4 C O N T E X T 1 0 5 : J U LY 2 0 0 8 Material matters Timber numbering stamp I was recently shown a number stamp, which I understand was used for marking construction timber. The stamp is in the form of a hammer, with a reverse imprint of a number on the head. It appears to date from the 20th century. The stamp is double headed, with the numbers 3 and 4 (approximately 20mm high) at either end. It is thought that the stamp was used for various purposes such as marking the grades of sawn timber, marking ownership on timber lots at auctions, or as a tool for marking construction joints as an aid to reassembly. Another suggestion was that they were used for numbering packing crates. Number and letter stamps are not uncommon, often being used to stamp metal and furniture. Carpenters’ marks in buildings (numbers, letters and symbols made with chisels, gauges and compasses) are well documented, but this is the first time I have come across a timber stamp of this size and in this form. Partition blocks In the May issue of Context we featured an unusual cement/ash block with straw/reed reinforcing, discovered in a building in Ascot. Structural engineer Charles Shapcott has found some references to similar products used for internal partition walls. Searching through old building text books, Charles found a description of light plaster blocks for internal use which could be laid without mortar and skewnailed together. The featured blocks were manufactured by JA King, based in London EC4, which is apparently still trading. A number of other similar blocks were identified containing various materials ranging from clay, foamed concrete and slag, and special flue blocks containing vermiculite. Most block partitions seem to be keyed to take a plaster or render finish, although a product known as Frazzi Blocks (used for external construction) were smooth-sided internally and ribbed to take the render externally. Charles has a photograph of the internal view of the church of St Peter Galley Common,Warwickshire, where the blocks are left exposed to resemble ashlar stone. There are references to hollow and steel reinforced blocks, but no mention of straw or reed reinforcing. However, one product advertised as the Grip partition block (manufactured by Phorpes and measuring 9 x 6½ x 2 inches) was of solid clay. The blocks had diagonal groves in the face to take tensioned ‘wires to resist the lateral forces’. This must have been a pain to those trying to install services without cutting the wires. Julian Bagg Readers who would like to share examples of unusual materials or tools should contact Julian Bagg, IHBC technical panel coordinator, at [email protected]. rather than the beginning. Park Hill in Sheffield was built a decade earlier, on a much more confident scale and its “streets in the sky” were therefore more innovative as well as being wider and more accessible. ‘Lastly, the building, in itself, does not compare successfully with other 20th century estates listed at Grade ll, such as the Barbican and the Brunswick Centre. There are 13 listed post-war estates in London alone. ‘We certainly agree that the Smithsons had a strong reputation as major architectural theorists and English Heritage has previously listed three of their finest schemes. The Robin Hood Gardens estate, however, attracted little admiration from critics at the time or in the immediate later years. It is only very recently that it seems to have found favour in some vocal quarters.’ Statement by English Heritage chairman Sir Sandy Bruce-Lockhart ‘ROBIN Hood’s defenders include the richest architects and developers in the land. If they want their icon, let them have it. They should be granted three months to go down to Poplar, put in an offer for the estate, persuade its residents of the beauty of their environment and agree to restore it. Let money follow where mouths so boldly go. ‘Nor is that all. Now that something, however ugly, has touched the heart of modern architecture, may its champions be less dismissive of those who fight to save buildings of more appeal than Robin Hood Gardens. This is a profession which (with noble exceptions) claims that buildings no longer “modern” in design or utility should be demolished and replaced. It has persistently refused to aid any historic structure that has suffered that most dire of fates, to come between an architect and his fee. Robin Hood would be a fitting sacrifice to this new sensitivity.’ Simon Jenkins writing in the Guardian ‘The real mistake was to use Robin Hood Gardens as a sink estate practically from the time it was completed, and thereafter to fail dismally to maintain the beautifully designed buildings and the magnificent landscape around them. It was also appallingly managed. Robin Hood Gardens is a great example of the best post-war architecture and deserves to be kept for future generations.’ Lord (Richard) Rogers writing in the Guardian
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