Architectural Terracotta - Winston Churchill Memorial Trust

Transcription

Architectural Terracotta:
An Exploration of Transatlantic Opportunity
Amy Smith
2011 Winston Churchill Fellow
Architectural Terracotta: An Exploration of Transatlantic Opportunity
CONTENTS
1.
INTRODUCTION
Page 2
2.
ACKNOWLEDGEMENTS
Page 3
3.
BACKGROUND
Page 4
4.
ARCHITECTURAL TERRACOTTA
4.1
Brief History of Terracotta in the USA
4.2
Challenges & Decline
Page 5
5.
MANUFACTURING
5.1
The processes: From drawing board to
completion using 188 Randolph as a Case Study
5.2
Boston Valley Terra Cotta
5.3
Gladding McBean
5.4
UK Manufacturing
5.5
Alternative materials
Page 12
6.
NEW BUILD
6.1
Cladding systems
6.2
New build case studies
6.3
Other new build architecture
Page 28
7.
INNOVATION IN CERAMIC MATERIAL
7.1
Research facilities
7.2
Artists working in clay
Page 31
8.
SUMMARY
Page 32
Amy Smith 2011 Winston Churchill Travelling Fellow
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1. INTRODUCTION
This report details the events and findings from Amy Smith’s 2011 Winston Churchill
Travelling Fellowship; Architectural Terracotta: An Exploration of Transatlantic
Opportunity. The project consisted of 8 weeks travel in the USA to study the uses of
terracotta in a historic and contemporary context in comparison with the UK. Some
independent travel in the UK has also been included in order to present a more
rounded context.
The main aims of the Fellowship were:
•
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•
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To meet the centres of manufacturing in the USA in order to gain an
understanding of the types of projects undertaken, their business focus and
manufacturing methods.
To learn about any differences in attitudes to the material in the USA and the
UK. How the material is perceived both by professionals who are engaged with
conservation and by those who are not. To consider how this impacts its use.
To gain an understanding of the current market for terracotta in the USA in
comparison with UK
To understand the manufacturers’ capacity and interest to supply terracotta
for new build projects as well as restoration
To question to what degree a contemporary market for terracotta may sustain
the industry in the future, with particular consideration of retention of craft
skills.
To study what the terracotta industry might look like in the future, what are its
strengths and weaknesses and how much of a part might new build projects
play.
Throughout the text items in blue boxes are additional interest items detailing
experiences and observations and are not central to the report.
All images are the author’s own, unless credited otherwise.
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2. ACKNOWLEDGEMENTS
I would like to give huge thank you to all of the people who made time to meet me
and show me round projects during my Fellowship. I had excellent experiences
throughout my time in the US and am grateful to everyone I met who shared their
knowledge so generously.
• David Maddocks, Geoff Hollis, Hathern Terra Cotta • Susan Tunick, Friends of Terra
Cotta • Adam Zayas, Moravian Pottery & Tile Works • Rob Mair, Aurora Historical
Society • Sheri Carter, Partiria Aubrecht, John Krouse, Boston Valley Terracotta •
Thomas Shultz, Buffalo Harbour Tours • Mary Brush, Holabird & Root • Gunny Harboe,
Gunny Harboe Architects • Walter Arnold, stone carver • Sharon Darling, curator &
historian • Tim Samuelson, Cultural Historian, City of Chicago • Mark Kuberski,
Central Building • Michael Fus, Chicago Park District • Brett Laureys, Wiss Janney
Elster • Joshua Freedman, Wiss Janney Elster • Carol Koffel • Mike Moreas, Gladding
McBean • Melisa Gaudreau, Page & Turnbull • CeCe Louie, Simpson Gumpertz &
Herger, Ruth Todd, Page & Turnbull • Lex Campbell, Simpson Gumpertz & Heger •
Riley Dowty, Tile Heritage Foundation • Pete Peterson, Architectural Terra Cotta
Consulting • Jon Wilson, Shaws of Darwen,
Mostly, I would like to thank the Winston Churchill Memorial Trust for this incredible
opportunity, for offering me the means to explore this subject in a depth that would
not have been otherwise possible.
I would also like to thank Harriet Devlin & Tony Herbert, Ironbridge Institute, for first
mentioning the opportunity in the first instance and for your enthusiastic
encouragement and support throughout.
And Andy, thank you for your belief, always.
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3. BACKGROUND
The author has a background in craft and specialised in ceramics at Brighton
University studying 3-Dimensional Craft (Wood, Metal, Plastics & Ceramics) then
operating as an independent maker; producing sculptural and architectural pieces to
commission and working on collaborative projects since.
Working in industry with Lambs Terracotta as Head of Clay and Glaze has given the
author an understanding and appreciation of the craft skills and techniques involved
in producing terracotta for historic buildings. This insight and enjoyment of making
terracotta for replacement led her to take a Masters in Historic Environment
Conservation at Ironbridge Institute with a focus on the practical application of
traditional materials with sensitivity to conservation principles and policy. As a
ceramicist involved in conservation as well as contemporary design, the sustainability
and future potential of terracotta as a building material is an important and exciting
subject to explore.
This Fellowship has enabled the author to connect with professionals and leaders in
the field and expand her knowledge and understanding beyond what would have been
otherwise possible. The author intends to continue developing an appreciation and
deeper understanding of this wonderfully diverse and beautiful material in ongoing
work with terracotta and is committed to sharing an enthusiasm and appreciation for
terracotta.
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4.
ARCHITECTURAL TERRACOTTA
4.1
Brief History of Terracotta in the USA
Terracotta was pioneered in the USA from the 1850s with some false starts. Problems
with stone such as quality, transport costs and shortage of masons led to the drastic
solution of importing terracotta from UK. The construction of the Boston Museum of
Fine Arts in 1876 required the immigration of skilled potters and provided the
expertise for large scale manufacture of terracotta in Chicago, New York as well as
Boston. Sadly problems with late payments and shipping led to problems for this build
and Blashfield the architect suffered many losses as a result. (Stratton, 1993)
James Taylor is the man who can be credited for successful introduction of terracotta
into the US. By 1870 terracotta was being accepted by several architects in Chicago
spurred on by the practical concerns resulting after the Fire in 1871.
As listed below; the growth of the use of terracotta in USA exploded in Chicago in
1880s due to a combination of the following factors:
1. Heat resistant properties of terracotta recognised after the Great Fire of
Chicago
2. Metal skeleton construction
3. The advent of the elevator
1. In the Great Fire of Chicago, 1871, one third of the city burned; terracotta
buildings were some of the few that survived. The city was surprised how even brick
buildings collapsed in the heat with their timber frames burning causing the brick
shells to fall. It was noted that the terracotta insulated and protected the iron
framing.
Figure 1: Devastation after the Great Fire of Chicago, 1871,
prints attributed to George N Barnard
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As seen in Figure 2, cast iron façades were commonplace at this time, and eye
witness accounts describe how “molten metal flowed like lava through the streets of
Chicago”
Figure 2: Bergoff Building, Chicago
Example of one of the few surviving pre-fire
cast iron façade buildings
Building regulation in 1886 insisted on full fireproofing of new buildings. (Stratton
1993) The use of terracotta was prevalent in the rebuilding of the City. Architects
such as Daniel Burnham, Root, Jenney, Holabird, Roche, Sullivan flocked to the City
to rebuild.
2.
The development of the skeleton metal frame, where the framing held
all of the loads of the building, revolutionised building design. No longer did walls
need to be of a thickness to support the height. Terracotta, as curtain walling, could
be hung, like a ‘curtain’, from the steel frame, starting half way up or at any point on
the building as the structure alone is stable and the terracotta is not load bearing.
This is a far departure from masonry building techniques previously understood and
allowed architects to build much higher. Architects took up the challenge and the
new style Chicago School of Architecture was formed by rethinking building design.
3.
The introduction of the elevator allowed easy access to top floors of tall
buildings. Previously, buildings were of 3-4 storeys with the properties on the top
floor claiming the least rent as they were less desirable due to the number of stairs to
negotiate. Skyscrapers offered access to three important elements: light, space and
air. Three things not readily available in a growing industrialised City.
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Monadnock Building, Chicago
www.monadnockbuilding.com
1893 Burham & Root
The north portion of the building is the tallest structure built with load bearing walls,
the walls are 72” thick at the base in order to build to a height of 16 storeys.
The Monadnock marks a transition in building techniques; Root built the South portion
using skeleton steel structure, or curtain wall technique. The façade is not load
bearing but simply ‘hangs’ from the frame beneath.
Figure 3 & 4 – The Monadnock Building, Chicago
The Rookery
www.therookerybuilding.com
1888 Burnham & Root
Although of steel frame construction, as the one of the first buildings with this new
engineering, the Rookery is designed to appear of traditional masonry construction as
accepted and understood at the time. The building is ‘disguised’ in this way, with a
heavy solid design in order that people would not be scared to go up the eleven
storeys. An interesting insight into the thinking of the day.
Figure 5 & 6: The Rookery, Chicago
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Architects explored and enjoyed the artistic expression afforded with this new
material. Competing materials such as cast iron and stone were not capable of
manipulation and the depth of texture and relief that became commonplace in
terracotta. Louis Sullivan in particular took the decorative nature of clay to the
extreme and confessed he loved the material for the freedom of expression and
intense level of decoration that he had not been afforded in other materials.
Terracotta became the material of choice for many architects of the time.
Terracotta from 1920s reflected changing architectural styles and developments in
glazing incorporating bright colours and striking finishes. This progression is clearly
visible on the West Coast from San Francisco to Los Angeles.
A visit to Oakland really demonstrated the vibrancy of terracotta and the extent to
which colour in glazing was capitalised on in an impressive manner, really showing off
all kinds of possibilities offered by a terracotta surface.
Figure 7 - I. Magnin, 1931, Oakland
Figure 8 – Paramount Theatre, 1931,
Oakland
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Figure 9 – Floral Depot, 1931
Chicago – The White City
As a city in tune with its architectural heritage, Chicago is strikingly easy to explore
as a visitor interested in architecture. Historians and academics with a wealth of
knowledge of the city and its assets made themselves generously available to share
their passion and engage with the subject. Tim Samuleson is renowned nationally and
has been involved in many projects to make the city’s heritage available and
understood for all. He has also ‘saved’ buildings and fragments of buildings where the
whole was lost. Tim’s love for terracotta and the meaning represented in the
fragments he has collected is visible and enjoyable and his readiness to relate
historical events, places or happenings within an understandable context and indeed
humorously makes him perhaps one of Chicago’s treasures.
Figure 10 & 11 – Louis Sullivan ‘fragments’ from demolished building facades
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By 1890’s manufacturing giants such as Northwestern Terra Cotta, New York Terra
Cotta, the American Terracotta Company, Boston Terra Cotta, Atlantic Terra Cotta,
Midland and many other firms were able to supply terracotta of any style, finish or
colour.
4.2
Challenges & Decline
In response to market changes and decreasing demand the industry diversified.
Terracotta manufacturers responded to changing tastes of the 20s by generating new
product and incorporating vibrant colour, such that was popular at the time. In the
20s a ceramic ‘veneer’ was promoted by terracotta manufactures, for designs such as
shown in Figure 12. Manufacturers quickly realised that by creating a more tile like
architectural product they then competed with tile manufacturers. It was also noted
that by trying to stay in business by manufacturing terracotta that resembled other
materials the identity of terracotta was further obscured.
Figure 12 - Campana Building, Batavia, Illinois. Photo courtesy of Thomas A. Freeburg
In 1931, American of Crystal Lake, Illinois, recorded orders averaging 450-500 per year
during the mind-twenties, but only won 51 contracts in 1933. (Stratton 1993)
Skyscraper construction all but halted and lavish facades for cinemas seemed
unjustifiably expensive.
Reasons for the decline of terracotta manufacturing include:
• The depressed economy of 1930s caused many manufacturers to contract as a
reflection of the market and to go out of business.
• Competition in the industry was strong.
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After the war, ex-soldiers were given free access to education and many did
not want to follow their fathers into the trades. Aspiration in the new
generation was high and the terracotta factories struggled to employ.
The demand for terracotta was dwindling as architects were not specifying
terracotta. The old architects who had used terracotta all of their life were
dead and terracotta was perceived as an old fashioned material.
A new modern aesthetic, the International Style, use of steel and glass and
clean lines made terracotta, brick and tile less desirable.
Terracotta took longer to produce because of hand finishing and the nature of
the material. Production was labour intensive and therefore more expensive
than other competing materials.
National Terra Cotta Society
The National Terra Cotta Society was founded in 1911 in response to the rapid
expansion of the terracotta industry and heightened competition causing companies
to cut prices and in some instances compromise in quality. Their aim was to organise
the industry and to support and promote terracotta. As well as providing standard
specifications for manufacture and installation, the National Terra Cotta Society
launched a national advertising campaign and published papers and brochures,
educational programmes & films demonstrating use of terracotta. One of their most
important roles was also to undertake scientific research and publish paper and data
about the material. (Tunick 1997)
By 1930 the National Terra Cotta Society was down from 24 members to 13. The
organisation disbanded in 1933 in reflection of the continual dwindling use of
terracotta.
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5.
MANUFACTURING
Today there are 2 companies producing architectural terracotta in USA: Boston Valley
Terra Cotta and Gladding McBean. The companies are outlined below, but first a
closer look at the processes of manufacturing terracotta:
5.1
Processes: From drawing board to completion - 188 Randolph case study
The processes involved in design, manufacture and installation of terracotta were
explored first hand at 188 Randolph, The Loop, Chicago. Randolph Tower is a 45
storey skyscraper built in 1929. After years of neglect, new owners are conserving the
terracotta fabric of the building as part of a conversion project, turning the building
into rental apartments. This is the largest terracotta replacement contracted to date
in Chicago. A total of 20,000 terracotta blocks are being removed from the building
for reinstatement or replacement. Meeting the Project Architect; Brett Laureys, Wiss
Janney & Elstner, Contractor on Site; Mark Kuberski, Central Building, and also
visiting the manufacturer Gladding McBean, provided an in depth look at all elements
of this project.
The original drawings for the design of this building were available; this gave the
team a huge amount of information and saved time and around $1million. Figure 13
below describes how the design is organised into sets and the location of repeating
sets noted.
Figure 13 – Detail of Northwestern Terra Cotta Company drawing
Mark Kuberski has worked with the drawings to identify every block in the building,
where it is located and how many times it is repeated. The building is then surveyed
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to determine the condition of each piece of terracotta. This information is combined
to provide data as to which pieces are to be removed and reinstated, removed and
replaced or simply pinned. The information for blocks to be remade for replacement
is sent to the manufacturers, Gladding McBean in California manufacture and
delivered to site in time with the programme.
Mike Moreas from Gladding McBean described the processes involved in terracotta
production, which remains relatively unchanged in over a century. Here follows a step
by step explanation of the process with reference to Randolph Tower and examples
from Gladding McBean:
• Samples and sign off – Specification and samples matching clay, colour, texture
and all elements of the finish are signed off after a process of agreement between
manufacturer, Client and any overseeing 3rd parties. As an important building,
officials from the City of Chicago were in consultation, much like English Heritage
would be in England. Panels were fabricated and hung on the building at height to
assess the match in different lights and at different times of day. Only when an
agreement and satisfactory match has been signed off can the project proceed.
• Drawing - Once the blocks for replacement are identified, drawings which
detail each face and profile of each block are made. Terracotta samples are sent from
site where possible for reference and faithful replication.
• Model making – Precise plaster models replicate each piece in plaster, profiles
are cut in zinc and used to form the plaster. Gladding McBean use scaled up rulers to
increase the size of each mould by 10% to compensate for the shrinkage of the clay
throughout the drying and firing.
Walter Arnold, a stone carver provided a replication of what he believes to be the
main modeling tool that modellers would have used, historically. It is shaped in such a
way to include all of the useful elements in one handheld tool.
Figure 14 – Walter Arnold’s remake of a clay modeller’s tool
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• Mould making - Multi-piece
piece moulds are made around the model, to create a
negative which the clay is press
pressed into. Figures 15- 17 describe the model being
release from its mould. The mould is dried until ready for pressing
pressing.
Figure 15 & 16 – The release of a multi
multi-piece mould
Figure 17 – The finished mould
Figure 18 – The finished block in position
as part of the new entranceway
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• Pressing – Soft clay is pressed into the mould by hand. A hand tool is used to
tap the clay firmly into the mould to gain an even consistency and thickness of clay
throughout the mould.
Figure 18 – Pressing
The plaster absorbs the moisture of the clay and after a few hours (depending on size
of mould) the clay form is easily released from the mould. Each block is stamped to
identify it.
• Finishing – The clay surfaces are finished by hand, custom made tools are used
to apply any specific textures that are required.
There are several textures on the blocks on Randolph Tower. The course is achieved
using rollers made from plaster with the impression of the desired texture. Lines to
emulate carving marks are made using a specially made metal tool.
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Figure 19, 20 & 21 Texture application using specific tools
•
Drying – The blocks are left to dry in racks under muslin and then force dried in
controlled heat and humidity in large driers.
• Glazing – Glazing takes place with the blocks on a conveyor belt around a round
glaze booth with each person spraying a different layer of glaze before it is passed
onto the next. This job has 6 layers of glaze. A sample of the confirmed finish is to
hand and checked regularly for quality control.
Figure 22 – Glaze booth
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• Firing – The finished blocks are delicately loaded by hand onto large kiln beds.
Impressively, the blocks are stable and strong enough for them to be loaded on top of
one another not requiring kiln shelves inbetween. The powdery glazed surface is
delicate until the firing, when it reaches temperature and fluxes to become glass like.
Figure 23 – Kiln loading
On site, all of the blocks that have been identified for removal are taken out of the
building. All of the exposed steel is cleaned or replaced if corrosion has degraded the
material beyond reuse. All steel is painted to protect from moisture and prevent
corrosion.
According to the data previously compiled blocks are refitted or the original block
simply pinned with stainless steel pins, as pictured in Figure 24.
Figure 24 – Helix pin
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Treated steels
Terracotta being
installed
Historic metalwork,
awaiting treatment
new brick infill
flashing
replacement terracotta
complete with pointing
Figure 25 – Installation of new terracotta
Figure 25 is an interesting image because it shows the layers of building’s construction
as well as many stages of conservation: historic steel material, painted steel, flashing,
supporting plates, new and historic terracotta and new and old brick infill.
Alongside restoration of historic fabric the Client is taking the opportunity to reinstate
the terracotta at ground floor level which had been removed in the 1950s by a simpler
façade preferable at the time. One reproduction of an old black and white
photograph exists of the grand entranceway. Figure 26 shows progress made so far on
the new decorative features of the entranceway.
Figure 26 – re-created shield for the new entranceway
This piece is the result of the interpretation of the image and skill of modellers along
with the artistic collaboration between client and sculptor over distance, using
sketches and photographs of models until the new form is settled upon.
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5.2
Boston Valley Terra Cotta
Boston Valley Terra Cotta are based upstate New York around 20 miles south of
Buffalo City. Their first architectural terracotta project was the Guaranty Building in
Buffalo, an ambitious start in 1983. Today they employ 200 people and have a good
reputation for quality product across the country.
Methods of manufacture
Boston Valley Terra Cotta utilise 4 methods of manufacture for terracotta product:
hand pressing, extruding, slip casting and ram pressing. Extrusions are used where
possible to give a high yield and consistent product, although some projects specify
hand pressing. Few blocks are suitable for ram pressing and BVTC use this technique
to manufacture tiles and similar items that are low profile with perhaps only one
deflection. Slip casting is used for manufacture of balustrades to eliminate any joins
necessary with other production techniques.
Innovation
Having invested in state of the art equipment, Boston Valley Terra Cotta are
promoting the use of their terracotta cladding material: TerraClad. Their facility show
cases the product externally on their buildings and internally as an impressive
decorative feature wall in their Conference Room.
Figure 27 – Boston Valley Terra Cotta’s TerraClad product at their premises
See section 6 for more detail about new systems for building.
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Boston Valley Terra Cotta work with ceramic artists and designers to produce new and
diverse ways of using this material.
Technology
Technology and modern tools are used where possible; trucks on rails, conveyor belts
and modern lifting equipment are all in place to assist ease of production.
Environmental sustainability
Domestic china is collected to be ground down and used for a material to make the
clay. This not only assures a quality raw material but also contributes to BVTC’s
environmental accreditation.
Accessibility & Business Development
BVTC appeared an open, forward looking, dynamic company. It is encouraging how
they advertise free downloadable technical information, architectural details,
specifications and product information from their website, making it easy for
designers to re-use archived profiles
Overall Impression
BVTC plant is clean and relatively modern and a level of professionalism is apparent
on walking through the facility. Workers were introduced and explanations made as to
the detail of their specialism.
Guaranty Building, Buffalo
1896 Sullivan
The Guaranty Building is one of the most impressive examples highly decorated
terracotta. The deep red clay is intricately moulded with Sullivan’s signature
interlacing vine like forms. The vertical piers draw ones eye to the sweeping
overhanging cornice seemingly impossibly deep in decoration.
Figure 28 & 29 – Guaranty Building
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5.3
Gladding McBean
Gladding McBean expanded their clay pipe production into terracotta manufacture in
1884. Today Gladding McBean operate from the historic site and dig clay from the
same clay pit near Lincoln, 20 miles outside of Sacramento in California. The office of
Ernest Kadel, lead sculptor from 1920-1959, and rooms where the terracotta was laid
out to photograph and show to Clients is now a museum type show room.
Figure 30 – The ‘laying out’ room at Gladding McBean, now a museum space of
historic terracotta
Methods of manufacture
Gladding McBean hand press and extrude their ware.
Accessibility & business Development
The history embodied in these buildings is palpable. Archived material is now held at
the State Library for viewing and Gladding McBean are accommodating of enquirers
seeking drawings for current projects. A former employee describes these assets as
“works of art hand drawn in India ink” (verb.comms Peter Pederson 2012)
Unfortunately the drawings still held at the factory site are in poor condition due to
age and sometimes do not survive even being unrolled.
Innovation
In what was the old pressing room Gladding McBean are known for their yearly
exhibition of contemporary ceramic artists and designers called Feats of Clay. Having
met one of the participating artists, Carol Koffel, the exhibitions seem to have been a
great success. It will be interesting to see how this connection with artists may be
developed in the future.
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Technology
Changes such as moving the clay manufacturing, the pressing room, down to the
ground floor from a first floor space is logical and eases production. Rails have been
removed from the shop floor and wheels from carts such that fork lift trucks can move
the ware around the factory floor mechanically. Gladding McBean assess new
technologies where appropriate but also value keeping skills in house and maintaining
traditional methods.
Overall Impression
In such an old facility the wear and years of production are apparent. The historic
nature of the facility is one of the company’s main assets and is celebrated and
acknowledged widely.
See Section 4.2 for a closer look at processes and examples of manufacturing
techniques from Gladding McBean from site at 188 Randolph Tower.
5.4
UK Manufacturing
The terracotta industry in UK today is also small having experienced similar
contraction to the American market. Meeting with terracotta manufacturers across
the country has offered a broad perspective of the shape of the industry and the focus
these companies have:
Hathern Terra Cotta
www.hathernterracotta.com/
Hathern Terra Cotta re-established just over 2 years ago, with a prestigious company
history beginning in 1874 until their closure as Ibstock Hathernware in 2004. Many of
the original work force have returned to Hathern, creating a small but skilled and
dedicated team. Hathern explained how they are focusing on restoration work and
will remain small and specialist.
Lambs Terracotta
www.lambsterracotta.com
WT Lambs & Sons have been producing handmade bricks in Sussex for over 100 years.
The terracotta side of the business developed in 1918 and ceased after the war, and
reestablished in 1995. Lambs confidently take on prestigious projects with a
commitment to quality production complementing their brick, rubbers and stone
business.
Shaws of Darwen
Shaws of Darwen are based near Preston in Lancashire and slip cast terracotta for
export internationally with representation in USA and Canada. With a high quality
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consistent product Shaws are well renowned, with a passion for terracotta. The new
build element of the business is a priority and growing.
Smaller independents
Small companies producing decorative ware, architectural terracotta and roof tiles
pepper the country. Not having met them all I will not list them, but would like to
acknowledge the industry is not exclusively occupied by these large manufacturing
facilities.
Material Differences
Terracotta in the USA is generally always glazed or covered in a slip of some kind,
even if the slip is very close to the colour of the clay body. This is usually for one of
two reasons, the glaze is to emulate stone, or a slip is used so that an even tone is
achieved across the whole building. In the UK red clays and the natural clay body
colour and natural variations from the firing appear to be celebrated more, this is
perhaps the influence of the Arts & Crafts Movement.
A finish named Granitex was developed by Gladding McBean to look like granite. In
Figure 31 you can see how closely the terracotta glaze matches the granite used for
the pavement:
Figure 31 – Example of Gladding McBean’s Grantex finish to look like granite
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5.5
Alternative Materials
The use of alternative materials is not new to conservation. New materials are
promoted, explored and applied often. The appropriateness of materials can be
debated with reference to the particular circumstance, the original fabric and the
nature of the substitute material. The general acceptance in England is that new
materials should be approached with caution and used sparingly, in a manner that is
replaceable and monitored if the behaviour over time is unknown. Case studies of
traditional materials being substituted with modern plastics have shown to lead to
accelerated decay of adjacent historic material.
In the US a surprising acceptance of alternative materials being utilised in place of
like for like replacements was encountered. Even with the scale of terracotta being
replaced on 188 Randolph some GFRC (Glass Fibre Reinforced Cement) was being
installed. The Project Contractor explained that this material was being isolated from
the adjacent terracotta and would be treated independently so no damage would be
done. He also explained the cost saving, even on a job of this scale, by replacing what
would be several blocks of terracotta each with several moulds for one panel that is
repeated in several places in the building.
In the 1950s in Chicago many of the overhanging terracotta cornices were removed
due to fears of falling masonry due to lack of maintenance. What were reasonable
safety concerns of the time lead to the destruction of decorative elements of some of
Chicago’s most treasured buildings. Some cornices have been reinstated since but
many are still without their ‘crown’. The chosen material for many of these cornice
reinstatements is GFRC. Mary Brush, Holabird & Root, pointed out of one the first
cornices to be replaced in GFRC and explained that due to the height of the material
one could not tell that the material is not terracotta. In considering this material one
has to acknowledge the sheer number of building with large overhanging cornices that
have been and are still waiting replacement. The investment to reinstate with
terracotta is great and not just in the short term but over the life of the building as
poor maintenance will, in time, lead to decay and the cornice posing a threat once
more.
Figure 32 - Example of lost cornice on The Gage Building, Chicago 1898, Sullivan
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The Terminal Building in San Francisco is a good example of the successful use of
GFRC in its restoration in 2003. Huge panels of brickwork were recreated in GFRC,
copying the uneven nature and natural discoloration of old brickwork. These panels
were lifted into location in the gallery level reinstated in the Terminal Building.
Whatever ethical conservation questions may be discussed, the effect is convincing
and as an interior finish, is perhaps more easily accepted.
Figure 33 – Example of GFRC panels in the Terminal Building, San Francisco.
GFRC material to the left, historic brickwork to the right.
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The Sullivan Center, Chicago
www.thesullivancenter.com
1899, Louis Sullivan
Gunny Harboe, Gunny Harboe Architects explained the challenges of the recreation
of the cornice on the Sullivan Centre. The process of faithful re-creation was
painstaking and two sculptors, many models and sketches were involved in
reworking the form to replicate Sullivan’s intense decoration. Old, low quality,
distant photography was all that was available as original source material and as a
reference point to recreate the detail as closely as possible. GFRC (Glass Fibre
Reinforced Cement) was chosen for the restoration, rather than terracotta. On
gaining entry to the Art Institute the columns and capitals can be viewed close up
from the interior of the building. Only at this close proximity can the material be
seen to be GFRC. The effect from street level is impressive and restores the grand
appearance of this magnificent building.
Figure 34 – The Sullivan Centre, cornice reinstated in 2006
Figure 35 & 36 – details of GRFC cornice and columns
27 | P a g e
Cleaning and Consevation Principles
The USA have similar conservation principles to UK and appreciate that
understandings and ethics as well as the conservation industry as a whole have
developed later in the USA than in the UK, the realisation and desire to protect
heritage occurring relatively recently. The main difference now quite noticeable
and difficult to over look is the use of alternative materials in America and the
acceptance of plastics and filler materials. This is explored more thoroughly in
Section 5.4.
Similarly to in the UK, Clients are educated where necessary and guided through
the process of appropriate conservation by the preservation team they have
commissioned.
It was assumed the Carbon Carbide building was of black terracotta, until it was
cleaned and a rick dark green was revealed. A good example of why buildings
should be cleaned as part of their conservation to display the building material as
intended and allow any replacement material to sit comfortably in the original
tones.
Figure 37 & 38 – Carbide & Carbon Building, 1929, Burnham Brothers
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6. NEW BUILD
6.1
Cladding systems
Cladding systems or rain screens are a popular way of building construction using
modern building techniques. Rain screen cladding is fixed to the building using surface
fixings incorporating a ventilated cavity. They function by encouraging evaporation of
moisture because the joints are open or baffled. A variety of different materials and
colour finishes are available including, high pressure laminate, fibre cement,
aluminum and aluminum composites, glass-reinforced plastic and terracotta &
ceramic. (www.bdonline.co.uk 13.1.12)
BVTC
Boston Valley Terra Cotta set up their state of the art facility to produce rain screen
material in 2004, supplying the American market and further afield. BVTC are
promoting the product in Europe alongside more established competition from
companies like NBK from Germany.
NBK
The German company, NBK, have been producing rainscreen material since 1970s and
this model of building is widely understood and utilised across Europe. NBK have
several different profiles, sizes and colours of their ceramic rainscreen product
TERRART.
6.2
New build case studies
Below is a selection of high profile recent terracotta new build projects:
200 Eleventh, West Chelsea, NYC
Annabelle Selldorf, terracotta by BVTC
This is a luxury 19 storey apartment building
incorporating a ‘sky garage’, where the tennants’ cars
are lifted to the level of their apartment. The lower 3
storeys are terracotta with a metallic coppery glaze, to
reflect the low rise masonry structures in the
neighbourhood. The tower above is a reflective
stainless steel rainscreen.
http://www.selldorf.com/projects/featured/200eleventh-avenue/
Figure 39 – 200 Eleventh, NYC
29 | P a g e
520 West Chelsea, NYC
Annabelle Selldorf, terracotta by BVTC
This eleven storey building is mostly
residential, with commercial space on the
ground floor, currently a Gallery. The curved
terracotta block façade is a glossy midnight
blue colour giving the building a weight and
seriousness.
http://www.selldorf.com/projects/
commercial/520-west-chelsea/
Figure 40 – 520 West Checlsea, NYC
New York Times Building, NYC
Renzo Piano, ceramic screen by Shildan
The ceramic ‘baguettes’ provide shading to meet the new building and energy
requirements for the building. The sunscreens are five feet in length and are
supported by an aluminum tube and attached to a pre-assembled vertical ladder. The
cylindrical tubes have a glazed, white finish.
http://newyorktimesbuilding.com/
MAD (Muesum of Art and Design), NYC
AlliedWorks, terracotta rainscreen by NBK
MAD is a striking building in a prominent location.
The rainscreen is a subtle opalescent white, that
reflects the atmosphere and light of the moment.
The building was initially controversial due to the
historic stone building it replaced.
www.nbk.de/en_us/references-projects/indetail.html?odbidcatsideback=153&odbstart month
=2&odbmonthback=1&odbidarticle=818&odbcategory=0&odbcf4=USA&od
bcf5=New+York
Figure 41 – MAD, NYC
30 | P a g e
Holbourne Museum, Bath
Eric Parry Architects, terracotta by Shaws of Darwen
Completed only last year the dark blue green terracotta extension is a powerful
contrast to the existing bath stone museum. The suspended vertical ‘fins’ add an
interesting technical and visual element to the façade.
www.shaws-terracotta.co.uk/the-blog/holburne-museum-bath/
St James’ Gateway, Picadilly, London
Eric Parry Architects, terracotta by Shaws of Darwen
Currently in production the terracotta introduces
strong colour to a prominently gloss white façade.
www.stanhopeplc.com/?page=21&id=500
Figure 42 – St James’ Gateway London Glaze sample
Central St Giles, London
Renzo Piano Building Workshop, terracotta by NBK
Vibrant glazed ceramic cladding in 6 different colours; red, orange, yellow blues and
green.
Renzo Paino’s ambition was to “make a joyful building in contrast to the surrounding
grey stone and red brick by fragmenting the colour” (bdonline.co.uk 13.12.11)
http://facadesconfidential.blogspot.com/2010/11/central-st-giles-piano-goes-tolondon.html
Jubilee Library, Brighton
Bennetts Associates, LCE Architects, terracotta tiles by LSC Facades
http://www.brighton-hove-rpml.org.uk/Libraries/sites/Jubilee/Pages/JubileeLibrary
AwardWinning.aspx
The glossy dark blue black of the tiles reflect the flint heritage of the region and use
of mathematical tiles locally.
31 | P a g e
7. INNOVATION IN CERAMIC MATERIAL
7.1
Research facilities
Many of the companies visited in the US had a research or materials development
facility, whether located there or centrally within the company. For example;
Simpson Gumpertz, Heger & Wiss Janney Elstner. These in-house specialist facilities
allow the company to do their own testing and gather material information. Keeping
this facility in house not only retains the skills and develops material knowledge and
understanding but also allows for collection and collation of specific data over time
enabling information gained to be useful for multiple purposes.
Independent companies similar to Ceram in the UK are also available and similarly
material testing often takes place at an independent centre to maintain impartiality.
University research facilities also are of interest and not only generate capable,
specialist graduates to feed the industry but the research also feeds the private
sector and the opportunity for placements in research to feed a desired commercial
outcome is exciting and beneficial for all.
7.2
Artists working in clay
Meeting ceramicists engaged in the built environment has been particularly
interesting and helpful on several levels. Not only to fuel creative interests, and new
like minded energies to ‘bounce off’, but also as examples of how artistic practice
informs design in the built environment and how sectors merge and mingle. Ceramics
designers bring fresh thinking and new ideas to industry and combining this with
technical capabilities can drive development projects in new directions.
32 | P a g e
8. SUMMARY
Terracotta manufacturers are supplying a global market today as much as ever. Whole
facades are shipped across the world to and from the east and across the Atlantic and
competition is strong.
Quality and performance of manufacturers seems evenly and competitively matched,
with characters, location and simple personal preference seeming to be the
difference between selections. Although, manufacturers are quite different and have
different focuses, some preferring to retain their historic providence and others
choosing to diversify offering new product lines or support new design in innovation in
terracotta.
It is clear that each manufacturer provides support and information where they can,
whether as historic reference materials, data and technical information and/or
assistance and advice throughout the design stages.
In conclusion, there is good availability of high quality terracotta product from the
companies in UK and USA, all with consistent capability to produce good product, on
time for a wide variety of types of project. The skills employed and the experience
and professionalism displayed enables manufacturers to produce high quality and
diverse terracotta for a range of projects.
Innovation in design and the extent to which new ideas are explored sits with the
architects as designers. However it seems clear that those manufacturers interested
to supply for this type of work are regularly commissioned for new build and in
working with the architects, terracotta can be the material of choice.
In conserving and repair of historic buildings, Mark Kuberski voiced the opinion that
we are able to build better than in the past. Explaining that not only do we use better
materials, we understand the building and material performance better, but we take
more time and care over the work and systems such as coating metal and precision
metalwork improve the building’s performance. Concluding that the repairs we are
putting in place now will last longer than the original has or might. This does not
however discount the importance of maintenance, but with the proper care and
maintenance there is no reason why terracotta installed today should not perform
well for over 200 years.
Educational institutions were not included in this research; what level of training is
imparted at under-graduate, post-graduate or mid-career level as architectural
training or specialist ceramic training cannot be commented upon. This would be an
interesting area of further study, to ascertain what feeder institutions offer, or could
in the future, to be of further benefit to the industry.
33 | P a g e
Initially rainscreen materials were considered as a different material and for the
purposes of this research an unconnected product to terracotta. However as ceramic
rainscreens are materially and technically very similar and manufactured in some of
the same premises as terracotta they cannot be overlooked entirely.
Although a very different material, in approach, aesthetic and function, rainscreens
are perhaps useful and interesting to consider. Ceramic rainscreen does of course
have the same properties as terracotta and can show off similar attributes as masonry
terracotta may. Having said this, it is perhaps confusing in the public arena as a
terracotta material and sold as such, it is not understood or differentiated from
actual terracotta and confusion or misinterpretation may result.
Most of those interviewed did not believe a healthy contemporary market in
terracotta is necessary to sustain traditional terracotta. It appears in the US at least
the heritage terracotta market is strong enough to support the ongoing craft skills.
Diversification for manufacturers is clearly of interest in some cases and perhaps
generating work in new build is helpful in providing an extra revenue stream. It can
also be suggested that involving terracotta in new contemporary schemes and in new
and interesting ways draws attention to the material and can help in appreciation and
awareness of the historic material as well as generating more interest in new designs.
34 | P a g e

Architectural Terracotta - Winston Churchill Memorial Trust

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