Proven material, visionary architecture

“Brick’12 is the fifth edition of our book series launched in 2004 to coincide with the Wienerberger Brick Award. The publication highlights the innovative use of brick in architecture today,” says Wienerberger CEO Heimo Scheuch.

The articles were written by some 50 of the acknowledged authors and experts in the world of architecture, from architecture journalist Rory Olcayto to book author Falk Jaeger to lecturer and curator of architecture events Rùta Leitanaite. Some authors have contributed to the book series from the beginning and often visit the brick buildings in person in order to get a first-hand look. The Wienerberger Brick Award 2012 was presented in the categories “Special Solution with Brick”, “Single-Family House”, “Non-Residential Building”, “Residential Building” and “Conversion”.

Brick+: New magazine supplement with Chipperfield and Jelinek

New this year is the magazine supplement Brick+ which can be found in the second part of the book featuring current developments in modern brick architecture. The architecture magazine reports on the expansion of the Tate Modern in London by Swiss architects Herzog & de Meuron and their use of brick as a construction material. Brick+ also features a profile of architect David Chipperfield, who calls himself a friend of “good old brick” and reveals how he recovers from the stress and strain of the architect’s life in Galicia. A further highlight is an essay by Literature Nobel Laureate Elfriede Jelinek about ceramic artist Kurt Ohnsorg.

Highest quality

“The book is more than a coffee table book of the nominated projects. It is a comprehensive reference work for students, architects and fans of architecture, a must on any well-stocked bookshelf,” says Heimo Scheuch, clearly impressed by the new edition of “Brick’12” accompanying this year’s Wienerberger Brick Award. “Thanks to the untiring dedication, organisation and coordination of the many contributors, we have – in a period of just one year – again published a work that demonstrates the highest level of quality from both a journalistic and a design point of view.”

Swiss daily “Neue Züricher Zeitung” called the first edition a book that demonstrates works which, because of their formal beauty and technical precision, stand out far above the average, everyday architectural product. The German architecture journal “Deutsches Architektenblatt” called the book a feast for the eyes with very lively text. “Brick’12 will meet the previous, positive feedback and will definitely satisfy fans of architecture and critics”, says Heimo Scheuch pleased about the new book.

Brick’12 prize contest

Until 1 June 2012, Wienerberger AG will raffle off a copy of the book “Brick’12” worth € 49.95 among all participants of the Wienerberger Brick Quiz.

The book will be available on May 15th in the Callwey online shop.

The Brick Award, which has been presented in a two-year cycle by the world’s largest brick producer since 2004, recognises particularly successful examples of modern brick architecture. The award is endowed with a total of €27,000 in prize money. “With the Wienerberger Brick Award, we want to cast a spotlight on the innovative and versatile use of brick in today’s modern architecture,” says Wienerberger CEO Heimo Scheuch. “All of the projects give you a sense of the instinctive feel with which the architects showed consideration for the local environment. This is also reflected in the choice of materials.”

International architecture critics and architecture journalists submitted nominations for scores of outstanding buildings constructed using clay products. A total of 50 projects from 28 countries on five continents were shortlisted and the final decision was made by the international jury composed of architects Plamen Bratkov (Bulgaria), Rudolf Finsterwalder (Germany), Hrvoje Hrabak (Croatia), John Foldbjerg Lassen (Denmark) and Zhang Lei (China).

Finsterwalder: What is important is that, compared to other awards, this award involves a very qualified procedure. Decisive for the award’s outstanding reputation is, on the one hand, the excellent press work with the accompanying book and, on the other hand, the correct selection process. I witnessed this procedure first-hand as an architect two years ago. This year, I was again convinced of the procedure in my position as jury member. Wienerberger takes the selection process very seriously and does not exercise any influence on the jury. That is an important prerequisite for the result and the selection of the prize winners and it is also respected by the architecture world. The Wienerberger Brick Award is an absolutely fantastic thing.

For this year’s Wienerberger Brick Award, you were one of a total of five jury members. How do you feel about your role as jury member?

Finsterwalder: The work together was very harmonious. Acting as a jury member was a lot of fun for everyone and we could quickly agree on the winning project. Here I must thank Wienerberger for their excellent selection of the jury members under careful consideration of competence and qualification.

For the Museum of architecture Foundation Isle of Hombroich, you re-used facing bricks from a demolished building. What is your aim with this procedure?

Finsterwalder: We made the decision to use facing brick, brick block and clay paving because the region has a great brick tradition. It is a special joy to work with a construction material that is at home in the region where the building is located and which melds with it into one harmonious whole. In realising the project, we also made reference to the many buildings of the late artist Erwin Heerich as well as to the brick villas of Mies van der Rohe that can be found in the nearby surroundings. As a natural material, the re-use of brick as a construction material also shows particular value. The imperfection of the brick, in combination with the wide joints, underscores the monolithic character of the building. This sculptural component of architecture is very important for both Álvaro Siza and for myself too.

Do you see your 2011 book “form follows nature” as a logical continuation of your approach to nature in combination with architecture? Can you summarise the content of the book in just a few words?

Finsterwalder: In my book, I deal with organic architecture, which incorporates all relevant parameters of a building into the planning process. These include, as well as technical, social and climatic parameters, also many other parameters involved in a building which forms an integrated whole – an organism – with the landscape, the location and the people who live there.

Mankind has always taken nature as an example, as a goal and a challenge in its perfection. Nature is in many ways a source of ideas for the creative human being, but also a counterpoint to one’s own work. Serving as role models are both the energetic and constructively optimised forms that can be found in nature as well as its adaptability and versatility. From nature’s rich bounty, natural scientists, engineers, architects and artists draw knowledge and inspiration.

Which special materials do you prefer when you are working? According to which parameters do you make your choice? To what degree do you consider the economic aspect?

Finsterwalder: My main interests lie in the use of natural materials such as wood, natural stone or brick. The latter is an honest material offering plenty of opportunities. I love the discipline that is required when working with brick as well as the highly exact planning with the brick dimensions, which lends the buildings an agreeable regularity. Taking costs into consideration is absolutely necessary, as an attempt must always be made to realise the project economically, though quality must be considered in addition to the costs as well. For the project in Hombroich, we made the decision together with the developers to use a back-ventilated cavity wall with a facing brick-façade, which surely is not the most affordable system, but certainly one of the best.

What special qualities do bricks and blocks have for you as a construction material? Which new developments would you like to see?

Finsterwalder: A fantastic development, and one which I repeatedly have a chance to comment on in my function as guest speaker, is that as an architect I can once again build a monolithic masonry wall. The process involves a mineral plaster being applied to the surface of the brick, which no longer needs to be insulated with a composite thermal insulation system as would otherwise be the case. The thermal insulation is now again achieved by using clay blocks as a construction material, which can unfold its full potential. As a natural material, brick breathes, it absorbs and releases moisture and it contributes to creating an agreeable indoor climate. A fantastic opportunity for modern brick and clay block architecture, one which possibly has not yet been recognised in its entirety. If there is one thing I could wish for myself for modern bricks and clay blocks, it would be an optimised stability.

In conclusion, let’s take a look into the future: How will architecture continue to develop, how will it be influenced by the changed ways of life, i.e. can architecture improve our living conditions?

Finsterwalder: Something which I see as positive is the trend to a renewed focus on quality in private residential construction. We can see a tendency toward new ways of thinking taking place and people distancing themselves from cheap construction such as composite thermal insulation systems. In architecture, the task is to increasingly emphasise the subject of sustainability and environmentally friendly methods of construction and to promote efforts at using natural raw material resources.

I also see potential in the field of urban design and socially committed housing. Attention is paid to changed life situations, as the model of the extended family can no longer be assumed these days. We must think about new forms of living. Some initial projects in which several persons or developers join together in a residential model have already been realised. The aim is the realisation of living cooperatives comprising both private spaces as well as common areas.

At Hombroich, I myself took part in the planning work for the project called “spaceplacelab”. This is a construction project in which people live and work, several families that can take advantage of the benefits of having an extended family, such as childcare, a car sharing model, common areas, and lots more. One of the tasks was to limit the developed area to a maximum of 10 percent. Our proposal included units the size of existing estates in which we concentrated the development in order to achieve as much green space between them as possible. To strengthen the identity of the individual locations, they were planned using different materials for each: one building in brick, another in wood and another in natural stone.

Dipl.-Ing. Rudolf Finsterwalder, born 1966, married
The architect Rudolf Finsterwalder was born in Rosenheim in 1966. He lives and works in Stephanskirchen and in Berlin, Germany. Since the year 2000, Finsterwalder has run an architect firm together with his wife Maria José Finsterwalder. He has realised various buildings in Europe focusing on an examination of forms and structures of nature. Finsterwalder’s prizes and awards include the German Rome Prize Fellowship 2007 and, together with Álvaro Siza, the Wienerberger Brick Award 2010 Special Prize. He has represented his works at the 9th and 11th Architecture Biennale in Venice (2004 and 2010), at the AIA New York (2005), the Island of Hombroich (2005), Museum Ludwig (2008) and the Martin-Gropius-Bau (2008 and 2011). Rudolf Finsterwalder completed studies in Interior Architecture at the University of Applied Sciences FH Rosenheim and in Architecture at TU Berlin.

Scheuch: For me, the complete takeover of Pipelife represents an enormous success in our strategic efforts to expand the core business of the Wienerberger Group. We see us as a provider of future-oriented construction material solutions, regardless of the material. At the same time, of course, we also offer services such as on-site technical consulting. You will find our employees in the architect’s studio, at the roofer’s and on the construction site, where we also offer application training for the people who actually work with the product. In the digital age, it goes without saying that we also develop planning and visualisation software. For example, a program to handle the complex structural calculations for earthquake-proof construction – with the matching clay block delivered by us, too, of course.

Can you give us an example for innovations at Wienerberger?

Scheuch: Our most recent innovation in the field of energy-efficient construction is a clay block filled with mineral wool, or rather with perlite (Note: an insulating material made of volcanic rock) – a solid and environmentally friendly alternative that makes additional thermal insulation, for example with polystyrene, obsolete. Or take the Dryfix system: a gluing process developed by us that allows brick walls to be built even at temperatures of up to 4 degrees below zero.

In 2012, everyone is talking about sustainability. How does Wienerberger do business sustainably?

Scheuch: We are dealing intensively with this topic, which is also firmly anchored within the organisation. In addition to our Head of Sustainability Management, we also have Sustainability Officers at each of our 27 national subsidiaries. We look at sustainability along the entire value-added chain. For us, this includes responsible clay mining, the subsequent restoration of the clay pits and resource-friendly brick production. We also implement local initiatives that contribute to improving the living conditions of the people who live near our production facilities. By supporting the construction of schools and wells or offering healthcare in India, for example.

Wienerberger is celebrating its 193rd birthday this year. How are you leading the company into the future as the number 1 brick producer?

Scheuch: Brick has long been a part of our culture and during thousands of years it has always attracted attention in the architectural community. As the world’s largest manufacturer of ceramic brick products, we consider it our mission to not only preserve this heritage, but to continuously develop brick as a building material in response to the wishes and needs of contemporary architecture. This latter aim is pursued in mutual consultation with architects and clients, who provide us with a constant stream of new concepts and ideas for corresponding product innovations. I am convinced that a company can only orient its business toward future success through product and process innovations and in this way assure its future existence. Today, however, we no longer think purely in terms of products; we think in terms of solutions and systems. We consider the entire building, including infrastructure and landscaping. With our subsidiaries, we can successfully cover even these areas.

Brick and clay products today are increasingly facing competition from concrete and wood, and there is debate within the architecture world – some of it quite heated – as to the best building method. Also, there is no clear agreement among the experts as to the most economic and environmentally friendly solution. Where does Wienerberger stand in this discussion?

Scheuch: Our answer regarding the state of construction in the future lies in our so-called e4 concept, which allows for healthy, energy-efficient and affordable construction. In Zwettl (Note: a town in Lower Austria) we offer proof that this is all possible with brick. We are currently supporting a family build Europe’s first “e4 Ziegelhaus 2020”. This “house of the future” already fulfils the new EU Building Directive, which as of 2020 will require new buildings to meet nearly-zero energy requirements. The brick house produces more energy than it consumes and uses 100 percent renewable energy sources for the building’s energy supply. The family will move in this summer. Over a period of two years, the energy consumption will be measured and recorded by the AIT, the Austrian Institute of Technology. With this project, we are setting a clear signal for modern, affordable construction.

Supposing you were building your own home. How would you describe this house in just a few words? Which functionalities would you give particular emphasis?

Scheuch: Important for me is the use of durable materials, clear and consistent architecture, as well as the subject of energy efficiency. The focus must also be on comfort with a high level of indoor air quality that influences well-being in a positive way. I see the façade itself as a person’s calling card; alternatively, the façade can also be compared with a painting. Moreover, façades made of brick live and breathe and change in the light.

Architecture often also is a characteristic feature of a country. In which country can we find your preferred architectural style?

Scheuch: I find a strong form of expression in the yellow and red houses of Belgium, the Netherlands and northern Germany. In these countries, the combination of house and garden has a strong tradition which, for me, represents a harmonious whole.

Thank you for the Interview, Mr. Scheuch.

Scheuch: For us, this is a success story that began in 2004. Every two years since then, we have recognised the most creative and most innovative brick architecture from all over the world. This year, the Wienerberger Brick Award is endowed with 27,000 euros in prize money. Meanwhile, we know that our award has achieved a certain reputation within the architecture world.

How can you tell?

Scheuch: Submissions have grown steadily since 2004, and we are constantly receiving requests asking how to take part in the competition. I also remember an architect saying that Brick Award winners are in good company after Peter Zumthor, the winner from 2008, won the Pritzker Prize. This shows that we are on the right track.

What is the reason behind the Wienerberger Brick Award?

Scheuch: It was and is our aim to show that brick is a modern and incredibly versatile construction material. At the same time, we want to give people who are interested in architecture, as well as experts, an overview of current developments and trends in international brick architecture with its remarkable range of applications. Even we, who work with brick on a daily basis, are continually surprised and fascinated by the immense planning and manual dexterity with which many buildings are executed to reflect and meet regional architectural requirements.

Can you tell us, just a few months before the big award ceremony in Vienna’s city hall on 3 May 2012, how many submissions you received?

Scheuch: The number of works submitted and nations represented rose once again, despite the economic situation in the construction sector, although in percentage terms the increase was lower than in previous years. In total, 50 projects from five continents were nominated for the Wienerberger Brick Award 2012, out of around 300 submissions.

How can our readers imagine the submission process?

Scheuch: The projects reach us exclusively through international and independent architecture critics and journalists. With their outstanding use of brick and clay products as a construction material, the architects attract the attention of these experts, who then make the works accessible to the larger public. These works can include museums as well as industrial buildings, single-family homes, public buildings or revitalised historic structures. The only requirement is that bricks or clay products were used. Whether regular clay block, facing brick, roof tiles or pavers, plastered or pure, indoors or outdoors. The important thing is: it’s brick.

How can our readers imagine the selection process?

Scheuch: In the next step, a group of experts selects the nominees and prize winners. Decisive criteria include – in addition to an innovative exterior architectural design and the use of brick as a material – the building’s functionality, energy efficiency and sustainability.

Who are these experts?

The jury is comprised of eminent personalities from the international architecture scene: practicing architects, university professors or critics. Naturally, Wienerberger has no voting rights on the jury.

Wienerberger not only recognises the most innovative projects of the recent past, but also devotes special attention to their creation in the accompanying “Brick” book. Why did you opt for a book?

Scheuch: An award gala is always a festive affair that celebrates the prize winners, but it remains a snapshot. With the lavishly designed “Brick” book, we have opted for a lasting form of presentation that helps to perpetually highlight the importance of the winning projects and nominations. At the same time, the book represents an opportunity to show just how innovative brick – from clay blocks to roof tiles to pavers – can be when used in architecture today.

What can readers expect in the book “Brick’12”?

Scheuch: In addition to the prize-winning buildings, the book will present all those brick structures that made it into the inner circle of nominees. Thanks to the many outstanding international architecture journalists, many of whom visited these innovative projects in person and put them in writing, the reader is given a comprehensive picture with interesting details. In our Brick+ magazine, which can be found in the second part of the book for the first time this year, we give architecture personalities such as Sir David Chipperfield, Literature Nobel Laureate Elfriede Jelinek and young architects of the next generation a chance to have their say. This much we can reveal: this year’s book covers a broad spectrum.

Will there be another Wienerberger Brick Award two years from now?

Scheuch: Yes, the Wienerberger Brick Award will be presented again in two years. Until then, we will let ourselves be surprised by the innovative strength of international architects, installers and clients in their use of brick as a construction material.

Thank you for the interview. Next week, Mr. Scheuch will provide information about the company Wienerberger and his future plans.

QUALITY AND AESTHETIC APPEARANCE

Top-quality paving which also improves the aesthetic appearance of the area was high on the wish list for the renovation. Johan Faber said: “The quality of the paving needed to be very good to withstand the stresses of the weekly market and complement the appearance of the traditional architecture, such as the 150-year old train station, as well as modern buildings like the underground garage. The reddish brown and dark paving bricks met all of our expectations not only in terms of robustness, but also concerning the price and the city’s image. On the main shopping street, the facades offer a natural reference point. In addition, the downtown area is a reduced-traffic zone. Consequently dealing with traffic only plays a subordinate role.”

CARE AND MAINTENANCE

The downtown area of Roosendaal has again been restored to an attractive inviting place by the renovation. Once the construction is finished, the maintenance phase will begin – a much easier task – and at present, the construction companies are giving the street its final touches.

Finding the harmony within the animal.

On one hand, the integral nature of the state-protected building of the Academy and its moderate and reserved style, volumetric harmony and moderate colours that have been popular in the 1930’s, required the project’s architects to create a structure not disrupting the harmony of the ensemble. On the other hand, the specific purpose of the complex invoked was to look for visual interfaces to the animal world, to escape from straight lines and rectangular forms, and to look for expression close to a living body of a creature.

Opposites attract.

This in particular induced the choice of clay roof tiles Pottelberg 301 with different colours and gloss. They ideally suited for the objective of making a living scaly body. The contrast principle has justified the expectations, and the new wing did not significantly disrupt the principles of composition of the ensemble and did not clear away the identification criteria of a historical period, but clearly showed us who, when and by what means and materials the ensemble has been built. The Veterinary complex is dominated with park style lighting, and only some of the buildings have sparing illumination at the entrance to the buildings. Following the same principle of contrast, the illumination solution was completely different this time – special ventilation ceramic tiles with integrated LEDs. This type of illumination provides particular shine at night, and imparts even more features of a living and moving body to the building.