SECTION 1
INTRODUCTION

1.1 Historical Introduction

This is intended as a guide to architects in understanding the technical aspects of modern polychromatic brickwork. It summarises the current state of the art among the chief participants; brick manufacturers, bricklayers, contractors and architects. Specific recommendations for architects are developed and proposals raised for consideration by statutory and quality assurance authorities, brick manufacturers, contractors and bricklaying contractors.

This study is limited to factors affecting polychromatic clay brickwork in New South Wales in architect-designed buildings since 1980, and excludes calcium silicate bricks, concrete bricks, and brickwork issues related to paving and landscaping. Most attention has been given to monochromatic bricks used in combination and specifically to creams, pinks, reds, greys, tans, browns and blues. The paper deals in particular with the effect of brick suppliers, authorities, contractors and bricklayers upon architects' designing, documenting and administering jobs using polychromatic brickwork.

There are, not surprisingly, state differences. For example, a good range of red bricks is available in New South Wales, but it lacks the full-bodied reds of a deep hue found in Victoria, mainly because of a scarcity of rich red-burning clay deposits. It seems that higher bricklaying skills are more readily available in Victoria than in New South Wales.

Interest in, and experience of, polychromatic brickwork has grown Australia-wide in recent years. The authors' resources confined this study to New South Wales but its principles can be applied elsewhere in Australia.

1.1 Historical Background

Sydney Technical College 1891
Architect: William Kemp

The legacy of polychromatic brickwork begins with early colonial architecture. The use of different coloured bricks in face brickwork, prevalent in Macquarie's Sydney, Parramatta and Liverpool, grew as much out of the exigencies of limited brick supply (local manufactured bricks combined with ships ballast bricks) as it did from the sensibilities of Georgian England. Late into the 1800s the dual role of practicability and aesthetics kept the practice of polychromatic brickwork alive alongside stone, render, whitewash, etc. as finishes fit for civic and grander domestic buildings. The high style of the 1880s produced fine examples in woolstores, churches, museums, schools of art and commercial buildings. The well-documented Federation style in domestic architecture and the burgeoning edifices of Edwardian city fathers in characteristic blood and bandage' continued and advanced polychromatic brickwork throughout the city and country. Although continuous in the between-the-wars period in houses and various expressions of Art Deco, the frugalities and fashions of the post-World War II period saw the end of polychromatic brickwork until its revival in the 1980s. That revival reflects a celebration and modern restatement of polychromatic brickwork possibilities, and has a constant eye on overseas trends. Colours in Australian work have tended to be much lighter than most historical antecedents, and less extravagant in the use of specially moulded and corbelled brick openings, plinth and cornice detail.