Most recently, in 2022, brick and block masons earned 14% more in Pennsylvania than carpenters. [Figure 2]

And yet, data reveals losses in the number of masons participating in the building industry. Since 2000, the trowel trades have lost 9.8% of their members and the rate of member retirement continues to outpace the rate of new apprentices. Reasons for which are not difficult

military personnel with whom they participate in a program called “Helmets to Hard Hats.” 17 Recruiting new BAC members requires innovative thinking and added resourcefulness. According to Stafford, this necessitates “casting the net out into the public … [with union members] constantly at career fairs and high school days.” 18

And yet, many a residential housing project in Philadelphia is routinely built with non-union brick labor whose work, according to Stafford is of “good quality, efficient, and productive,” even if the site they labor on is “sometimes not as safe” as he would like. Notwithstanding his attempts to engage masons is often met with reticence, according to Stafford, BAC

Sometimes risks are to the very body of the laborer: At “our retiree functions, you can watch these guys come in, and everybody is bent or hunched in a different way, and everybody talks about their shoulder and knee replacements.” 22 In the trowel trades the human body is inevitably offered in sacrifice, even as the “safety conditions on the job site are better than they’ve ever been. We’re constantly evolving, training our people, and updating them on safety, because the health and welfare of the trowel tradesperson is key. We want everyone to go home in the evening the same way they showed up in the morning, if not better.” 23

Indeed, the spirit of betterment underscores BAC’s commitment in hosting and managing their various apprentice and training centers. [Figure 3] They are also welcoming to architectural students. Yearly, first year Architecture students from the Weitzman School of Design visit and learn from ‘masters’ and apprentices at BAC’s Northeast headquarters. Handling actual masonry materials and having firsthand appreciation for the level of mastery required of all trowel trades will only make for better designers. Albeit the designation of master mason, Stafford notes, no longer exists within the professional ranks of BAC,

BAC Local-1-PA-DE apprentices Josephine Trunk, Warren Brown, William Bailey.

PHOTOS: MATT STANLEY, FOR IMI

“the master is kind of an unofficial thing … When someone’s been around and really knows their craft on the wall, the rest of the crew has respect for that person. They might not have on their card a stamp that says, master mason, but they are truly recognized unofficially as the master mason on the job. The hope is that that person shows that skill to the next generation of workers. That’s what an apprenticeship is, when you are on the job site, learning with a skilled tradesperson on your left, and a skilled tradesperson on your right. I was taught how to square up a building, how to spread mortar, the bond of brickwork, but I also learned so much more on those walls from those masters. I learned how to be a good union bricklayer, and I learned how to be a citizen.”

There is no better aspiration for the building industry than when its labor truly edifies. Our ability to recognize members of the trowel trades as equal partners and collaborators is important for architects. More than mere laborers, masons are active and informed participants in the value chain of building. Remembering that they imperil their lives when building our designs, remains an important task for all of us.

Dr. Franca Trubiano is Graduate Group Chair of the PhD Program in Architecture and

Associate Professor at the Weitzman School of Design of the University of Pennsylvania. She received her PhD from UPenn in the History and Theory of Architecture and is a Registered Architect with l’Ordre des Architects du Québec. Since 2021, she has been co-director of Penn’s Mellon funded, Humanities + Urban + Design Initiative. Trubiano is the author of Building Theories, Architecture as the Art of Building (Routledge 2023), and co-editor of Women [Re]Build; Stories, Polemics, Futures (ORO, 2019).

Acknowledgments: This essay was supported by the Mellon Penn H+U+D initiative and the Penn PURM program which made it possible for undergraduate students Selma Ulm, Grace Busser, and Amy Metzger to participate as research assistants. I also thank industry leaders Roy Ingraffia and Matt Stafford for their generous time and willingness to be interviewed.

Citations:

1. Datasets from the Occupational Safety and Health Administration (OSHA) under the U.S. Department of Labor, first released in 2010, includes data from 1970 to the present, December 2022. The data represents employers who submit incident reports using the Accident Investigation (OSHA-170) form.

2. Ibid. This data does not distinguish between union and non-union sites.

3. Illinois Economic Policy Institute, “The Impact of Unions on Construction Worksite Health and Safety Evidence from OSHA Inspections,” November 30, 2021: i.

4. According to the Center for Construction Research and Training, “Construction firms that employ at least some union workers are more

likely to perform safety best practices and undergo OSHA training than those with no union employees,” as reported in “Survey: Construction firms with union workers more likely to engage in safety best practices, training, in Safety + Health, September 19, 2018, https://www.safetyandhealthmagazine.com/articles/17466-constructionfirms-with-union-workers-more-likely-to-engagein-safety-best-practices-training-survey.

5. Interview with Roy Ingraffia, National Director of Industry Development at IMI, held on-line on May 22nd, 2023.

6-10. Ibid.

11. Interview with Matt Stafford, Northeast Regional Representative of BAC, held on-line on June 6th, 2023.

12., 13. Ibid.

14. Datasets from the US Bureau of Labor Statistics, “Occupational Employment and Wage Statistics,” https://www.bls.gov/oes/current/oes_tec.htm; https://www.bls.gov/news. release/union2.t05.htm. As noted by IMI, the seasonality of masonry craft workers should be considered when reviewing these rates.

15. Ibid., “Industry profile for Brickmasons and Blockmasons,” https://www.bls.gov/oes/2020/ may/oes472021.htm#nat

16. Interview with Matt Stafford, June 6th, 2023.

17-19. Ibid.

20. BAC Website Press Release, https://bacweb.org/ press-release/bac-applauds-new-dhs-policydeferred-action.

21. Ibid.

22. Interview with Matt Stafford, June 6th, 2023

23. Ibid.

BAC apprentices with Architecture students from the Weitzman School of Design, UPENN.

Brick walls at Westtown School Science Center, SMP Architects

Brick walls with clear coating, 8th and Diamond Playground, SMP Architects

PHOTO: SAM OBERTER

PHOTO: HALKIN MASON PHOTOGRAPHY

BRICK NOTES

BY TODD WOODWARD

INTRODUCTION

The scale and materiality of brick have always been prompts for the architectural and constructive imagination. Bricks are small enough for most to grasp in one hand, but they allow for unlimited potential configurations when stacked or arranged. The manufacturing process for brick can produce variations in color, texture, and material properties. Bricks encourage play with the material, in the sense of exploration of stacking configurations, bond patterns, corbelling techniques, and a myriad of possible compositions. The imaginative power that we attribute to brick is exemplified in the fact that Lego bricks are called “bricks” and not “blocks” or “units”.

There are of course many architectural examples of creative applications of brick. To cite just a few: Alvar Aalto used discarded “clinkers” in his exterior wall construction at Baker House (Cambridge, MA) and experimented with a variety of bond patterns on the Muuratsalo Experimental House (Finland). The University of Virginia campus has several garden walls of curved single wythe brick, in serpentine form, from the sketchbook of Thomas Jefferson. More recently and closer to home, Billie Tsien and Tod Williams used green glazed brick on Skirkanich Hall at Penn. A list of unique uses of brick in architecture, near and far, would obviously be much longer.

Within this volume of CONTEXT, other contributions discuss the question of what a brick wants to be, and perhaps what a brick needs to be today. But what if you wanted to explore how brick becomes those things? To move from the design possibilities inherent in brick and to learn more about its construction and detailing? I would like to delve a bit into a type of writing that is generally unexplored — the “technical note”. Similar in some ways to a detailing manual or a book of design standards, the technical note seems unique in its scope and breadth. This essay is part review, part personal history, and perhaps part nostalgia for printed materials (a little more on that later). The topic brings together several threads of thought for me — how we communicate technical information in support of architectural goals; how we learn while practicing architecture; and the particular flexibility and imaginative power that we attribute to brick.

WHAT ARE THE TECHNICAL NOTES?

Let’s assume that your particular brick wants or needs to be an arch. You would have an interest in learning how to design, detail, and construct one. If I needed to detail an arch, I would turn to Technical Note 31, Brick Masonry Arches, published in 1995 by the Brick Industry Association (BIA). Technical notes are a genre of architecture writing and, while not exactly a lost art, the genre doesn’t receive the respect that it might deserve.

When I was a younger architect, we had a thick binder full of the “Brick Notes” in the office. These were an indispensable resource, with a wealth of information on construction detailing, but also (and perhaps surprisingly) on history, terminology, and construction practices. The term “technical note” seems so dry as to be uninteresting and not worthy of consideration except for strictly utilitarian matters. But the brick notes themselves — the collected “Technical Notes on Brick Construction” compiled by the BIA — bely this understanding. For the BIA, the notes represent a way of communicating proven construction methods and educating design and construction professionals. In my experience, the technical note format is an effective way for architects (in particular younger professionals, but really of all experience levels) to build a vocabulary of construction terminology and an understanding of details. Much more than a description of standard details, the brick notes put the uses and forms of brick in a larger context. Browsing through and working with the information in the notes, one begins to see how a current project might be part of a larger tradition of construction, and also where it might make sense to deviate from that tradition. The brick notes provided a foundation of information that allowed for imaginative — but feasible — construction of details.

Starting with Technical Note 1, Hot and Cold Weather Construction, and running through to Technical Note 48, Sustainability in Brick, the Technical Notes currently comprise 86 pamphlet length expositions on brick topics. (Some of the notes have been broken down into subtopics over the years, for example, Note 6 Painting Brick Masonry and Note 6A Colorless Coatings for Brick Masonry.) There are so many Technical Notes in part because we can envision brick being employed in so many different ways and performing a variety of architectural functions.

THE BIA DESCRIBES THE BRICK NOTES IN THIS WAY: Technical Notes on Brick

Construction are recommendations on the use of fired clay brick. Drawings, photographs, tables, and charts illustrate appropriate topics. They are explicitly written for fired clay brick which are manufactured: • from clay, shale, or similar naturally-occurring earthy substances, and • with a firing process that creates a fired bond between the particles of the brick.

The properties of fired clay brick and the clay brick masonry made from them were used to establish the recommendations in these Technical Notes. Using these recommendations with other products that are not manufactured as outlined above may not result in the same performance associated with fired clay brick masonry. Further, use of these Technical Notes for the design, installation and maintenance of construction built with other products may in fact be detrimental to those products and the building on which they are installed. Thus, BIA does not advise the use of these recommendations with other products including but not limited to those claiming to be similar to fired clay brick products such as “fly ash” brick, concrete brick and other unfired or non-clay brick (https://www.gobrick. com/resources/technical-notes)

Briefly exploring just three of the 86 brick notes will give a sense of the range of information available, and the benefits, and maybe some limitations, of the technical note genre. And, yes, we will get to that arch!

THREE SPECIFIC NOTES

TECHNICAL NOTE 9 MANUFACTURING OF BRICK (December 2006)

Technical Note 9 provides an in depth discussion on the process of turning raw materials into finished brick. As architects, we often select brick based simply on the appearance of samples, but the visual and tactile qualities of the final brick are the result of a myriad of factors. These factors include the natural characteristics of the mined clay or shale material but also specific decisions made within the manufacturing process — such as whether bricks were placed front-to-front or front-to-back while firing. The note is full of illuminating and sometimes surprising facts about the brick manufacturing process. Did you know that “de-hacking”, or the unloading of the kiln following brick firing, is often performed by robots?

For most design professionals, materials just “show up” at the construction site. As we work to reduce embodied carbon in our building designs, this note provides a timely reminder of the need to better understand the circumstances of material production and transportation prior to arrival at the job site. Material production and material geography impact environmental responsibility in ways that are not always well understood during the design process. Note 9 does contain a descriptive section on the environmental responsibility of brick manufac-

turing, describing the general efficiency of the process. It is noted that many brick manufacturers are located within close proximity to their source raw materials. The relative abundance of clay material is also touted, indicating that brick manufacturing does not further deplete scarce resources. One could take issue with the fact that sand, which is used in some (not all) brick production, is not mentioned in this context. With the increasing focus on embodied energy and embodied carbon in building products, perhaps the BIA will update this Technical Note with data to assist with life cycle analysis studies.

TECHNICAL NOTE 31 BRICK MASONRY ARCHES (January 1995)

Note 31 is where we read about the methods and design details for constructing an arch, or more accurately, the various types of arches. (Apparently, there are many things, covered in Notes 1 though 30, that bricks want and need prior to getting to discussion of arches!) The brick note on arches is nothing less than a history and catalog of the arch, in its many forms, combined with a comprehensive discussion on arch construction and performance. Notes 31A, 31B, and 31C expand on and further delve into arch-related topics. Note 31A on the Structural Design of Brick Masonry Arches may also be quite helpful as you design your arch. Far more than simply providing details to be copied and pasted, Note 31 provides all of the rich terminology that describes each line and element of an arch. Of course, this includes terms that you probably recognize — centering, keystone, voussoir. But what about these — intrados, extrados, and skewback?

The abundant detailing information is specific to brick arches but also at least somewhat applicable to other construction materials and scenarios, given a little imagination and critical thinking (despite the BIA’s disclaimer quoted earlier in this article). There is specific discussion of keystone size, placement, and configuration, as well as the different ways of detailing the skewback and abutment (where the arch bears on a wall or pier). Looking ahead to building maintenance, it is noted that: “With most arch types, the likely location of the first crack when the arch fails is at the mortar joint nearest to the midspan of the arch.” The com-

Technical Notes on Brick Construction 31, “Brick Masonry Arches - Introduction”, Brick Industry Association, Reston, VA, January 1995, left.

Arch Terms from Technical Note 31, Figure 3, below.

Structural Brick Arches FIG. 1

prehensive nature of the discussion — from history, to terminology, to aesthetic considerations, to construction detailing, to maintenance of the constructed building — mirrors the challenges of the design professions and provide unexpected reminders of the overall context of our work.

TECHNICAL NOTE 48 SUSTAINABILITY IN BRICK (November 2015)

The last brick note in the series discusses sustainability and conveys the feeling that the BIA felt compelled, if not particularly inspired, to address the issue. The note goes into some detail on how brick can contribute to LEED Certification (in addition to addressing other topics). While much of this content is not particularly innovative, it does provide a reasonable summary. Not noted or discussed in the note is the presence (or not) of Environmental and Health Product Declarations (EPDs and HPDs) within the brick industry. This would be a useful addition to a future update on this technical note.

The note offers a critique of green building rating systems, and their approach to materials, stating:

However, what is often lacking in these rating systems is a means by which to promote and measure the avoidance of negative impacts. For example, efficient use of materials is not well recognized. Brick masonry elements that perform multiple functions avoid the use of other materials, such as paints, sound insulation, etc. Another limitation of these programs is inattention to durability.

Durability of materials is sometimes difficult to estimate or quantify, but of course, materials (and buildings) that last longer are often more environmentally responsible. Durability of exterior wall systems is often determined by weakest link, and Note 48 provides helpful wall section and detailing recommendations to ensure the long-term performance of brick walls.

CONCLUSION

The “brick notes” belong to a dwindling set of printed resources once used by architects in the day-to-day practice of designing and detailing buildings. For me, that technical bookshelf included a SMACNA sheet metal manual, the book of steel design and steel shapes, multiple reference books by Francis D.K. Ching, and Architectural Graphic Standards. Of course, these resources are now available online in one form or another. As a genre, the “technical note” has survived the transition from print to digital. The best online example that I can offer would be the approximately monthly “Insights” published by Building Science Corporation (on buildingscience.com). The insights are

generally very informative, and occasionally funny, examples of the genre. Originally printed pamphlets that were collected in a three ring binder, all of the brick notes are now available online. A young (or older) architect considering or working through brick details could do much worse than to browse through the brick notes. I wonder, though, if a little something has been lost in the translation from a binder of paper pamphlets to an online cache. That four-inch-thick binder that I remember? We still have it, and the pamphlets appear to have been last updated in 2006. I haven’t looked at it in years, until I was preparing to write this article. While encouraging my colleagues to take advantage of the online brick notes, I might just spend some time myself paging through the hard copy pamphlets and looking for inspiration.

Acknowledgement: While difficult for me to footnote any particular passage in this essay, I would like to credit Dan Willis from Penn State University, for his thinking and writing on brick, as one of the inspirations for this issue of CONTEXT

Todd Woodward, AIA is a Principal at SMP Architects, Lecturer at the University of Pennsylvania, and a member of the CONTEXT editorial board.

Writers House at Rutgers Camden, SMP Architects (original architect Wilson Eyre).

A NEW CONVERSATION WITH A BRICK

BY ROB FLEMING

The brick’s varying textures and subtle variations of hue immediately tie us to a sense of the earth itself. The red color reminds us of the firing process needed to harden the bricks. The scale of the brick is comforting, knowing that each unit can fit in our hand as we imagine the mason carefully placing the bricks in a wide array of subtle and delightful geometric patterns. We feel the strength of the brick walls, knowing they have stood for centuries and will persist long into the future.

WANTS

Louis Khan* famously anthropomorphized the brick, giving it the agency to shape its own reality. He asked:

‘What do you want, Brick?’

And Brick says to you, ‘I like an Arch.’

It was a profound “conversation” that has captivated architects for generations. It cut to the core of what it means to be an architect, using materials to shape form and give meaning.

NEEDS

But times change.

Here we are in 2023 and indeed, the world is quite different now. Like Mr. Kahn, I ask you to consider the perspective of the brick. I ask:

‘What do you need, Brick?’

And Brick says to you, ‘I need to be sustainable.’

The difference between wants and needs is profound, and yet we must account for both in our thinking. I will expand on the brick’s answer in four ways, with the purpose of better understanding what it means to be an architect in the 21st century. I hope the message will serve as a gentle and consistent reminder that our work as architects is governed by fundamental values and deep design principles.

PEOPLE

The first part of our new answer to the question:

“What does a brick need to be?” is connected to People.

The brick needs to be made in factories where people make a living wage and have paid sick days. The brick needs to be installed by builders who offer training programs for anyone who wants to learn the trade of masonry and the opportunity to succeed or fail on their own terms. The brick needs to be drawn in architecture firms where

*One of the finest and most revered Architects of the 20th century, Kahn had a deeply problematic personal life that overlapped his professional practice. The conversation with a brick was transcribed from the 2003 documentary “My Architect: A Son’s Journey” by Nathaniel Kahn, which also addresses the complexities of Kahn’s family relationships.

a commitment has been made to pursue justice and belonging in the workplace. All of this begins internally, in the hearts and minds of each of us. In short,

The brick needs to be socially sustainable.

PLANET

The second part of the answer relates to the Planet. The brick needs to be responsibly sourced and produced in factories that account for their carbon emissions. The brick needs be installed by expert builders who make every effort to reduce their carbon footprint. The brick needs to be part of a building that was co-created with as many stakeholders as possible. The brick needs to be drawn in the wall sections of architecture firms that have stopped waiting for their clients to ask for sustainability, but instead, find ways to fight climate change on their own terms and by their own metrics. In short,

The brick needs to be environmentally sustainable.

PLACE

The third part of the answer revolves around Place. The brick needs to be a part of a process aimed at authentic Placemaking. The difference between designing a building and making a place is as subtle as it is powerful. The brick needs to be part of something that is not just visually beautiful but also a part of an orchestrated effort to connect to the place in ways that engage all our senses. We can do this by learning from the original people of the region and by understanding the land in all its profound dimensions. In short,

The brick needs to be culturally sustainable.

PROSPERITY

The last part of the answer to the question “What does a brick need to be?” speaks to the concept of Prosperity. The difference between “profit” and “prosperity” is like the difference between night and day. We can all agree that architecture firms must remain profitable to keep the doors open and function as a business. But let’s imagine a thriving, prosperous design firm where talented young architects grow and develop by connecting more directly to the people in the communities they serve. Imagine how young architects will thrive in a firm’s ethos where environmental sustainability is core to the mission and the decision making of the firm regardless of client motivations. And imagine a firm where we intentionally redouble efforts to advocate for the highest quality design of spaces and places possible within the budget parameters. In short, The brick needs to be economically sustainable.

PUTTING THE BRICK INTO PRACTICE

These are the core values of what the brick needs to be. Together, the key words of People, Planet, Place and Prosperity form the mental map of the sustainable future we all seek. It is a roadmap to achieving our credo as architects to protect the health, safety, and welfare of our society. Instead of saying: ‘Sustainability is just a part of good design,’ let’s think and say: ‘Good design is a critical part of a transformative approach to creating a sustainable future.’ When we accomplish this, the people will thank you, our planet will thank you, our places will be richer and more delightful, and we will bring prosperity not only to our current generation, but to the future generations that we serve.

Rob Fleming is the 2023 President of the Philadelphia AIA. He is Director of Sustainability at FCA and the Director of Online Innovation at the Stuart Weitzman School of Design at the University of Pennsylvania. He is an architect, author, educator, and a passionate advocate for a sustainable future.

BRICK AS A SCULPTURAL MEDIUM

“ARCHES OF RESURGENCE”

PHILADELPHIA, PA: A threelegged arch commissioned by SEPTA. Relates to resurgence of the Strawberry Mansion neighborhood, the trees of Fairmount Park, local architecture, and includes a quote by one-time resident, John Coltrane, this page.

“LIBRATING BENCH,” LINCOLN, NE: The design reflects brick’s connection to the natural landscape, right.

“MEMORY WALL FOUNTAIN”

NASHVILLE NE: Interior continuation of outdoor bay with the building treated as a growing entity. The fountain consists of salt glazed altered bricks, far right.

PHOTO: JOHN CARLANO

X

Michael Morgan has been commissioned over the past 30 plus years to design and install many public and private sculptures using brick as his medium. He uses abstract design to create a wide range of functional and semi-functional works of art with hand carved and altered bricks. A common theme that informs his work is the notion that bricks are clay, elemental, and of the earth. “I exaggerate and alter this normally rigid building unit to emphasize its clay nature, either by carving or hitting the bricks while in their moist clay state with hands, feet, and branches.” This produces indentations and texture on the surface, the bricks are then fired in either a gas or a salt kiln.

“CER,” LINCOLN NE: Wall, planters and five columns with seating for ten in a small park, top left.

“GARDEN FOUNTAIN” PHILADELPHIA, PA: Carved salt glazed brick corner fountain. Relates to brick as clay/earth, top right.

“SALT BENCH” GLADWYNE, PA: Installed along a dam in a creek, the design relates to the movement of the creek, right.

Michael is originally from Portsmouth, England and studied Ceramics at the Wolverhampton Polytechnic (now Wolverhampton University). It was there that he became enamored with brick as a material for his art. “I have always enjoyed long walks through both city and country landscapes. Surrounding the Polytechnic I found many abandoned, brick, industrial sites on my walks, and the direction for my art was born.” His work is also informed by his early experience working for the Portsmouth Parks Department, where he learned the fundamentals of horticulture and landscape design. He came to the US in 1988 and became a resident artist at the Clay Studio in Philadelphia where he received the American Clay Artist award for a brick chair. He then pursued graduate studies at the University of Nebraska in Lincoln, NE.

PHOTO: TOM TIDBALL

PHOTO: TOM TIDBALL

PHOTO: MICHAEL MORGAN

PHOTO: MICHAEL MORGAN

PHOTO: TOM TIDBALL

THE MAVEN CANNOdesign

1533 Ridge Avenue is in the heart of the emerging Ridge Avenue commercial corridor where we strove to design a contextual and yet modern building. The projected crisscross brick pattern intersects the projecting brick “trim” around the windows and is done within common running bond coursing. The upper façade contains no cut brick, all bricks are either full stretchers or full headers. In the Construction Documents each individual brick is drawn. At the base, the piers taper to meet the ground indicating that this is a modern building. The brickwork here attests to the true craftsmanship of the masons on the job. The photos include an image of the jig that was created to lay out the pattern. This was placed over the façade for the masons to follow during construction. ■

PROJECT: The Maven

LOCATION: Philadelphia, PA

CLIENT: Khosla Properties

PROJECT SIZE: 22,645 sf

PROJECT TEAM:

CANNOdesign (Architect)

Maser Consulting, now Colliers (Civil Engineer)

StructureLabs (Structural Engineer)

J+M Engineering (MEP Engineer)

CMC Masonry (Mason)

PHOTOS: JEFFREY TOTARO

MONTROSE ESTATES

S2 Design

The Montrose Estates project consists of four new, 3500 sf three-story single-family townhomes with two-car rear garages. The parcel is adjacent to a historic church (c 1906, ashlar & limestone, Gothic Revival) and a historic school building (c 1925, brick & tile, Art Deco). Discovering a way to humbly complement and respect these thoughtfully crafted neighbors remained a driving force throughout the design process, as did finding a masonry material that offered the sizes, colors, and finishes required that also fulfilled the project’s sustainability goals. As anticipated, the budget, lead time, and workability quickly became key challenges. Ultimately, a cement brick product (opposed to traditional brick) that checked all the boxes was selected. The product is finished on all four sides and contains recycled glass which catches the light and adds a subtle sparkle to the mix of standard grays in three different brick lengths. This feature ties in the stonework at

the church while alluding to the scale and detail of the brickwork at the school. To assist the masons in successfully executing the complex pilasters and intricate inlays, a detailed plan, section, and elevation were provided along with three-D drawings at critical points throughout the facade, with tolerances down to 1/8”. Designers worked closely with the bricklayers during construction to ensure design elements such as split-level stoops and an additional cornice line at the third-floor level respected the scale of the modest-sized block. Recessed entryways with integrated planters and concealed access panels were used to successfully hide all incoming utilities. Overall, the façade pays homage to the timeless aesthetic and proportions of the classic, monumental Philadelphia brick façade by utilizing multi-layered pilasters and patterned inlays while also incorporating expansive, mulled windows with exposed steel headers that nod to the city’s Industrial legacy. ■

DESIGN PROFILE

PROJECT: Montrose Estates

LOCATION: Philadelphia, PA

CLIENT: MLK Real Estate

PROJECT SIZE: 15,680 sf

PROJECT TEAM:

S2 Design (Architect)

Space & Company (Designer)

PFD Metal Fabrication Design Studio (Metal Fabrication)

THE CLAY STUDIO DIGSAU

Since 1974, The Clay Studio has been one of the world’s leading ceramic arts institutions, providing a unique learning and exhibition environment for diverse audiences to connect to the ceramic arts. Located on the American Street arts corridor in Kensington, TCS’s new 32,000 SF building provides community programming and outreach alongside a public gallery, world-class education, professional artist studios, and an artist-in-residence program. As an organization committed to design excellence, TCS sought a building design to showcase the expansive range of activities within the building in an expressive and innovative manner.

The building’s striking exterior appearance takes cues from the surrounding context of historic brick warehouse buildings that dominated the area during Philadelphia’s industrial age. Traditional brickwork elements such as raking and corbelling are reinterpreted at a monumental scale to create a richly textured, undulating façade that is highlighted by vivid shadows throughout the day. Across

the façade, textural buff-colored bricks reference the unglazed bisqueware pottery produced after a single kiln firing. This neutral backdrop is punctuated by bright accents of orange-glazed bricks that mark important public spaces within the building while referencing glaze-ware firing. The rhythmic pattern of windows showcases the wide range of activities taking place within the building. Gallery space, a demonstration studio, and a retail shop welcome the community at street-level. The emphasis on display continues at the upper stories where varied windows suggest a “curio cabinet” of activity, revealing educational classrooms, artist studios, state-ofthe-art prototyping spaces, ceramic studios, and kiln rooms. Large openings at the building’s southern corner frame views into open-air event spaces along the street and roof levels, both lined with decorative hand-glazed bricks. A range of visualization techniques and prototyping were used to collaboratively arrive at a building that is a highly functional work of art. ■

PROJECT: The Clay Studio

LOCATION: Philadelphia, PA

CLIENT: The Clay Studio

PROJECT SIZE: 32,000 sf

PROJECT TEAM:

DIGSAU (Architect)

ENV (Structural Engineer)

Chestnut Engineering (MEP Engineer)

ReVision (Engagement/Sustainability)

The Lighting Practice (Lighting)

A sustainable construction option for architects and designers:

Available in innovative colors, textures, and shapes — all with a focus on sustainability.

Westbrook Block has taken everything it has learned in more than eight decades of innovation in concrete block — and packaged it as a brick.

The 17,500 units produced for this project diverted 22,850 glass bottles from the local waste stream, replacing 5 tons of portland cement and eliminating 3.5 tons of CO2 emissions.

Project: Montrose Estates Architect: S2 Design Finish: Smooth Moulded Colors: Armour, City, Metropolis Sizes: 2 3/4 x 11 5/8", 2 3/4 x 7 5/8"

pozzolan made from

glass

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