EH Smith and Howells have partnered on many projects over the years. Both companies began life in Birmingham, just up the road from where the Design Centre now stands, and that shared connection to the city became central to the project’s purpose. What truly strengthened the collaboration was a common belief in why we work the way we do: a commitment to high-quality design, to supporting the next generation of creatives and built-environment professionals, and to contributing positively to the wider industry.

The building itself was a vast, empty industrial warehouse. When we first stepped inside, the scale of the opportunity, and the challenge, was immediately clear. Our ambition became to transform that shell into a vibrant focal point for Birmingham’s design and construction community. We wanted to retain and reuse what was already there while creating something exciting, energising and completely new.

At its centre sits the largest commercial brick display in the world, naturally lit and constantly evolving as materials move in and out and mock-ups are built, tested and rebuilt. Alongside it is a fully accessible area for hands-on masonry demonstrations, including Porotherm, continuing our long tradition of practical, skills-focused learning.

The space also houses a series of more intimate spaces arranged over three floors, including meeting rooms, quieter breakout areas, presentation and learning spaces, co-working and flexible working areas, a kitchen, a garden and a rooftop terrace accessed through full-height glazed doors. These areas are designed to support conversation, reflection, informal working and community gatherings, with the terrace set to host events, talks and evenings overlooking Digbeth.

A project of true collaboration, we’re proud to share this new chapter with Howells, with Birmingham, and with the design and construction community we’ve always called home.

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Birmingham is definitely growing up. Or upwards. The city’s bold Big City Plan of 2010 advocated high rise developments. Taking advantage of the Birmingham plateau and pertinently pressure on the area for development land a series of high rise developments have come to fruition in the years since.

The skyline, once articulated by the Rotunda and BT Tower, is now dotted with 100 meter+ structures. The Octagon, 103 Colmore Row, One Eastside all vie for attention with new towers emerging to the south as the city continues to rise.

Whilst South Central is not quite at the 100 meter level it seems to be playing a different game. Not for South Central the one upmanship race, it is playing a different game which is based on the architectural traditions of the city and the a classy nod to its complicated surroundings.

An understanding of the city’s on off love affair with terracotta is important. “Materiality was key” says Adam McPartland, Director of Glancy Nicholls Architects and Design Lead for South Central. “We wanted to take from and celebrate the city’s architectural traditions. The city has a real quality and legacy of terracotta buildings but contemporary examples are rare.”

This was perhaps music to the ears of the City’s Planners who have promoted the vernacular traditions of Birmingham in recent years. McPartland argues it also goes a little against the grain of Birmingham’s post-war architectural impulse for every new building to shout louder than the last.

“Terracotta is quite a humble material in some ways. But it’s a material that we’ve been using for centuries. It’s easy to work with and actually creates a sophisticated and elegant statement in its own polite way. It sits a building neatly within its landscape and in the context of Birmingham is about a city re-discovering its heritage.”

“The challenge for us was a pleasing one really. The City Council were concerned about quality. Could (the terracotta) deliver the quality, robustness and performance that modern buildings need? Aesthetically they were sold but the building has to deliver. On acoustics for example. This is a bustling part of town. On that question alone there have been no complaints. The terracotta has worked well for the building’s occupants.”

The textural panels, which are Agrob Buchtal’s K20 Keratwin system, are punctuated by bronze metal bands. Another nod to the city’s heritage. The redness of the tiles adding an authenticity to the city’s traditions that give the building a sense of always having been there.

For McPartland the opening of the building is a source of personal pride. “It’s always nice to glimpse the building from different parts of the city. To get views that are sometimes unexpected. There was a purity in the design process that we were able to stick to. The end result…I think….is a high quality building that doesn’t need to shout to make itself heard.”

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As part of our commitment to providing exceptional levels of service, we have created this centre, in partnership with Howells, to explore materials that are used in the sector. As Glenn Howells, Founding Partner of Howells, said at our launch “A true understanding of Architecture comes from an understanding of materials.”

We heard from Prof Carl Chinn MBE, Social Historian, around the fascinating history of the Digbeth area at the heart of the Industrial Revolution, and the building itself. John Parker, Chairman of EH Smith, went on to talk about the history of the company and how intertwined it was with this area – our first yard being opened in the 1920’s less than a mile away.

Glenn Howells continued by talking about the importance of this collaboration for the sector in Birmingham and the wider UK, to provide a unique space to come together and explore materials. John Cave, Executive Director of EH Smith, went on to talk about the future vision of the centre and thank those who have brought this piece of Birmingham History back to life.

Bostin Brass, made famous by playing at Ozzy Ozbourne’s funeral procession through the city, then played a memorable set of contemporary hits with a distinctly Brummie twist!

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In recent years, lightweight brick slip systems have become popular for various methods of construction. Occam is a result of extensive research and testing to create the most versatile and efficient brick slip system on the market.

Let’s make it simple

Every element of the Occam system has been considered. From the flat back of the tray to enable easy installation of fire barriers to the pressure plate which holds the slips in place without the need for fiddly fixings – the installer is front and centre of this system. The 3-course tray ensures that installation is speedy and the robust testing gives peace of mind to the project team.

Architects and Designers can chose from a huge range of almost any type of brick finish from all major UK and EU manufacturers (subject to cutting tests) and a wide range of manufactured slip and tile finishes are also available to ensure that the end result looks exactly as envisaged.

Occam’s Razor: The problem-solving principle that recommends searching for explanations constructed with the smallest possible set of elements.

Brick Slip Finish

Tile Finish

Testing

UL (Underwriters Laboratories) is a globally recognised UKAS accredited organisation that offers certification, testing and auditing services to a wide range of industries including the building envelope.

The Occam system has been evaluated by UL and meets the requirements of the UL Mark ‘Performance of Curtain Walling and Cladding and Rainscreen Cladding Support Systems’ certification scheme.

UL Mark is listed by NHBC as an accepted product certification scheme, alongside BBA (British Board of Agrément) and Kiwa, in the NHBC Technical Guidance 2.1/01.

Below is a brief overview of the criteria covered by this certification:

• Detailed product overview
• Assessment of factory production control systems
• Compliance with NHBC Standard 2024 Chapter 6.9
• Contribution towards key requirements of the building regulations
• Installation requirements and procedures
• Test documentation
• Ongoing surveillance

For further information, please contact the team on occam@ehsmith.co.uk

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Innovative displays from Wienerberger, Ibstock, Vandersanden, Sant Anselmo, Ketley, Agrob Buchtal, Soladrilho, Proteus Facades, ACO Technologies and many more will ensure that the space is filled with relevant solutions to the issues the industry faces.

Collaborators include:

Howells – Lead Architects

Glancy Nicholls – Terracotta display design

The Space Studio – Reception desk and bar design

Webb Yates – Structural Engineers

Axiom Bridge – Project Manager

Lathwood Construction – Base Build Contractor

Probuild 360 – Fitout Contractor

CCL Facades – Cladding Contractor

FACE Brickwork – Brickwork Contractor

Lyons & Annoot – Brickwork Contractor

XAL – Lighting Supplier

IG Masonry Support – Brick display manufacturer

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The new Dance Theatre for Sadler’s Wells by O’Donnell & Tuomey is a masterclass in Urban Regeneration. The building has a real sense of place which echoes the industrial heritage of the Stratford area of London.

“Our aim was for the building to feel archaic – as if it were not only designed to last a long time but also to seem as though it has always been part of the fabric of the town,” said O’Donnell + Tuomey co-founder John Tuomey.

The building’s exterior is wrapped in handmade Venetian brick and tiles that were crafted from the same clay to create a unified façade. This solidity is counterbalanced by chamfers and corbelled brick details to add texture.

Sk1n Tiles, which were used on the saw-tooth roof, were developed in Italy by Sant Anselmo – Sk1n DNA is intimately connected to timeless and iconic European craftsmanship. Combining the enduring beauty of terracotta with contemporary ceramic techniques and colors, Sk1n offers a range of imaginative applications, from unique façades to distinctive roof lines – all united in one seamless material expression.

Clean and uniform lines without interruptions between walls and roof. Any design lover or expert would be delighted by such words. Sk1n Terra is the perfect match for this particular style: the innovative overlapping lines of the profile of a S.Anselmo terracotta façade will give your projects a sophisticated and harmonious look thanks to the use of one single material.

Sk1n is a terracotta ventilated façade system suitable for any kind of building shell – from walls to layered roofs. Designed to be assembled on waterproof structure, it is extremely easy to install: each piece is secured with screws or nails on horizontal wooden or steel battens. Horizontal joints are overlapped while vertical ones are misaligned, creating a rather exceptional visual effect.

See the full range here: Sk1n Tiles Archives – EH Smith

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All in all another action packed week, roll on CDW2025!

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RIBA London: The Elizabeth Line by Grimshaw, Maynard, Equation and AtkinsRéalis.

The Elizabeth Line is a tour de force. Running across London from Heathrow Airport and Reading at the west to Shenfield and Abbey Wood in the east, it boasts 62 miles of track, 26 miles of new tunnels, 10 new and 31 upgraded stations including some 9 to 10 storeys below ground, and is anticipated to carry 200 million passengers per year.

Its success is the outcome of intense collaboration between the multidisciplinary team of architects, engineers, lighting designers, and wayfinding experts, as well as manufacturers and suppliers. The aim was to provide users with as coherent an experience as possible, create a familiar feel, improve comfort for cross-London travel, ease navigation and flow, and standardise elements. The design adopts a clear visual language and has a consistent material palette and approach to detailing.

Working across the Elizabeth line the line-wide design team of Grimshaw, Maynard, AtkinsRéalis and Equation was part of a wider Crossrail architectural design team, interfacing with architects across the line’s 10 new stations including John McAslan + Partners, Weston Williamson + Partners, Hawkins\Brown, Aedas, Wilkinson Eyre, BDP, Adamson Associates, Allies and Morrison and Fereday Pollard.

RIBA East: Gainsborough’s House Museum by ZMMA

This transformative project has seen a significant regional and national museum emerge from the adaptation of what was previously a small, local resource. The focus of the museum is the historic home of 18th century artist Thomas Gainsborough in Sudbury, Suffolk. Not only has the project conserved this Grade I listed house, but it has also provided exhibition galleries and supporting facilities through a combination of adjacent historical buildings and new structures.

Together, the modifications have allowed the museum to double its visitor numbers, increase its community engagement, and secure its future within the precarious climate faced by arts institutions in the post-Covid world. All this has been achieved with great ingenuity and a sensitivity to detail and materials selection, which is all the more remarkable given the relatively constrained budget for such an extensive and complex programme.

Royal society of Architects in Wales: Hay Castle by MICA Architects

Hay Castle sits in the heart of the Powys market town of Hay-on-Wye. Having been in private ownership for the best part of 900 years, this project has adapted the castle and its grounds into a unique historic destination for many to visit and enjoy.

It involved a major conservation-led renovation and repair of the important historic building, which included contemporary interventions to bring the castle back to life and for public benefit. It has not only delivered a vibrant place for gathering, learning, and the arts but also made important connections between castle and town to reinvigorate its location and offer views across the River Wye and the valley beyond.

This is a fine example of a thoroughly researched and applied set of works in conservation and heritage for contemporary use. MICA Architects have shown all their skills in achieving such quality architecture to the benefit of many.

RIBA South: New Temple Complex by James Gorst Architects

Perfectionists should start the pilgrimage to rural Hampshire now, as the architecture of this new temple for a non-denominational multi-faith spiritual organisation is so exacting it literally calms the mind – until you start thinking about how it was achieved.

Positioned on a spur of hillside, along an ancient ley line, the whitewashed timber-framed building with chalk-coloured brick sits monumentally in the landscape. A series of chakra gardens draws people towards the main temple – although you can enter from any side, a point that emphasises how all four corners of the world are welcome. If you can resist the draw of the domed temple, you can postpone enlightenment through an arrival sequence that leads from secular to ritual spaces.

RIBA North West: Shakespeare North by Helm Architecture with executive architects Austin-Smith: Lord

Shakespeare North is a new theatre building focused on promoting learning, experimentation, and reinterpretation of the works of Shakespeare. Prescot is thought to have been the only English town outside of London to have had a freestanding, purpose-built indoor playhouse in the Elizabethan and Jacobean eras. Shakespeare is believed to have belonged to a troupe of actors who performed there. This backstory has led to a historically accurate re-creation of an Elizabethan theatre as the building’s kernel.

Around it, the architect has set a contemporary wrapping in the form of a concertina ‘screen’ of brick and glass, containing the foyer and bar areas to the front of house and rehearsal and admin spaces to the rear. The project aimed to inspire a community, transform opportunity, raise educational aspiration and attainment, and play a part in regenerating one of the most deprived boroughs in the UK.

RIBA West Midlands: Shrewsbury Flaxmill Maltings by Feilden Clegg Bradley Studios

The brief for this project called for an exemplar of sustainable refurbishment to support the next 100 years of use for a building with a particularly innovative design heritage.

Opened as a flaxmill in 1797, it was the world’s first iron-frame building and has been described as the ‘grandparent of skyscrapers’. Its combination of cast iron beams and columns, brick arches, and cast iron ties made its construction fireproof, while large windows admitted natural light for its numerous employees. A century later, it was converted into a maltings through a second state-of-the-art design, with windows either blocked up or made smaller, boiler houses demolished, a timber hoist and new tower added, and a large kiln built.

Feilden Clegg Bradley Studios have conserved the enduring elements of both uses to provide four floors of flexible working space, while cleverly weaving in a contemporary layer to accommodate a visitor centre and café.

RIBA South East: Cobham Bowers by Coffey Architects

This scheme with apartments for sale and rent for the over 65s has replaced a derelict office building in the leafy Surrey village of Cobham. The enlightened client recognises that exemplary design is important to an increasing number among Britain’s ageing population, and wants to offer well-designed, sophisticated options for those wishing to downsize or move into accommodation more suitable for later living.

Cobham Bowers provides quality accommodation for individuals and couples transitioning from long-term family homes to a more compact and convivial way of life. The architects have arranged its 53 light-filled flats, with generous balconies and windows, in two light grey brick buildings linked by a communal ground-floor space and a peaceful lush walled garden. Each of the blocks is divided by six expressive pitched roofs oriented in different directions, to break up the mass and attune with other village buildings.

RIBA South West: Durley Chine Environmental Hub by Footprint Architects Ltd

Commissioned and built by the local council, this stunning new building on Bournemouth beach puts its money where its mouth is on every front. Its purpose is to affect a step change in behaviour by making the public more aware of what they are throwing away, and to build a sense of environmental guardianship of the coastline. At its core is a two-storey, highly insulated, Passivhaus certified education centre and welfare block for the beach cleaning team.

An array of solar panels on the roof more than offsets energy consumed, making the Hub carbon positive. On one side is a service yard, and on the other a green roof shelters an outdoor education, exhibition and café terrace. The architects ensured that reuse and recycling were central to the project, and any new materials were rigorously examined to select those with the lowest embodied carbon.

RIBA East Midlands: Alfreton Park Community Special School by Curl la Tourelle Head Architecture

On first arrival at this school on the outskirts of Alfreton in Derbyshire, it is evident that it has been carefully crafted, both internally and externally, to address the children’s and teachers’ needs. The architects have responded to the brief with both playfulness and architectural quality while meeting the stringent technical requirements of the county council client and the building’s users.

Comprising four loosely arranged buildings nestled against the brow of the hill, the informal plan belies an exceptionally well thought through hierarchy of spaces. Two teaching wings have classrooms facing the open countryside and ancillary breakout and specialist rooms on the northern side. The main communal hall sits on the more public side of the school, opening out onto a semi-enclosed courtyard, and its overhanging roof provides shelter to children arriving to start their day. Completing the arrangement is a discreet reception and staff building.

RIBA North East: Auckland Castle, Tower & Faith Museum by Níall McLaughlin and Purcell

Auckland Castle is a Grade I listed medieval episcopal palace which has been the seat of the Bishop of Durham for nearly a millennium. Sitting to the north of Bishop Auckland, it is nestled between the rivers Wear and Gaunless. Since acquiring the site in 2012, the Auckland Project has been transforming it into a centre for arts, culture, and heritage, for locals and visitors.

As part of the transformation, a collection of elements with differing forms and uses has been delivered. The Auckland Tower and Faith Museum, both by Níall McLaughlin Architects, are welcome new additions. The tower acts as a beacon for the town and gateway to the castle grounds, while the Faith Museum with its compelling barn-like form provides space for exhibition displays on faith in Britain. Painstaking conservation works to Auckland Castle by Purcell help safeguard its historic fabric for future generations.

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Following on from the success of our Clerkenwell Design Centre, the Digbeth Design Warehouse will include educational installations and practical demonstration areas – much of this can be bespoke to a project or clients brief.

We also aim to promote the awareness of materials which can help with:

– Fire Safety
– Modern Methods of Construction
– Carbon reduction
– Building Safety Act
– Passivhaus and low energy construction
– Part L / Future Homes Standard
– Rainwater Management

Follow us on Instagram or LinkedIn to stay up to date with progress!

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