From the organisers of the Natural Stone Show

 

 

 

Stirling Prize contender : Bishop Edward King Chapel
, By Eric Bignell

A little gem of Clipsham stone – one of the short-listed projects for the Stirling Prize last year.

Four of the six short-listed projects in the Stirling Prize, RIBA’s major architectural award, included a significant element of natural stone. This is the last of them to be featured in Natural Stone Specialist. It is the Bishop Edward King Chapel at Ripon College Cuddesdon in Oxfordshire, which owes so much of its character to the Clipsham limestone supplied by Stamford Stone Company and installed by Szerelmey. Words and pictures by Paul Scott of Front Elevation.

While Bishop Edward King Chapel in Oxfordshire might not have triumphed in the Stirling Prize, the achievement of what is a relatively modest building (at less than £3million) of being one of the six shortlisted projects should not be underestimated.

The craftsmanship of the project was highly regarded by the RIBA judges. “Exquisite detailing abounds in all six projects,” they said, “perhaps most potently in the Bishop Edward King Chapel in Oxfordshire, whose rich stone façade and timber interior provide some of the best examples of craftsmanship the judges have seen for some time.”

Niall McLaughlin Architects was the unanimous choice of the client for this project despite 126 entries in the competition for the building from architects all over the world.

The Niall McLaughlin presentation certainly took on board the brief for “not just a building but a work of art that would touch the spirit”.

Ripon College is the largest provider of ordination training in the UK and nestles within a tranquil setting in leafy Cuddesdon, a few miles from Oxford.

The original campus buildings, which date back to the late 1850s, make widespread use of local Cotswold Stone. The clients wanted the new buildings – the chapel is one of two recent projects – to match the existing structures and commissioned Croydon design consultant Harrison Goldman to advise on the most appropriate stone as the stone used for previous buildings was no longer available.

Director Peter Harrison, with usual due diligence, arrived at Clipsham limestone as a particularly durable alternative. He said: “Taking into account the geographic location, frost resistance was a key factor and the Clipsham limestone was the only stone Harrison Goldman found that had sufficient test data to show it was fit for purpose.”

Clipsham, which comes from Rutland, is, of course, familiar in Oxfordshire. Its use at Kings College Cambridge and Windsor Castle is well documented.

Niall McLaughlin Architects’ design of the new chapel, which takes its name from a past chaplain of Ripon College, had many influences, from Rudolph Schwarz to the recently departed Irish poet Seamus Heaney.

The floor plan is elliptical, drawing from the shape of cupped hands while praying or, perhaps, the ‘Ship of Souls’, which has influenced the interior timber that represents the upturned hull of a ship.

The 11m high building’s exterior is divided into three distinctive bands.

The original design called for the middle section to consist of a ‘basket weave timber effect’ that would represent an old sailing vessel. But this was vetoed by English Heritage at the early stages. The safeguarder of heritage felt it strayed too far from the appearance of the surrounding listed buildings. It suggested the exterior should be constructed wholly of natural stone in keeping with the spirit of the existing buildings.

A main contractor was sought under a competitive tender process and while price was an issue, the eventual winner, Beard Construction, secured the project on its understanding of the task rather than by being the cheapest.

Beard Construction was under no illusions about the intricacy of the work involved. Martin Wareham, the company’s Pre-Construction Manager, later commented: “We appreciated the detail, precision and quality of finish required. It became clear at the very early stages the chapel was destined to become a portfolio project.”

With the mantra being precision and attention to detail, teams from Stamford Stone Company, which supplied the worked stone, and Szerelmey, which fixed it, were bought on board for the stonework.

Martin Wareham: “Our main concern on starting the project was accuracy; making sure all the elements met in the right places. This required a lot of workshops with the suppliers and specialist contractors.”

The main contractors must be commended on the supply chain management, engaging both the stone supplier and the specialist contractor at an early stage.

The partnership and technical planning between Beard Construction, Stamford Stone Company and Szerelmey enabled all parties to be prepared, with all of the materials scheduled well ahead of the build programme.

This allowed sufficient scope for the precision cutting by Stamford Stone’s skilled stonemasons to reach the exceptionally high standards required.

The forward planning allowed time for the finished stonework to be packaged on pallets ready for delivery at Stamford Stone’s Peterborough works sometimes weeks in advance ready to be called off the minute they were needed.

As a result, there were no material-related delays on site, which meant any complications arising or alterations required could be dealt with straight away, either by Stamford Stone or on-site by the Szerelmey team.

Steve Green, Works Manager of Stamford Stone, says: “Because of the forward planning, our quarry team was so far ahead of the game that any replacements or alterations could be made and delivered to site almost instantly.”

While 3D building information modelling (BIM) had been carried out prior to the start, the need for precision during the build required good old fashioned engineering, with constant monitoring by surveyors and theodolites.

The lower 3.5m section of the chapel consists of hand cut ashlar blocks, which are gently curved. Each has a unique section referenced to its precise position in the wall.

The beauty of this buff coloured oolitic Jurassic limestone is immediately apparent on the finished building, showing the grain within each section, giving it both a uniformity of colour and texture and allowing each piece to be individually distinctive.

As Peter Harrison commented: “Cast stone is used on a cost saving agenda but in my view it lacks the soul of natural stone, which has a unique patina providing a depth and a life of its own. The stone weathers to give the building a maturity and a very individual appearance.”

For the middle band of the structure the ‘basket weave’ effect was changed from timber to stone and is arguably even more stunning than the original proposal envisaged.

The 4m high course of limestone consists of approximately 36,000 individual 250 x 110 x 90mm ‘bricks’.

These have been laid in dogtooth alignment with absolute precision in both the vertical and diagonal planes to create a visually stunning effect that not only looks better but will also weather better than if wood had been used.

Tim Allen-Booth, who was the Project Architect, admits the change from timber to stone at the behest of English Heritage was fortuitous as it resulted in a superior building.

The final tier is another triumph. Ribbon windows described as ‘a halo of natural stone fins’ adorn the upper level. The height of the building corresponds to the surrounding tree canopy. The design of the recessed openings and the position of the trees allows dappled light to enter the windows with the branches forming natural brise soleil and casting dancing shadows on the stone glistening in the sunlight. The slender window surrounds are formed by steel framing clad with hand-cut Clipsham cills, fins and copings.

Stamford Stone’s Steve Green summed it up perfectly. “We are very proud of our whole team at Stamford Stone in not only being very effective as a supply chain but also in producing such a high level of precision without resorting to computer-generated robotics.

“The unique charm of this building is in its natural products and the use of natural stone. The fact that every piece has been individually fashioned here at our quarry is very satisfying.

“Many of the college’s original buildings from 150 years ago would have been produced in a very similar fashion and that is one reason why this building will blend in with its surroundings and still look as good – perhaps even better – long after we have gone.”

The use of natural stone for the whole of the structure has enhanced both the building design and its serenity within its environment. By keeping to a single building material there are no diversions to the attention of the viewer, with this stunning structure nestling into the landscape in a natural mélange of stone and trees. The maturity of the stone facades of the existing college buildings provide just enough of a contrasting backdrop to provide centre stage for the new kid on the block and show it in its best light.

The new chapel has already raised the college’s profile and I am sure will go on to influence the chosen destination for ecclesiastical students for many years to come.

For such a modest sized building it has made a huge impression on everyone involved in its construction.

For any architects who are reluctant to use natural stone this building is another example of what a flexible and sustainable medium it can be in the right hands.

While we all have to embrace modern technology in today’s construction industry, it can co-exist with good, old fashioned craftsmanship.

But let’s leave the client with the last word. Sophie Farrant, Development Director of Ripon College: “The beauty of the building’s exterior comes from the use of a single material – natural stone – laid in a unique and complex way in three contrasting levels requiring exact precision in its construction.”

The Revd Canon Prof Martyn Percy: “This chapel with its use of light, space, glass, wood and stone captures our hope for the church and the world, and for the shaping of religious and spiritual life.”

That seems to sum it up nicely.

And perhaps the fact that this exceptional building gracefully allowed another of the short-listed projects to win the Stirling Prize represents the true spirit of this new addition to a college training clergy.


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