BYBEE PRIZE - Natural Stone Institute · 2020. 9. 11. · 60 Industry News 64 Advertising Index ... ColdSpringGranite_Sum06 8/14/06 4:11 PM Page 1. 4 BUILDING STONE MAGAZINE Fall

Fall 2006 Volume 29, Number 3Fall 2006 Volume 29, Number 3

BYBEE PRIZETUCKER DESIGN

AWARDS

BYBEE PRIZETUCKER DESIGN

AWARDS

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On the Cover:Bybee Prize winner Lawrence Halprin

utilized Carnellian Granite for theFranklin Delano Roosevelt Memorial

in Washington, D.C., to exemplify the strength and optimism of

the man it honors.

Photo courtesy of Jennie Farnsworth

Features Departments

Photo courtesy of Lawrence Halprin

Bybee Prize: 12 Lawrence Halprin: A Legacy in Stone

World-renowned architect Lawrence Halprin was awarded the Build-ing Stone Institute’s 2006 Bybee Prize for a career of excellence in theuse of natural stone.

Tucker Design Awards: 20 402 Redbud Trail,

West Lake Hills, TexasArchitect: Cottam Hargrave Architecture and Construction, Austin, Texas

24 Art Collectors’ Residence, Toronto, Ontario, CanadaArchitect: Hariri Pontarini Architects, Toronto, Ontario, Canada

28 Belvedere Gardens Mausoleum, Salem, Va.Architect: SMBW Architects P.C., Richmond, Va.

32 Factory for Synergy Lifestyles, Karur, Tamil Nadu, IndiaArchitect: SJK Architects, Mumbai, Maharashtra, India

6 Introduction

8 Awards Reception

10 Jury Members

60 Industry News

64 Advertising Index

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Features36 The Liberty Bell Center, Independence National

Historic Park, PhiladelphiaArchitect: Bohlin Cywinski Jackson, Philadelphia

40 MTA TBTA Brooklyn Battery Tunnel, Renovation/Rehabilitation of Ventilation Building, Brooklyn, New YorkArchitect: DiGeronimo P.C., Paramus, N.J.

44 The Park at Lakeshore East, ChicagoArchitects: Site Design Group Ltd., Chicago; the Office of James Burnett, Houston

48 San Diego Padres Ballpark, San DiegoDesign Architect: Antoine Predock Architect P.C., Albuquerque, N.M.Executive Architect: HOK Sport+Venue+Event, Kansas City, Mo.

52 Prothro House Addition and Remodel, DallasArchitect: Lawrence W. Speck, FAIA, of PageSoutherlandPage, Austin, Texas

56 Sigmund Stern Grove Renovation, San FranciscoArchitect: Office of Lawrence Halprin, San Francisco

60 Trinity Church Restoration, BostonArchitect: Goody Clancy, Boston

64 Unified Science Center, Swarthmore College, Swarthmore, Pa.Architects: Einhorn Yaffee Prescott Architecture and Engineering P.C., Boston; Helfand Architecture P.C.,New York (Architects in Association)

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Photograph © JamesWest / JWestProductions.com Photograph © Peter Vanderwarker

Photograph © Ron Gordon / Ron Gordon Photography

Photograph © Patrick Wong / Atelier Wong Photography

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6

HIS BIENNIAL AWARDS ISSUE

of Building Stone Magazine cele-brates the 2006 recipient of the

Bybee Prize, landscape architect LawrenceHalprin and the projects receiving 2006Tucker Design Awards.

Lawrence Halprin is only the fourthdesign professional to receive the BybeePrize, given by the Building Stone Institute(BSI) in recognition of a lifetime of achieve-ment in design excellence exhibiting the useof natural stone.

The Tucker Design Awards, founded in1977, have over the years become an impor-tant part of the design world. Members ofthe BSI – quarriers, fabricators, installersand distributors – understand the signifi-cant role of architects, landscape architectsand interior designers in the built environ-ment. Designers appreciate the beauty,strength and versatility of natural stone,forming a true collaboration in the bestsense of the word.

Winners of the Tucker Design Awardsare chosen from among the submittedentries by a distinguished jury of designprofessionals. The first jury in 1977, HughHardy, FAIA, and the late Richard Foster,FAIA, honored two projects. Many of

America’s most accomplished professionalshave been asked to serve on Tucker DesignAwards juries since, and that tradition willcontinue in the future.

The Tucker Design Awards are named inhonor of the late Beverley R. Tucker Jr., whowas president of Buckingham-Virginia SlateCorporation and a past president of the BSI.The Bybee Prize is named in honor of thelate Daniel Bybee, who was president of theBybee Stone Company and also a past pres-ident of the BSI.

A review of the 2006 winning projectswill attest to the extraordinary creative talentand technical expertise present in the use ofnatural stone in a range of building typesextending from San Francisco to India.

We encourage you to submit your com-pleted projects to the 2008 Tucker DesignAwards program. For more information,please visit BSI’s website at www.buildingstoneinstitute.org. �

Harold Roth, FAIA, is a professionalmember of the Building Stone Instituteserving on the Tucker Design Awards andEditorial committees. A past Chancellorof the College of Fellows of the AmericanInstitute of Architects, he is a partner inthe firm of Roth and Moore Architects inNew Haven, Connecticut.

IntroductionBSIBiennial AwardsDisplay ExtraordinaryDesigns with NaturalStone

www.bui ldingstonemagazine.comBUILD ING STONE MAGAZ INE � Fall 2006

BUILDING STONE INSTITUTEJeff Buczkiewicz, Executive Vice President

551 TOLLGATE SUITE C ELGIN, IL 60123

TEL: 847.695.0170FAX: 847.695.0174

WEB: www.buildingstoneinstitute.orgE-mail: [email protected]

BUILDING STONE INSTITUTE 2006 OFFICERS2006 President Rick JonesVice President Scott Buechel

Immediate Past President Brenda EdwardsTreasurer Robert BardenSecretary Doug Bachli

BOARD OF DIRECTORSBuddie Barnes

Mary DillionDuffe ElkinsAl Gregory

Robert HickenJohn Mattke

Thomas SchloughLiz ServenRon Vetter

Jonathon Zanger

PROFESSIONAL BOARD MEMBERRobert H. Mortensen, FASLA

PUBLISHERJef f Buczkiewicz

PUBLICATION MANAGEMENTLIONHEART PUBLISHING, INC.506 ROSWELL STREET, SUITE 220

MARIETTA, GA 30060TEL: 770.431.0867

Toll Free: 888.303.5639 FAX: 770.432.6969

WEB: www.lionhrtpub.com

President John LlewellynE-mail: [email protected]

Editor Jennie FarnsworthE-mail: [email protected]

Assistant Editor Kate ParrottE-mail: [email protected]

Feature Writers Christina B. FarnsworthMark HaverstockBrett MartinJodi PaperM.W. Penn

Art Director Alan BrubakerE-mail: [email protected]

Assistant Art Director Susumu KomatsuE-mail: [email protected]

Online Projects Manager Patton McGinleyE-mail: [email protected]

Advertising Sales Art ShaefferE-mail: [email protected]

Advertising Sales Aileen KronkeE-mail: [email protected]

Reprintss/Subscriptions Kelly MillwoodE-mail: [email protected]

ANNUAL SUBSCRIPTIONS$30 United States$50 Canada & Mexico$60 All Other Countries

Building Stone Magazine is published quarterly for the Building Stone Institute,the American stone industry’s international trade association founded in 1919.

COPYRIGHT © 2006 by the Building Stone Institute. All rights reserved. Printed in U.S.A.

THarold Roth, FAIA

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SilveradoBuilding 5/12/06 11:28 AM Page 1

EMBERS OF THE BUILD-ING STONE INSTITUTE

(BSI) held the biennial Tucker Design Awards reception at thePalace Hotel in San Francisco on May 19,2006. BSI members, sponsors, jury mem-bers, award winners (as well as Bybee Prizewinner, Lawrence Halprin, FASLA) and oth-ers attended the reception.

The Tucker Design Awards were firstpresented in 1977. Named in honor ofthe late Beverly R. Tucker Jr., a BSI pastpresident, the Awards honor architectur-al firms that exhibit excellence in theconcept, design and construction withnatural stone.

Congratulations to all of the Awardwinners! �

Awards Reception

BSI Tucker Design Awards Reception

Photos by Ann Jenkins / Jenkins Custom Photography Ltd.


M

2006 Tucker Design

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Images counter-clockwise from opposite page top:Bybee Prize winner Lawrence Halprin, FASLA, meets with BSI member Rae Price, FASLA.

2006 Tucker Award Judge Gordon H. Chong, FAIA, presents one of the award winning projects.

2006 Tucker Award Judge Richard Macias, ASLA, presents the participants of the MTA TBTA Brooklyn Battery TunnelVentilation Building a 2006 Tucker Award.

Edward Westbrook of Quarryhouse Inc. presents a retrospective of 2006 Bybee Prize winner Lawrence Halprin’s career.

Lawrence Halprin, FASLA, accepts the 2006 Bybee Prize.

Fall 2006 � BUILD ING STONE MAGAZ INE 9

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Gordon H.Chong, FAIAChongPartnersArchitecture,San Francisco

Gordon Chong isthe founding part-ner of a 30-year-old,185-person archi-

tectural, urban design, interiors and graphicdesign firm that bears his name. Chong

Partners Architecture provides design ser-vices to institutional, health care and educa-tional clients from its offices in SanFrancisco, Sacramento, San Diego and Lon-don. The firm has received numerousawards for its work in health care and urbanin-fill structures.

In addition to serving as the 2002national president of the AmericanInstitute of Architects, Chong has servedas a planning commissioner responsiblefor project design reviews and has

served on national design juries fromBoston to Alaska. In February 2006, herepresented the United States as a jurorof an international design competitionin Seoul, Korea.

His work with design juries, whetherof stars or students, has broadened hisperspective and continues to inform thedesign effort of his own firm.

RichardMacias,ASLASan FranciscoStateUniversity, SanFrancisco

Richard Macias hasfocused his profes-sional career on the

growth and development of academic insti-tutions at the college and university level.

Following his years as a planningconsultant, he joined the CaliforniaState University system as campus plan-ner for the 28,000-student campus ofSan Francisco State University. In thisrole, he is directing the preparation ofthe University’s 2006 ComprehensiveMaster Plan, a study that will be a modelfor long-term evolution of large urbanuniversities.

Macias has also been a guest lecturerat universities across the country. Inaddition to his participation in planningassignments on more than 65 campusesthroughout the United States and Asia,he is also co-author of “CommunityDesign Management,” an award-winningprimer for communities offering tech-niques in urban design, revitalizationand planning. �

Jury Members

2006 Tucker DesignAwards Jury Members


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LAWRENCE HALPRIN:

A Legacy inStone

By Jodi Paper

All photos courtesy of Lawrence Halprin

BUILD ING STONE MAGAZ INE � Fall 2006

RIGHT:Lawrence Halprin

and came to play an importantpart in his career years later.

After he graduated, Halprinproceeded to the University ofWisconsin to pursue a doctoratein botany. But once there, his lifechanged direction. “In Wiscon-sin, I did two things: I met mywife [Anna Halprin] and Ibecame a landscape architect,”he said.

AWRENCE HALPRIN,FASLA, is renowned theworld over for his inno-vative, user-friendly and

community-sensitive designs,which run the gamut from hiscritically acclaimed FranklinDelano Roosevelt memorial inWashington, D.C., to the BenYehuda promenade in Jerusalem,to the more recent SigmundStern Grove restoration and Let-terman Digital Arts Center, apart of the Lucasfilm campus inSan Francisco. Given the range ofhis work, it is no wonder Halprinis considered a pioneer of land-scape design and winner of thecoveted 2006 Building StoneInstitute Bybee Prize award.

The BeginningHalprin was born in Brook-

lyn, N.Y., in 1916.“As a hobby, Iwas a painter, which has beenpart of my being ever since I wasa little kid,” he said. Though, as ayoung adult, his interests cameto encompass botany, which hestudied at Cornell University.The artist within him remained

At his wife’s suggestion, thepair went to see Frank LloydWright’s home in Spring Green,Wis. At the time, although Hal-prin knew nothing of Wright –or architecture and landscapearchitecture for that matter – hefound a new calling.“As I walkedup to the house, there was a littlesign over the front door thatsaid, ‘Whatever a man does, that

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ABOVE LEFT:Letterman Digital Center, StoneBelvedere with view of Palace of FineArts, San Francisco

BELOW LEFT:Haas Promenade, Jerusalem, Israel

Fall 2006 � BUILD ING STONE MAGAZ INE

is who he is.’ And that is the firstthing that got to me,” he recalled.

Halprin became fascinatedby Frank Lloyd Wright. He wentto a library to learn more abouthim, where he found booksabout architecture, landscapearchitecture and finally a bookby Christopher Tunnard. Thenext day, Halprin went to a pro-fessor with his discovery, “and Itold him,‘You know, I’ve discov-ered there is this fascinatingthing called landscape architec-ture. Do you know anythingabout it?’” While the professordid not, he referred Halprin toone who did. After several class-es, Halprin impressed the pro-fessor to such a degree that hesent him with a scholarship tostudy the subject further at Har-vard University, where, it turnedout, Christopher Tunnard was aprofessor. Once in Boston, “Ibecame so enamored with whatI was doing, I didn’t want tostop,” Halprin said. “I was 24years old when I got started.”

After two years at Harvardand then a stint as a naval officeroverseas during World War II,Halprin headed to Berkeley,Calif., where he began anapprenticeship with ThomasChurch. Over the years, Halprinlearned all aspects of landscapearchitecture, including theplant/gardening aspects, and siteand street planning. “But I wasmostly interested in communityplanning and all of the thingsthat went along with that,” Hal-prin said. “The design, makingplaces of all kinds.” So, he decid-ed to branch out on his own.

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RIGHT:Goldman Promenade, Jerusalem, Israel

BELOW:Yosemite Falls Shuttle Stop, YosemiteNational Park

Sea RanchShortly thereafter, Halprin

began his career and a succes-sion of projects that would havea major impact on landscapedesign and how it would be per-ceived. “Most importantly, Iwanted to shift the idea of land-scape architecture from just gar-dens over to communities.”

Halprin’s first project encom-passing this new perspective of

landscape architecture was the SeaRanch, an environmentally sensi-tive housing community alongthe Sonoma/Mendocino coast ofCalifornia. The idea was to createa community that would have aminimal impact on the naturallandscape. To this end, Halprinincorporated into the communi-ty’s design a local granite stonefound on surrounding ranchesand at the cliff edges.

He said, “I wanted to createa place of living together onthe land in a way that is not asuburb or a city, but as a town,as a community of people of alike mind who wanted to livetogether, expanding the ideaof what a place can be like.”

This idea Halprin has ofcommunity stems in large partfrom his experience workingon a kibbutz in Israel. Thoughhe was only just out of prepschool at the time, his involve-ment in that type of commu-nal living and working becamea huge influence on the workhe would do much later, someof the most prominent inJerusalem itself.

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Ben Yehuda, JerusalemWhile it was during his work

on the kibbutz that Halprin’scommunity-oriented ideologieson landscape architecture beganto take hold, it was later, as anassistant to the mayor ofJerusalem on several landscapeprojects, that he developed atrue understanding of the signif-icance of stone in designing forthese communities.

“I learned a lot about stonethere,”Halprin said.“I learned it issomething that people use tomake actual places out of – quitedifferent from the decorative waywe use it here, in the UnitedStates.”He continued,“Jerusalemhas this intense quality, and thecity itself is almost like a sculpture.”

One of Halprin’s most promi-nent Jerusalem projects was theBen Yehuda pedestrian mall in the

heart of the city. Here, he primar-ily utilized Jerusalem Limestone, avery hard, pink stone used inmany of the local buildings, tocreate a marketplace thoroughfarefor the community.

Halprin views stone as a cul-turally and historically significantmaterial.“A lot of what we do is toconvince people that these[stones] are not decoration. Theyare the essence of a life of people.”

ABOVE LEFT:Haas Promenade, Jerusalem, Israel

ABOVE RIGHT:FDR Memorial, Room Three, War Wallwith Fountain, Washington, D.C.


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Franklin DelanoRoosevelt Memorial

In the case of the FranklinDelano Roosevelt Memorial inWashington, D.C., Halprin usedstone to tell the story of the formerpresident’s 12 years in office. Thememorial is constructed primari-ly of Carnellian Granite,a dark redgranite out of South Dakota thatexemplifies the strength and opti-mism of the man it honors.

The memorial consists offour outdoor galleries, represent-ing each of FDR’s terms inoffice.“We integrated the quota-tions from FDR’s speeches[etched into the granite], andincluded sculpture and water.”While the granite and the sculp-ture define the “rooms” them-selves, water takes the forms ofpools and gentle cascades.

“We wanted to make it a placepeople could walk around andunderstand what the New Dealwas meant to be,”Halprin said.

San FranciscoRecently, Halprin has com-

pleted projects in San Francisco– the Sigmund Stern Grove ren-ovation and the Letterman Dig-ital Arts Center project forLucasfilm. Like the FDR memo-rial, both projects were devel-oped with the idea that they

should be spaces of maximumuse and enjoyment for the com-munity at large.

Prior to Halprin’s work, SternGrove was an area made up pri-marily of groves of trees and ameadow that, due to decades ofuse as a popular summer con-cert venue, was falling victim tomass erosion.

Halprin’s designs incorporat-ed a great deal of Gabbro, agranite he used in a variety offorms, including bleacher-typeseating, boulders, walls, pavingand entry pillars among largegrassy areas. “We wanted thestone to be tough, because peo-ple were going to be sitting onit,” Halprin said.“We didn’t wantit to get carved out by all theuse.”

With the Letterman project,Halprin set out to create a space inwhich, although the buildings areoccupied by Lucasfilm Ltd. for itsIndustrial Light & Magic andLucasArts divisions, the rest of thearea could be put to public useand enjoyment. Located in thePresidio, a former military basethat had been turned into anational park, Halprin’s designsonce again included the use oflarge amounts of hard sandstone,specifically fieldstones out of Red-ding, Calif.


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And once again, water playeda prominent role for Halprin. A500-foot-long natural creek thatruns through the site and emp-ties into a lagoon – all of whichwas landscaped in stone – wasmodeled after a stream inMount Tamalpais State Park innorthern California.

More than 2,200 tons ofstone went into the project.Mostly, the stones took the formof, as Halprin puts it,“wonderfulbig boulders.”

“I wanted a kind of stonein very big pieces that had aquality of spirit and color,”Halprin said of his choice

material, which had lichenrunning through it.

“We make careful decisionsabout what kind of stone we usebased on the feelings that aretrue to the project.”

Matera, ItalyCurrently, Halprin is working

on a project in Italy involvingthe conversion of factories intocommunities.

Halprin is predominantlyworking with Tufa stone, whichhas been used in the area for cen-turies. “There is a communitycalled Matera, which has wonder-ful quarries, where a lot of thestonework is used to make build-ings, as well as other things,”Hal-prin said. He described the stoneas similar to Jerusalem stone, onlyfairly soft. He was asked specifical-ly to build this community out ofthe Matera quarry, which hasbeen turned over for that use.

Though Halprin treasuresworking internationally, he is veryselective about working abroad.“Ifind it very important before Itake on a project that I under-stand not only the land and thepeople with whom we are goingto be working, but also the ethnicqualities of the community life.”

For Halprin, landscape archi-tecture is more than just a job. It isa breathing art that fosters hisunderstanding and practice of liv-ing and working in and as a com-munity. Stone takes on the role ofoxygen,carrying life into Halprin’sdesigns, and creating a firm foun-dation from which people all overthe world can benefit.

“The foremost thing is tounderstand how people’s culturallife affects the invisible life andhow to fit the two together,” hesaid.“That is what really gets myattention.”

And quite deservedly, Hal-prin, along with his rock-solidlegacy, now has ours. �

ABOVE TOP:Letterman Digital Center, Creek withView of Palace of Fine Arts, San Francisco

ABOVE MIDDLE:Letterman Digital Center, Seating Area,San Francisco

ABOVE BOTTOM:Sigmund Stern Grove, Concert MeadowSeating, San Francisco


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EEP IT SIMPLE AND

FOCUS ON QUALI-TY, NOT QUANTITY.Think permanence.

Those were the goals of thebuilders and designers of thismodern residence constructed inthe wooded hills near the centralpart of Austin, Texas.

All building sites contain ele-ments that inspire an architecturaldesign solution, and architect JayHargrave seamlessly matched thestructure to the available site.“It’sat the top because of the view,”heexplained. “We agreed to makesure the house was well engaged inthe ground,and the foundation,aswell as the components that camedown to grade, were well consid-

OPPOSITE PAGE:Front view of stair tower and entry. Thefoundation is an integral part of the entrysequence.

ABOVE:Overview of residence and features.Placement preserves tree lines and visualprivacy.

ABOVE INSET:Living room with glass curtain walls. Thefireplace at the far end also acts as ashear wall, which goes down through thegarage.

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402 Redbud TrailBy Mark Haverstock

ered as part of the design.”Guestsapproaching from the drivewayfirst see the underside of the build-ing, which emphasizes the rela-tionship between the building andthe ground.

Because of the steep slope onwhich the house is positioned,Hargrave knew they would needto provide some outdoor space atthe main living area. That’s whythere’s a cantilevered pool and asmall elevated lawn and patio ontop, adjacent to the garage.

Primary living spaces arelocated on the first floor of thehouse. A centralized kitchen andliving room open out to thecourtyard of grass and stone thatsurrounds the pool and hot tub.

The living room – the largestspace in the house – has threeexterior glass walls anchored bytwo stone masses, the stairwelland fireplace. A dining room islocated at the rear of the house,surrounded by two texturedconcrete walls that wrap aroundthe rear of the house. To theright of the kitchen and diningroom is a bridge that links themaster suite and an upstairsguest suite with a study.

The second floor features twobedrooms, a full bath and amedia room that opens to apatio overlooking the pool. Onthe ground level is a three-cargarage, workshop and wineroom. This lower area also hous-

K

PROJECT TEAMDesigner:

Cottam Hargrave Architecture and Construction, Austin, Texas

Stone supplier: Continental Quarries, Inc., Lueders, Texas

Stone installer: J.P. Castelline Masonry, Austin, Texas

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es a dedicated mechanical roomand built-in storage areas.

“We’re more involved in theconstruction aspect than manyother local firms,” Hargrave said.“It’s not typical home construc-tion, as there’s very little woodinvolved.”

With modern engineering andtechnology, stone is no longerlimited by its traditional proper-ties and can be applied in a varietyof ways. The basic structure is acombination of concrete, rein-forced CMU and masonry orstone over a CMU backup,including structural steel withlight gauge steel framing through-out. The exterior is clad in lime-stone veneer and stucco with cop-per accents. Stained concretefloors and some hardwood floor-ing make up the 5,500 square feetof available living area.

The masonry walls range from18 inches to more than 40 inchesin thickness, with their massive-ness expressed in the detailing ofthe corners and openings. Oneexample is the construction of thethree windows in the stairwell.Each window is made from two48”x 48”x 15”Lueders blocks setback to back with an openingcarved into the center. The open-ing in the outside block is slightlylarger than the one on the insideblock, so the inside edge acts as astop. During construction, glasswas wet-glazed into the opening.

Because of the height of thestair tower walls, the CMU is 12inches thick. Both sides of thewall are stone veneer and builtaround this CMU backup.

“Continental supplied thestone with a sawn bed face, andthe masons cut and finished thehead joints, in particular the cor-ners, to keep those lines nice andcrisp,” Hargrave said. Detailsinclude the use of solid lintelblocks, Lueders caps throughoutand a “zipper strip” of largerroughback that zigzags up theface of the stair tower.

In addition to veneer stone,some monolithic stone stepsinside and outside the structureact as risers and tread, so each isa solid piece of material. Someoutside stairs use solid stoneslabs as well.

Other notable stone featuresincorporated into the designinclude granite countertops in thebathroom and kitchen. Thekitchen countertops actually pro-ject outside to make an outdoorservice bar. The countertop alsoacts as the windowsill. �

TOP RIGHT:View of negative-edge pool and hot tubadjacent to house.

MIDDLE:View of house from driveway.

BOTTOM:Stair tower view from main floor.

BOTTOM INSET:Stair tower view from top floor,displaying skylight and unique windowopenings carved from solid Luedersblock.


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Art Collectors’ Residence, Toronto

By M.W. Penn

Photograph © Steven Evans

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AKING ITS INSPIRA-TION FROM THE

OWNERS’ COLLEC-TION OF GLASS ART,

this hybrid of home, private spaand art gallery explores qualitiesof transparency, water and light.The 12,700-square-foot interiorwas conceived to indulge theclients’ passions, showcasing avibrant collection of art and fur-niture and establishing a privatesetting for health and wellness.The exterior, in both its massingand its construction materials,

was designed to integrate withthe surrounding natural land-scape. Throughout all its spaces,this very personal home blurs theboundaries between interior andexterior, building and nature,richness and simplicity, traditionand innovation.

Situated in a Toronto suburb,in an area where ranch style bun-galows are being replaced by pas-tiche European palaces with theiraccompanying ornamental gar-dens, this house is unusual in itsmodernist sensibility and its sen-

sitivity to the existing landscape.The surrounding property can bedescribed as a two-acre roomenclosed in natural walls formedby an encompassing line of tall firtrees.Couched in the center of theproperty, the two-story house sitslightly in the landscape. It isdesigned to take advantage ofviews of large trees that hadalready existed on the site. Thehome’s L-form delineates an oth-erwise broad property into threeexterior sectors while preservingtransparency from one sector tothe other.

Living quarters are at the heartof the plan, relegating the non-domestic programs of art galleryand health spa to each wing; theconfiguration met the challengeof achieving domestic intimacy as

LEFT:The limestone, from Owen SoundLedgerock, of Ontario, Canada, is type 3dolomite in a honed finish.

ABOVE:The external treatment of the houseexplores a language of natural materials:Algonquin and Wiarton limestone,copper detailing and awnings, rift-cut oakand teak windows.

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Hariri Pontarini Architects, Toronto,Ontario, Canada

Stone supplier: Owen Sound Ledgerock Ltd., Owen Sound,Ontario, Canada

Stone installer: Mario Rotundo Stone & Masonry Inc., Concord, Ontario

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well as providing a private sanc-tum for wellness and a showcasefor art. The dwelling’s lower levelis almost entirely transparent,holding the least private compo-nents of the building, while thetop layer is almost opaque,embracing and sheltering its mostsecluded rooms.

The external treatment of thehouse explores a finely honed lan-guage of natural materials. Algo-nquin and Wiarton limestone,copper detailing and awnings, rift-cut oak and teak windows,all dra-matically couched beside cascad-ing fountains filled with river rocksand plant life,combine to impart asense of permanence, nature andtimelessness. The limestone isfrom Owen Sound Ledgerock ofOntario, Canada, a product oftheir Wiarton, Ontario, quarry.Type 3 dolomite, the stone canachieve a high polish, but is moreconsistent in the honed finish usedhere.

The Algonquin limestonepanels were all mechanically fas-tened using engineered stainlesssteel anchors. The Wiarton rock-faced limestone was installed incontinuous course heights. Thisinstallation created a linearappearance, understating the ver-tical joints and highlighting thehorizontal joints. Each stone unitwas trimmed to match the adja-cent piece in form and shape togive the impression that each hor-izontal course was continuous.Stunning shadow lines were creat-ed by larger but recessed horizon-tal mortar joints. The overall color

of the building is derived from thetones of the Algonquin stone –deep taupe to brown with addedhighlights of gray Wiarton fromthe same quarry.

The interior is full of unex-pected surprises. Essentially oneroom wide, the home is almostvoid of doors and circulationareas. This configuration enablesexpansive views from one spaceto another, from the interior tothe exterior, back in and thenout again.

Spanning two floors, the artgallery is charged with diffusedlight from clerestory windows andskylights to simultaneously illumi-nate and protect the art within. Aprominent circular staircase addsa sculptural dimension to thewing as it rises to the roofline.

The spa zone,which includes afitness area, sauna, steam shower,swimming pool and whirlpool, is

framed by limestone decking thatforms a bridge between the interi-or and exterior water pools. Onthe interior, water cascades fromthe fitness mezzanine into theswimming pool, and on the exte-rior it falls from one level of foun-tain into another, bringing tran-quility and sound into all areas ofthe house. The sense of water iscarried further with organicallyundulating ceilings over the artgallery and pool, suspending likeheavy drops of liquid and scoop-ing light in waves overhead.

Throughout the entire home,light is filtered in radiant veils frommultiple angles through windows,skylights and floor-to-ceiling win-dows. Caught on a consistentbackdrop of white plaster, lime-stone from Rossi,France,and wal-nut flooring, the light ignites thehouse with a sense of floatation,movement, spirituality and joy.

Recently recognized as one ofthe “World’s 12 Best New Build-ings” by Artinfo.com, the resi-dence was designed by HaririPontarini Architects, a Toronto-based architectural firm thatdraws on the collective skills andexpertise of 20 registered andintern architects and supportstaff. Partners in practice since1994, Siamak Hariri and DavidPontarini value responsive, high-quality design and a strong senseof place and materiality in archi-tecture, and are known for pro-ducing designs that use a veryopen collaborative process tocombine artistic spirit with acapacity for highly detailed,beautifully crafted execution.Their projects grow out of inten-sive research, sensitivity to site, adedication to detail and crafts-manship, and an emphasis onenduring materials. �


RIGHT:The overall color of the building isderived from the tones of the Algonquinstone, deep taupe to brown with addedhighlights of gray Wiarton from the samequarry.

INSET:The spa zone is framed by limestonedecking that forms a bridge between theinterior and exterior water pools.

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28 BUILD ING STONE MAGAZ INE � Fall 2006

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ELVEDERE GARDENS

IS LOCATED WITHIN

a 110-acre cemetery inthe quiet southwest Vir-

ginia town of Salem. Founded in1928, family-owned SherwoodMemorial Park had alreadyexpanded its mausoleum facili-ties twice. Phase I was designedand constructed in the late1930s, and Phase II was realizedin the early 1950s. Due to anincreasing demand for cryptspace, in 1999 the client request-ed the design of Phase III: a2,500-crypt mausoleum andcolumbarium.

In an effort to capitalize oncommanding views of theAppalachian mountain range tothe northwest, the building com-mittee selected a 2.4-acre hilltopsite for the new expansion. Withthe exception of a Loblolly Pineforest to the south and east, thisparcel was devoid of any note-worthy land features. The archi-tect’s challenge was to elevate thisnondescript site to a sacred placethat would fit humbly within itssurroundings and become a des-tination for all generations.

SMBW Architects of Rich-mond, Va., a 25-person architec-

tural firm founded in 1991, waschosen to design the new expan-sion. The foundation of SMBW’spractice is the exploration of therelationship between landformand the built environment, whichis evident in their memorial work,single- and multi-family housing,corporate projects and urbanmixed-use developments. Thefirm is dedicated to being both aresponsible steward of the dimin-ishing landscape and the redevel-opment of urban fabric. Theirmethod for every commission isrooted in thorough research,intensive analysis, thoughtful edit-ing, and active collaborationbetween architect, consultant,craftsperson and client.

For inspiration for theBelvedere Gardens project, thefirm looked to Erik GunnarAsplund & Sigurd Lewerentz’sWoodland Cemetery and Cre-matorium in Stockholm, Swe-den. As a direct reaction to theprevailing approach to Europeancemetery design in the early 19thcentury, their objective was anartistic attempt to reintegrate lifewith death by exploiting the nat-ural characteristics of the land-scape. The result achieved an

emotionally charged place that istranscendent and spiritual.

To achieve the goals of creat-ing a sacred space, SMBWArchitects chose to suppress thepresence of the new mausoleumso that the land and buildingwere in harmony. Two funda-mental design moves wereemployed to create this newlandscape. The first was a sub-tractive process that carved themain space out of the existingground plane. The second wasthe additive use of the displacedearth to create a one-acre plinth.These two moves created threedistinct outdoor rooms: theSunken Garden, which is thelower excavated room around

OPPOSITE PAGE:A narrow reflecting pool on the northside of the Sunken Garden is fed by aman-made spring.

ABOVE:Influenced by the colorful regionalgeology, the architects chose a blend ofquarried stone milled in Tennessee.

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BelvedereGardens

By M.W. Penn

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SMBW Architects, Richmond, Va.

Stone supplier: Scott Stone Inc., Mebane, N.C.

Stone installer: Jim Skiles, Antioch, Tenn.

BSI2903_Fall06a 8/22/06 4:22 PM Page 29

ABOVE:The curved roofs of the mausolea echo the landscape of themountains in the distance.

OPPOSITE PAGE:SMBW Architects chose to suppress the presence of the newmausoleum so that the land and building were in harmony.

OPPOSITE PAGE INSET:A mix of irregular fieldstones defines the secondary site andretaining walls, while a more refined cut stone encapsulatesthe crypts.


which the entire project is struc-tured; the Grove, an area ofground interment sites createdby the plinth of displaced earthand ordered by a bosque ofOsage Orange trees; and theAllée, which initiates the entrysequence by creating a prome-nade along the eastern edge ofthe property.

The Sunken Garden is anoutdoor room, which is at oncereverential and quiet. A sinuouscrypt wall to the south and fivemausoleum structures to thenorth act as a boundary for the8,500-square-foot space; thecurved sod roofs of the mau-solea echo the landscape of themountains in the distance. Anarrow reflecting pool on thenorth side of the Sunken Gardenis fed by a man-made spring andactivates this space, simultane-ously unifying and separatingthe lowest and highest rooms.Four bronze and cypress foot-bridges negotiate passagewaysbetween the mausolea and theGrove.

Influenced by the colorfulregional geology, a blend ofquarried stone provides a warmcounterpoint to the concrete,which is the project’s primarystructural framework. A mix ofirregular fieldstones defines thesecondary site and retainingwalls, while a more refined cutstone milled in Tennessee encap-

sulates the crypts. Scott Stone ofMebane, N.C., assembled thesplitface sandstone from fourdifferent sources within theregion, and Jim Skiles of Anti-och, Tenn., supervised the instal-lation of the stone to executeSMBW’s vision. On site, masonsblended and hand cut the vari-ous colors of stone.

Walking surfaces are articulat-ed with a combination of Penn-sylvania bluestone paving, tanstone dust and sod. The palette isintended to engage the visitor’ssenses on a tactile level to rein-force a more personal relationshipto the land. This relationship isfurther revealed on an emotionallevel as one moves through thepassageways and rooms on a per-sonal journey of contemplationand reflection.

To encourage introspectionalong the journey, perception iscontrolled through the suppres-sion and extension of views tothe landscape beyond. There arespaces that encourage move-ment and others that encourageone to pause and reflect. It isintended that each space tran-scend the previous, while visitorsdiscover something beautifuland meaningful along theirjourney.

By emphasizing a physical andperceptual connectedness to thelocal and extended site, SMBWArchitects created an enduring

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DIMENSIONALCUSTOM

3901 South Industr ial Rd. • Cheyenne, WY 82007Phone: (307) 638-3662 • Fax: (307) 638-0578

Email : mai l@str idmarble.com

• Veneer• Thin Slabs

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BSI2903_Fall06a 8/22/06 4:22 PM Page 30

sense of place, which cultivates anatmosphere of emotional andspiritual reflection and under-scores our relationship to the nat-ural order of life. Belvedere Gar-dens has received numerous

additional awards including theChicago Athenaeum’s 2005 Amer-ican Architecture Award and Faith& Form magazine’s 2005 DesignAward for Architecture: SacredSpaces. �


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Factoryfor

SynergyLifestyles

By Jodi Paper

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OCATED IN THE

TOWN OF KARUR

IN TAMIL NADU,INDIA, the Factory for

Synergy Lifestyles is a highly inno-vative structure that incorporateslocal elements into a design thatbuilds upon the contemporaryneeds of the factory itself and itsworkers.“As a design firm, under-standing the local architecture andavailable materials forms ourbasic design philosophy,” saidRakhi Modi, the architect at SJKArchitects in Mumbai whodesigned the project’s presenta-tions and compilations.

“On one of our first visits toKarur, we came across interestinggable wall and coping details,which formed our first set of visu-al inspiration,” he said. Thedesigners, of course, had to adaptthe features to suit the home tex-tile factory’s needs, which includ-ed modifications for climatic con-ditions, energy efficiency, and thefactory workers’ comfort. Whatresulted was a cocoon-like struc-ture “developed into a stream-lined, form-fitted skewed rectan-gular [shape].A curvilinear thrustfrom the main structure breaksthe formal linearity, allowing aneffective integration of a court-yard.”

Stone was a key ingredient inthe design and structure of thefactory.“The entire building hasbeen cocooned in 18-inch thick,

random rubble masonry wallsthat, because of it being a goodinsulator, help in cordoning offexcess heat from the outside intothe internal factory spaces,”Modi said.

The town of Karur is situatedin a climate of extremes; fierceheat and harsh rains are typicalweather trends, which requiredspecial attention in the planningof the facility, particularly for thecomfort of the people workingthere. For this purpose,“a vault-ed roof was designed as a softerversion of the pitched roof typi-cally used all over Karur, whichsuited the climatic conditions ofthat region very well,” Modi said.

Three types of stone wereutilized throughout the facility:an igneous rock, locally referredto as “blue granite,” which isquarried in the state of TamilNadu; Kadappa stone, anigneous black rock also quarriedlocally; and the grayish-greenKotah stone. According to Modi,“The entire external cocoon ofthe factory was built out ofstone, which constituted about60-70 percent of the structureand amounted to about 3,400cubic meters (4,444 cubic yards)of stone for the entire buildingand its compound walls.”

The majority of the structurewas built out of the blue granite,which – in addition to being anexcellent source for internal cli-

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SJK Architects, Mumbai, Maharashtra, India

Stone Supplier and Installer: Bricksteel Enterprises, Bangalore, Kamataka, India

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zero,”Modi said. Another bonus:“[Employing] a locally availablematerial gave us an opportunityto explore the possibility of usinglocally available masonry skills, aswell as [allowing us] to contributeour share in the development ofthe town.”

A semi-polished Kadappastone was used in slabs 38-50millimeters (1-1/2 to two inches)thick for steps, ledges and sillsthroughout the building.Machine-polished Kotah stone,cut 20-25 millimeters (3/4 toone inch) thick, was used formuch of the flooring through-out the factory, including in therestroom and pantry areas.

Possibly the most outstandingfeature of the Factory for SynergyLifestyles is the main courtyard tothe west of the most denselyoccupied area of the building.Modi explained that this court-yard “becomes an anchor for thebuilding as a green hub, cuttingout the harsh west sun, andreducing the afternoon heat gainby providing a vegetation buffer.”

Adding to the unique designof the structure, there are alsothree smaller, though no less sig-nificant, courtyards that sporadi-cally emerge along the primary

mate control – proved to requirevery little in upkeep. “Since therains wash the stone regularly, themaintenance, as is necessary in afactory environment, is almost

passageway,which Modi describesas “reminiscent of those featuredin the local homes.”Each of these“open-to-shy” courtyards servesan individual purpose: one is awater court, featuring small poolwith an inner lining constructedof Kadappa stone; the second fea-tures a pebbled area with a col-ored wall; and the third serves as alight well.All three add to the aes-thetic sensibility of the factory, aswell as the comfort of its workers.“In addition to bringing tempera-ture control, they become junc-tions for visual relief and [worker]interaction,”Modi said.

“Our design sensibilitiesrevolve around understanding thelocal architecture to derive avocabulary and to understandmaterials suitable for a particulargiven place in combination withthe client’s requirements and con-straints,” Modi said. With itsvaulted ceilings,array of stone andmultiple courtyards – all in thename of factory efficiency andworker comfort – the Factory forSynergy Lifestyles truly encom-passes the sensibilities of whichModi spoke and comes togetherin a synchronicity that adds up toa factory much greater than thesum of its parts. �


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ParkIndustries_Fall06 8/8/06 1:16 PM Page 1


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Bohlin Cywinski Jackson, Philadelphia

Stone suppliers: Vickery Stone Company, Havertown, Pa.;Fletcher Granite Co. LLC, Westford, Mass.;Johnston and Rhodes Bluestone Company,East Branch, N.Y.

Stone installer: DM Sabia & Company Inc., Conshohocken, Pa.


LEFT:The Liberty Bell is displayed before anoblique view of Independence Hall.

LEFT INSET:Cupped walls of Carrera white marble inan ashlar pattern embrace the bell.

ABOVE:Brick, stone and glass combine to form acovered outdoor interpretive area.

ABOVE INSET:The visitor’s experience unfolds along aChelmsford granite wall reminiscent ofJefferson’s serpentine wall.

Photographs © Peter Aaron/Esto

The Liberty Bell CenterBy M.W. Penn

N 1997, THE MASTER

PLAN OF INDEPEN-DENCE MALL envisionedthe creation of a “Great

American Place” in the heart ofPhiladelphia’s historic district. Inkeeping with this spirit, thedesign of a new building tohouse the Liberty Bell on Inde-pendence Mall demanded a dis-tinctly American building thatwould be seamlessly connectedto this place, the city and the col-lective memory of events thathappened here.

Designed by the Philadelphiaarchitectural firm of BohlinCywinski Jackson, the new12,000-square-foot structure ful-fills the vision and honors the

bell’s significance. Opened inOctober 2003, the $11 millionLiberty Bell Center providesboth a larger home for the belland an exciting and authenticvisitor experience. Accessibleduring the day, illuminated atnight, and featuring severalinterpretive exhibits that high-light the bell’s history, the newcenter offers visitors a contem-plative experience.

Contemporary yet resonatingwith the 18th- and 19th-centuryarchitectural traditions of the city,the brick, stone and glass buildingis an open, humanly scaled placeof gathering and community.Glass walls and a metal-clad woodroof join a brick and stone-paved

I

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LEFT:A delicately detailed scrim of sunlight-controlling vanes shelters the bellchamber’s south-facing, glass enclosure.

arbor way and sun-shading trellis-es to form the building’s enclo-sure. The stone paving is blue-gray Elk Brook Bluestone fromJohnston and Rhodes BluestoneCompany in East Branch, N.Y., ina natural cleft finish; bluestone hashistorical significance as a region-al material original to the mall.

The bell, its story and the visi-tors’ personal encounters with itare enveloped in three architectur-al elements: a covered outdoorinterpretive area,an elongated rec-tilinear exhibit hall and a taperedcubic volume housing the bellchamber.Those coming to see the


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bell enter a long hallway linedwith an undulating granite wallon one side and a wall of glass onthe other; the Chelmsford granitewall is reminiscent of Jefferson’sserpentine wall, and the glass walllooks out onto the mall. Quarriedby Fletcher Granite Company inChelmsford, Mass., the granite isguillotine cut, yielding a rough,uneven surface that appearshandcrafted, and the mica con-tent of the granite sparkles whenthe sunlight strikes the surface.

The visitor’s experienceunfolds along this granite wallwithin the transparent building.Here information on the con-struction of the bell, its historicalrole, and its universal meaning arepresented through a series ofinteractive and informative dis-plays. The exhibition consists oftext panels, photographs, artwork

and physical artifacts. There areplaces for foreign visitors to hearthe story in their native languagesand for large groups to assemblefor special presentations.

The inclined floor plane of theexhibit area conforms to the con-tour of the exterior landscape,which is visible through the gen-erous windows opening onto themall. The walking path rises gen-tly to a plateau where a glass andmarble chamber houses the bell,but the top of the granite wallremains level, gradually decreas-ing the height of the wall from 13to 10 feet as the visitor ascendstoward the bell chamber.

The bell is displayed before anoblique view of Independence Hall– the Pennsylvania State Housethat was the site of the signing ofthe Declaration of Independenceand the framing of the Constitu-

tion.The view forms a compellingbackdrop.In the chamber’s expan-sive architectural volume,the greatwindow reminds visitors of theintimate relationship of hall andbell, making the bell’s importanceexplicit.

Cupped walls of Carrera whitemarble embrace the bell, creatingan intimate environment for bothindividuals and larger audiencesto view it and reflect on its mean-ing. The marble has soft veining,luster and a uniformity of colorthat allowed these walls to be lay-ered in a delicate ashlar pattern,lending substance and weightless-ness, dignity and repose to thechamber. By splaying the exteriorwalls and tilting the vertical angleof the marble walls slightly, thearchitects also softened the ambi-ent sound in the chamber. Loca-tion, architecture and icon join to

make a moving and memorableexperience.

The center provides an urbanedge along Sixth Street to the westand a cornerstone to the newlyreconfigured Independence Mall,a public square where lunchingoffice workers mingle with visitorsfrom afar and schoolchildrenexploring history. The stunninglandscape redesign of the mall byPhiladelphia’s Laurie D. Olin is aninviting respite from a busy city,and the Liberty Bell Center, withits walkways and trellis, provides asylvan pavilion at the edge of thepark. Visitors exit the bell cham-ber along the final segment of thegranite serpentine wall, emergingnear the southwest corner of themall, well positioned to continuetheir visit to the park’s otherimportant sites and the surround-ing historic city. �


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MTA TBTA Brooklyn Battery Tunnel

By Mark Haverstock

Photograph © Suzanne DiGeronimo


BSI2903_Fall06a 8/22/06 4:24 PM Page 40


DiGeronimo PC, Paramus, N.J.

Stone supplier: North Carolina Granite Corporation, Mt. Airy, N.C.

Stone installer: Millennium Stone, Tile and Masonry, Flushing, N.Y., under subcontract to contractor Kiewit Constructors

RESH AIR IS EXACTLY

WHAT MOTORISTS

NEED while travelingthough the Brooklyn

Battery Tunnel, which – at 9,117feet in length – is the longestcontinuous underwater vehicu-lar tunnel in North America.The Brooklyn Battery TunnelGovernors Island VentilationBuilding – along with three oth-ers, two in lower Manhattan anda third near the Brooklyn portal– provide a complete air changein the tunnel every 1-1/2 min-utes to help remove the carbon

monoxide and other emissionscreated by the numerous vehi-cles that travel this stretch ofInterstate 478.

A breath of fresh air is alsowhat the exterior of the Gover-nor’s Island Ventilation Buildingneeded after years of exposure tothe elements. The original facadebegan as a glazed brick finish thatdid not weather well in the harshlocation – over the years it disinte-grated, cracked and failed. In1975, the Metropolitan Trans-portation Authority (MTA) Tri-borough Bridge and Tunnel

FABOVE:Aerial view of the exterior of MTA TBTABrooklyn Battery Tunnel GovernorsIsland Ventilation Building afterrenovation.


BSI2903_Fall06a 8/22/06 4:24 PM Page 41

Authority (TBTA) decided tostrip the glazed brick surface andreplace it with acrylic stucco pan-els; however, after approximately30 years of service, the stucco pan-els also failed and began falling offthe facade. MTA TBTA decidedthat a different design approachwould be required to provide along-lasting and durable facade. Itwas also important that the reno-vations were compatible with theexisting architectural concept.

MTA TBTA selected DiGeron-imo PC and a team of specialtysubcontractors to provide archi-tectural and engineering servicesto renovate the structure. Initialtasks before the project beganincluded a thorough investigation,document research, digital pho-tography of existing conditions,and material for sampling andtesting. This project also includedunderwater investigation and doc-umentation,giving the designers acomplete assessment of the cur-rent condition of the structure.

Two significant challenges wereassociated with the project. First,the Governor’s Island Building is

located on a man-made islandthat is largely vacant and has nodirect connection to New YorkCity.Access to the project was lim-ited to an eight-story climb from astairway at the midpoint of thetunnel or via water taxi or ferryfrom Lower Manhattan. Whenthe 9/11 security measures were ineffect, access was severely limitedfrom both the tunnel and bywater.The New York City Depart-ment of Transportation institutedrestrictions on the tunnel as it hadbeen identified as a vulnerable tar-get. Additionally, all waterbornetraffic was initially suspended andonly reinstated under the supervi-sion of the U.S. Coast Guard andthe Port Authority of New Yorkand New Jersey.

The second challenge for theDiGeronimo team memberswas to understand the nature ofthe previous facade failures.They needed to come up withthe best solution for a successfuland durable face-lift, while keep-ing the project on schedulethrough heightened securityconditions.

They found the best approachwas to treat the structure as alighthouse, since it is exposed tosimilar marine and weather con-ditions that would affect the dura-bility of the materials used on theexternal structure. DiGeronimoselected natural stone as the bestchoice for two important reasons:to match the original finish of theother tunnel ventilation buildingsand to provide a durable surfacewith lower maintenance coststhan the acrylic stucco panels orglazed brick. The design teamultimately selected Grade A Mt.Airy Granite from North CarolinaGranite Corporation for its look,low maintenance and perma-nence.

Prior to the stone installation,the DiGeronimo design called forthe removal of the stucco panelsand the cleaning, waterproofingand sealing of the exposed back-ing surfaces. To make the build-ing’s new “skin,” the teamdesigned a floating panel facade.Working with a German manu-facturer, they devised a suspen-sion system created from stainlesssteel and marine aluminum onwhich the granite panels wereattached. These stone panels mea-sure approximately three feetlong, four feet wide, and 1-3/16inches thick. This frameworkfloats on the surface of the build-ing, providing protection againstthe elements, while eliminatingopportunities for weathering tooccur between the panels oragainst the subsurface.

Though common to con-struction in Europe, this is thefirst time such a suspension sys-tem for stone panels has beenimplemented in a structure builtin the United States.

“The result is a stone facadethat acts as a shield, a first barrierin the harsh marine environ-ment,”said Louis A DiGeronimo,AIA, of DiGeronimo PC. �


CLOCKWISE FROM ABOVE LEFT:Preparation of wall surface for mountinggranite panels.

Detail of failure of acrylic stucco panelfacade.

Failure of acrylic stucco panel facade.

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ite walls. Steel scuppers seemto “float” between the largemasses of granite and pourwater into the pools lined withrugged black boulders. Waterflows over the front ledge ofthe pool into a grated reser-voir designed to re-circulatethe water. Also, water fromscuppers at the end walls ofeach pool seems to mysteri-ously disappear into a bed ofdecomposed granite that sep-arates the pools.

“Chicago has a very longhistory of parks using stoneand we saw these water fea-tures as an opportunity tobring in more contemporaryforms and to still use classical


UILD A PARK AND

THEY WILL COME.That’s what the

Lakeshore East devel-opers had in mind for the areathat once served Chicago as aport and warehouse facility forthe Illinois Central Railroad. Thesix-acre Park at Lakeshore East isthe centerpiece for the develop-ment of this 28-acre site in theheart of downtown Chicago.The park was the first part of theproject completed, created with

BELOW:A close-up of the pool shows thewaterfall disappearing into decomposedgranite at the base.

The Park atLakeshore East

the intention of drawing interestto the area.

Architects at Site DesignGroup set up six distinct zoneswithin the park at LakeshoreEast: the grand stairway, thegreat lawn, the children’s play-ground, water gardens, orna-mental gardens and the dogpark, along with a variety ofseating options. Designers eventook into account the variety ofactivities that would take placein the park and their proximityto each other. For example, theplayground is adjacent to the siteplanned for a future publicschool. Although the develop-ment is private, the park is apublic area. Both pedestriansand residents living in the near-by high-rise buildings can expe-rience the beauty of the park’smodern design.

Two main park paths, con-structed of a specialty pave-ment, mark the east and westentries. At each of these entrypoints, visitors are greeted by aseries of five pool basins thatprogressively narrow along thepath to the center of the park.Each of the lannonstonebasins is divided by a series ofevenly spaced, solid red gran-

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Site Design Group Ltd., Chicago; The Officeof James Burnett, Houston

Stone suppliers: Aspen Valley Landscape Supply, Park City,Ill.; Buechel Stone Corporation, Chilton,Wis.; Cold Spring Granite, Cold Spring,Minn.; Halquist Stone Company, Sussex,Wis.; Meno Stone Company, Lemont, Ill.

Stone installer: John Synko, Mark 1 Restoration CompanyInc., Chicago


ABOVE:This fountain is one of five located at theend of the park paths.

LEFT:Stairs form a grand entrance into thecenter of the park.

ABOVE INSET:Steel scuppers releasing water into thepool appear to float in the massivegranite blocks.

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materials in a modern way,”said Michelle Inouye, projectmanager, Site Design Group.“The way we’ve incorporatedthe natural stone materialsand introduced new materials,like the metal scuppers in thepools, give it a more urbanand contemporary feel.”

Additional water featuresappear at opposite ends of thepark. The playground is com-posed of three exterior playpods, connected by pergolasconstructed of both steel andcedar wood. In the center ofthe main circle is a spray pool.At the west end is a dog park,where they incorporated moreof the lannonstone for a smallfountain. Water pours fromthe fountain to a basin, flowsinto a cavity that goes to thelow end of the slope, and thenit falls into a drainage basin atthe other end.

“It wasn’t only the fountainsthat have the stone. We tried tocarry that same material in dif-ferent ways throughout the park,namely the stairs at the mainentry,” Inouye said. This entrycapitalizes on the grade changetoward the park – a 40-foot dropover a 340-foot length. Lannon-stone clad walls follow the samecoursing patterns as the foun-tains, set horizontally in specific2-1/4 inch and five-inch incre-ments with random vertical

joints, offsetting angling stairlines and slope changes. Therough-cut wall faces the finish ofthe wide capstone pieces thatprovide ideal seating at the top,middle and lower landings. Wallbreaks generate further interestand draw attention to the moreformal coursing of the stone.

The Park at Lakeshore Easthas truly become a focal point forthe development of this new

urban neighborhood withinChicago. Currently, two high-risebuildings that tower above thepark area are fully occupied, withtwo more buildings nearing com-pletion. Plans for the near futureinclude covering the entireperimeter of the park with three-to four-story residential townhomes that would act as a transi-tion between the scale of the parkand the taller buildings. �


RIGHT:Aerial photo of the park.

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BSI2903_Fall06a 8/22/06 4:25 PM Page 48

OU CAN SEE IT ALL,WHETHER IT’S AN

ACTION-PACKED

BASEBALL GAME ora breathtaking view of down-town San Diego and the sur-rounding areas. Petco Park,home of the Padres, provides awindow to the best of thissouthern California community.It’s located just a few blocks awayfrom the Gaslamp Quarter andthe convention center, and com-pletes the connection betweenBalboa Park and the bay.

Petco Park isn’t your typicalsports stadium.“The thing that’sreally different and exciting aboutthe park is the way the buildingdoesn’t have an urban façade, avertical façade,”said Antoine Pre-dock, design architect for the pro-ject.“Instead of that, the functionsthat are normally absorbedunderneath the grandstands, such

as team offices and club lounges,are pulled out almost like drawersto create these natural stone, gar-den terraces. In doing so, there’s aspace created between the gardenterraces and the grandstands,which is open to the sky con-course. We’ve created a ballparkwith an outer terrace building,inner garden, ballpark and play-ing field itself.”

The towers are another featurethat makes Petco Park unique,giving it an iconic presence on thedowntown skyline. These towerssupport the field lighting, as wellas contain special suites and view-ing platforms. They act much likeanchors for the back of the seatingbowl, which is light and skeletal incomposition, allowing naturallight and breezes to enter the con-course spaces.

HOK Sport+Venue+Eventprovided the know-how for

designing the house seating planand amenities for spectators. Theseating bowl is divided into dis-tinctive neighborhoods, with all42,000 fixed seats providingample legroom and built-in cupholders. Seats down the first- andthird-base lines are angled towardthe infield. The two upper levelsare built on extended cantilevers,with the front of the terrace levelsituated only 34 feet above thefield. This gives fans the sense ofintimacy of a smaller venue and agreat view of the action,no matterwhere they sit. “They really areexperts at determining the perfect


Y

LEFT:Main concourse overlooking Home Plate Plaza.

Petco Park –San Diego

Padres BallparkBy Mark Haverstock

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Antoine Predock Architect PC, Albu-querque, N.M.

Executive Architect: HOK Sport+Venue+Event, Kansas City, Mo.

Stone suppliers: Stone A.V., USA, Plano, Texas; and ModernBuilders Supply, San Marco, Calif.

Stone installer: Klaser Tile, Chula Vista, Calif.

BSI2903_Fall06a 8/22/06 4:25 PM Page 49

site lines at the perfect distances,”Predock explained.

Today’s baseball fans cruisearound a lot, and when you cruisePetco Park, you’re always in touchwith the game because of theopen area under the grandstands.“You can go out to the terracesand still keep track of the gamewhile looking out over the harboror looking toward CoronadoIsland, toward Balboa Park or thedowntown skyline,”Predock said.“There are numerous paths youcan follow.” There is also a parkenclosed within the ballpark – lit-erally a city park on a grassy hilljust beyond the center fieldbleachers seating area. On non-game days, it’s a city park; duringthe game, you can picnic andwatch the game from this loca-tion, aptly named Park at thePark.

Sandstone used for this pro-ject, dubbed “Padre Gold,” waschosen to be in harmony with itssurroundings – the color of thelocal soil and the color of the cliffsat Torrey Pines along the SanDiego coastline. The owner, archi-tects and contractors traveled toIndia to select the stone with theperfect color and hardness from alarge range of samples. A year of

quarrying produced the 150,000square feet needed for the project.The bulk of the stone was provid-ed in cut pieces approximately2’x1’ to 2’x2’ for installation.

Outside walls, including thetowers, are stone-facing panelshung from walls.“The stone wasused extensively on the gardenterraces,”Predock said.“We want-ed the building to have in itsperimeter conditions a verystrong relationship to its location.”Some stone was used in combina-tion with stucco, because stucco isa very commonly used material inthe region. Stucco color also relat-ed very well to the stone color.”

An added touch was theincorporation of a historic build-ing, the Western Metal SupplyCompany, into the ballpark onthe left-field side. This renovated96-year-old building houses thePadres Team store on the firstlevel, the second and third levelscontain party suites, and thefourth floor features a restaurantwith terrace dining and a superbview of the field.The left-field foulpole is attached to its southeastcorner.“In fact, the Western MetalSupply nestles in very nicely withthe modern building that encom-passes it,”Predock added. �


TOP LEFT::Night view of lighting tower and ThirdBase Building.

TOP RIGHT:Home Plate Plaza entry for Petco Park.

BOTTOM RIGHT:Aerial view of Petco Park, looking towardCoronado Island.

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VinciStone_Fall06 8/14/06 12:51 PM Page 1


RESERVE OR DEMOL-ISH? THAT’S THE

QUESTION.This house occupied

a valuable parcel of land neardowntown Dallas, featuringgreen spaces and large maturetrees. The size was right, but thelayout didn’t suit all the needs ofits owners. The house was builtin the ‘70s by noted architectBud Oglesby, but it was not oneof his better works.“They want-ed to keep at least some pieces ofit,” said architect Lawrence W.Speck of PageSoutherlandPage.“If it had not originally beendone by Oglesby, they wouldhave probably chosen to bull-doze it.” Instead they chose ren-ovation, incorporating some ofthe existing structure into thenew plans.

Speck looked at the project askind of a joint effort between theold and new architects, thoughthe late Oglesby could only con-tribute in spirit with his existingwork.“We kept the general atti-tude and the plan, including the

Prothro HouseAddition and

Remodel

midsection of the building, butwe completely cut off bothends,” Speck explained.“We hadBud’s input through the generalskeleton of the house, but wealtered both ends of the buildingstructurally and changed justabout all the exterior materialsand finishes from the original.”Speck worked with the bones,adding new flesh and blood tothe residence.

The decision to remove bothends of the house was madebecause of severe deteriorationto the original structure. Thismajor change proved to be aplus – it opened up the house toextraordinary views of TurtleCreek and the Dallas CountryClub. On the Turtle Creek endof the house, the removed sec-tion was replaced by an open,glass living room, with the glassbeing enclosed in a steel frameon the inside.“That wall is actu-ally hung from the top – thestructural system is a blade ofsteel 3/8-inch thick and about 18inches deep,” Speck said. “The

glass panels are slid betweenthem. It’s very thin so, whenyou’re inside, it’s as transparentas it can possibly be looking tothe outside. You can really enjoythe open landscape.” At theopposite end, they built a single-story wing containing an indoorfamily room and an outdoor liv-ing area.

In both the original and reno-vation, zones are delineatedthroughout the house for differ-ent functions. The first are “ser-vant”spaces, a term Oglesby usedto describe stairwells, closets,bath-rooms and storage. Other zonesare “served” spaces – living areassuch as bedrooms, the livingroom and the dining room.

PPROJECT TEAMDesigner:

Lawrence W. Speck, FAIA, PageSouther-landPage, Austin, Texas

Stone supplier: Mezger Enterprises, Lampasas, Texas

Stone installer: J.P. Castelline Masonry, Austin, Texas

By Mark Haverstock

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ABOVE:Front of the Prothro house at night. Themain stairwell is located in the tower onright side of the main entrance.

RIGHT:The front of original house prior torenovation and remodeling.

Photograph © Timothy Hursley / The Arkansas Office

BSI2903_Fall06a 8/22/06 4:28 PM Page 53

“As you can see in that frontportion, there are three solidstone volumes. They contain allthe servant spaces,” Speck said.“In Oglesby’s original plan, theservant spaces weren’t verystrong, but we went back andreally reinforced them.” Rein-forcing the servant spacesincluded the construction ofstone tower structures evenlyspaced, which contrast with theserved spaces of glass, steel andwood that join them.

Walls of the servant spaceswere constructed of sawn andsandblasted antique Luederslimestone, laid in long horizon-tal planks. Stone is mountedinside and outside the structure,with an inner cavity between forinsulation. Slabs of Luederscomprise the steps and patiosthat surround the structure.

The limestone walls that con-tribute solidity and warmth toboth the exterior and interior arecomplimented by the extensiveuse of stone inside for otherapplications in the house. Coun-tertops and lavatories also uti-lized a finely polished version ofthe Lueders limestone. Showerenclosures were also limestone –a very dense French limestone –that complimented the Luedersused throughout the rest of thehouse.

Both inside and out, tactilesurfaces are made even morevivid by a variety of light sources.For example, in the primary stair-well located to the right of theentrance, the thick limestonewalls are counterbalanced by adelicate stainless steel screen thathangs from top to bottom andacts as a guardrail for both flightsof stairs. Both the surface of thestone and the shimmering metal-

lic surface of the screen areenhanced by the natural lightintroduced at the top of the stairsthrough a translucent lantern andby a fiber optic artificial lightsource at night.

Overall, this extreme makeovernot only honors the work of anoted local architect, but alsoincorporates a favorite regionalstone to provide a natural andtimeless appearance. �


RIGHT:Glass walls in the living room provide aspectacular view of Turtle Creek.

BOTTOM LEFT:Rear of house, featuring tower of antiqueLueders limestone.

BOTTOM RIGHT:The inside of the stairwell with a stainlesssteel divider and walls of antiqueLueders.

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Sigmund SternGrove Renovation

By Jodi Paper

Photographs © Edward Westbrook / QuarryHouse Inc.

BSI2903_Fall06a 8/22/06 4:28 PM Page 56


it’s no wonder Halprin selectedthe company, which Westbrookdescribed as “an all-service tradi-tional stone masonry companythat works with clients sourcingmaterials worldwide and collabo-rates with quarries to help themincorporate old-world techniquesof cutting stone.” This includeshand-splitting and chiseling thegranite with hand tools. Giventhat Stern Grove is such a histori-cally, culturally and environmen-tally significant space in the mid-dle of the city, QuarryHouseseemed the perfect fit for just sucha restoration.

Westbrook, for his part, wasthrilled to work again with thelandscape architect.“Halprin hasa real thing about stone,” West-brook said.“He likes to use it andwork with it.”Westbrook went onto further describe Halprin ashighly collaborative. “He buildswonderful teams on projects. Heworks intuitively with lots ofsketching and likes to work onsitein the field, directly with the peo-ple.” The Halprin-QuarryHousecollaboration was certainly amatch made in heaven for theproject that lay ahead of them.

The two main elements of therenovation are grass and granite.Westbrook searched quarries allover the world, from Canada toMexico to Italy, before finally

HE SIGMUND STERN

GROVE IS A LONG-STANDING LAND-MARK in the Sunset

District area of San Francisco.The 33-acre park is home to anamphitheater, which for yearshas been used as a venue for freeconcerts and even the local bal-let. As well as being selected asone of this year’s Tucker DesignAwards recipients, the SigmundStern Grove renovation is a win-ner for the community.

After almost 70 years of use,primarily in this public entertain-ment capacity, Stern Grove was indesperate need of reconstruction.The moody San Francisco climateand the popularity of the beauti-ful tree- and meadow-filled spaceleft the site weather-beaten anderoded. In 1999, the Stern GroveFestival Association hired land-scape architect Lawrence Halprinto redesign the park, giving him abudget of $15 million. Halprinthen enlisted the help of Quarry-House Inc.and allotted $3 millionof the budget for stoneworkalone.

“It is a project built to last fordecades or longer,” said Ed West-brook, the founder of Quarry-House and longtime collaboratorwith Halprin.

With the hallmark of Quarry-House being “The Art of Legacy,”

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Office of Lawrence Halprin, San Francisco

Stone supplier: Chen-Ragen LLC, Seattle

Stone installer: QuarryHouse Inc., San Anselmo, Calif.

BSI2903_Fall06a 8/22/06 4:28 PM Page 57

selecting a stone out of NorthCentral China, called Gabbro.“While the stage itself is built ofwood and steel, the entireamphitheater is built out of thisone stone,”Westbrook said.“It’s atough, very strong granite.”

Westbrook worked with 75local villagers at the quarry,which is located in the Shan-dong province. Together theyselected 326 boulders.“We want-ed the boulders to be sculptural,”he added. “Each had to be aunique and beautiful piece initself.”

Logistics were a very big partof the project. After locating the

stone in China, where it was alsofabricated, QuarryHouse had tomake sure the material arrived atthe San Francisco site on time.“We had to get it all done afterthe concert season, which runsfrom June to late August,” West-brook explained.“We transport-ed 84 container loads over fivemonths.” That translated into atotal of 1,700 tons of semi-finished and raw stone. “Giventhe quantity and that fact thatwe had one winter to build, wehad to weigh and balance [allaspects of the project].”

Back in San Francisco,QuarryHouse hired a crew of 30


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people to hand carve the stone. Insticking with the company’s “old-school hand-chiseling methods,”they used ancient tools like feath-ers and wedges.

“Structurally and artistically,the amphitheater had a lot ofrequirements for public access,”Westbrook said. The overall time-line for the project was eightmonths, during which theysought to accomplish three things:“provide improved seating andsightlines through an amphithe-atre of stone tiers gradually risingalong the hillside; stabilize the hill-side erosion; and improve handi-cap access.”

The final result: tiers of stonecreate a bleacher-like layoutthroughout the amphitheater,which seats 10,000 people. Long,grassy knolls punctuate thespace, in which large groupingsof boulders separate the differentareas, including banked terracesand short walls that intersectwith paved walkways. Pillars 15feet tall mark the entrance toStern Grove and welcome thepublic into their new play space.

And the public certainlyenjoyed it. On June 19, the newlyrenovated Stern Grove began its68th concert season – the first ofmany seasons to come. �


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Trinity Church in theCity of Boston

LEFT:Boston’s Trinity Church is regarded bymany as the single most commandingbuilding in the city.

TOP LEFT:The undercroft after excavation andrestoration. The exposed granitefoundations and piers met thecongregation’s requirement for warmand inviting finish materials.

TOP RIGHT:A view of the new bookstore, showingcherry wood pergola and granitefoundations.

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ANY REGARD

BOSTON’S TRINI-TY CHURCH

AS THE SINGLE

most commanding building inthe city. Built between 1872 and1877 – and designed by one ofthe greatest architects who livedand worked in Boston, HenryHobson Richardson – Trinity isthe only building to be twicehonored as one of the 10 mostsignificant buildings in the Unit-ed States by the American Insti-tute of Architects (AIA).

After 125 years of the physical-ly demanding onslaught of weath-er and pollution, the colors hadbecome muted and stones in thefaçade had to be repaired. In addi-tion, the church – a parish churchof the Episcopal Diocese of Massa-chusetts and a thriving center ofworship – had outgrown its activi-ty space.

When the congregation decid-ed to restore and expand thenational historic landmark, theyturned to Goody Clancy ofBoston for full architectural and

M


PROJECT TEAMDesigners:

Goody Clancy, Boston

Stone suppliers/installers: Kenneth Castellucci & Associates Inc., Lincoln, R.I.; Port Morris Tile & MarbleCorp., Dorchester, Mass.; RestorationPreservation Masonry Inc., Northborough,Mass.

By M.W. Penn

BSI2903_Fall06a 8/22/06 4:30 PM Page 61

RIGHT:Exterior stone mortar joints aftercleaning and repointing.

RIGHT INSET:Exterior stone mortar joints beforerestoration.

interior design services and toShawmut Design and Construc-tion, also of Boston, for construc-tion management.

Lisa Howe, director of preser-vation at Goody Clancy, said,“Wewere very fortunate to work with aclient that deeply cares about thebuilding.The Preservation Guide-lines, set at the beginning of theproject, informed our work, fromconception through construction.”

Due to Richardson’s stringentrequirements, the quality of thestone to be restored as part of thetower restoration was excellent. Infact, the outstanding quality of thestone, as well as the entire build-ing when it was originally con-structed, acted as a guideline forthe team completing the restora-tion. Restorers mimicked thetechniques of the 19th-centurybuilders, matching the exactstonework, mortar and terra cottathat were originally used. Crewsrepaired or replaced the Dedhamgranite and East Longmeadowsandstone of the central towerexterior, and carefully matchedthe color and texture of the origi-nal mortar. The result is a stun-ning red hue for the sandstonejoints, a restored example of theoriginal structural aesthetics andthe original grandeur envisionedby Richardson.

Trinity Church is located ona public plaza that occupies onefull city block. The building is

flanked by major streets and sur-rounded by skyscrapers and his-toric structures, like the BostonPublic Library, leaving no spacefor lateral expansion above-grade. The only space availablefor the needed expansion was inthe undercroft within existingfoundation walls.

Adding to the complicatedscenario, the church is built on thelandfill of the Back Bay,which wasoriginally a mud flat. To avoidsinking into the marshy wetland,Trinity rests on approximately4,500 wooden piles driventhrough 30 feet of gravel fill, siltand clay and wetted by a pump sothey won’t rot when exposed toair.As a growth spurt of skyscrap-ers hit the Back Bay neighbor-hood, the groundwater beneaththe buildings dropped, leavingwooden piles at the neighbor-hood’s foundations exposed to air.This allowed the wood to beginrotting, threatening the structuralintegrity of many buildings.

The situation made any exca-vation of the undercroft an espe-

cially intricate procedure. In thewords of Carl Jay, director of his-toric preservation, ShawmutDesign and Construction, “Theoperation was so delicate that itrequired our workers to dig outportions of the undercroft byhand in order to avoid disturb-ing the wood pilings and thefour elephantine “feet” [thegranite piers] upon which Trini-ty Church rests. In many cases,we used the same methods torestore and expand the churchas were originally used to buildit.” Crews repaired the few dam-aged pilings with steel supports,and engineers installed a systemto regulate the water level andkeep the wood submerged toprevent further damage.

The space below the sanctu-ary, which had been unfinishedcrawl space, was carefully excavat-ed four feet to a new elevation,and 13,000 square feet of newspace was created for a lecture andgathering area with a supportkitchen, a visitor area and a book-store. Improvements were made

for circulation, handicap access,life safety, and mechanical andelectrical systems.

The original granite founda-tion walls and piers were incor-porated into the new designmaximizing square footage. Thepiers are four, thick granite shaftsthat rise from under the floor ofthe undercroft and continue upthrough the church to supportthe dome. The existing stonewas so beautiful, the owner andarchitects decided during con-struction to expose even morethan originally planned. Theexposed granite foundations andpiers met the congregation’srequirement for warm and invit-ing finish materials. �


REFERENCES

Van Rensselaer, Mariana Griswold.Henry Hobson Richardson and HisWorks, With a New Introduction ByWilliam Morgan. Dover, New York, NewYork, 1969. Reprint of the 1888edition.

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PROJECT TEAMDesigners:

Einhorn Yaffee Prescott Architecture andEngineering P.C., Boston; Helfand Architecture P.C., New York (Architects in Association)

Stone supplier: Media Quarry Co., Media, Pa.

Stone installer: Davis-Giovinazzo Construction Co., Plymouth Meeting, Pa.

Unified Science Center, Swarthmore

CollegeBy M.W. Penn

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A primary goal of the projectwas to consolidate the science pro-grams into three adjacent build-ings and add a new connectingbuilding to create an improvedenvironment for the study of thesciences.

Two architecture firms wereinvolved in the project anddesigned the Science Centerthrough a collaborative process.Einhorn Yaffee Prescott broughtexperience with science educa-tion and research buildings tothe project. They are an inte-grated architecture and engi-neering design firm, specializingin education, government, sci-ence and technology, and his-toric preservation projects. Thesecond firm, Helfand Architec-ture of New York, contributedto the overall arrangement of

the complex and the design ofpublic spaces. Many ofHelfand’s projects involve themerging of new uses with oldarchitecture and new architec-ture in a historic context.

ABOVE:Local schist laid in an ashlar pattern tiesthe Unified Science Center into the fabricof the campus.

OPPOSITE PAGE TOP:In respect for the scale of the campus,the Science Center was broken downinto separate masses, with heights of onlytwo and three stories.

OPPOSITE PAGE LEFT:Because outdoor teaching is popular oncampus, honed black granite walls wereinstalled adjacent to terraces or lawns toact as chalkboards.

OPPOSITE PAGE RIGHT:The green strategy included a zero-runoff environment. V-shaped roofsdirect water back into the earth throughwaterfalls, stone water channels and re-absorption pools.

HE SWARTHMORE

COLLEGE CAMPUS,adjacent to renownedCrum Creek and Crum

Woods, is also on the site of theScott Arboretum. Established in1929, the arboretum containsmore than 3,000 different kindsof ornamental plantings, display-ing some of the best trees,shrubs, vines and perennialshardy in the climate of easternPennsylvania. Encompassingmore than 300 acres, ScottArboretum is also an integralpart of the college landscape.

Swarthmore had existing sci-ence facilities that were outmod-ed and located in six separatebuildings. In 1999, the collegecommitted to a major overhaulof these facilities with a $48 mil-lion project.

T

BSI2903_Fall06a 8/22/06 4:30 PM Page 65

ABOVE:The V-shaped roof over the commonsarea is echoed in a connector element tobring architectural unity to the structure.

BELOW:Views of the surrounding woods areavailable from a majority of thelaboratories.

The Unified Science Center iscomposed of 80,543 square feetof new construction, as well as55,124 square feet of renovatedspace. The center is placed at thenorth end of the campus andforms the fourth edge of theacademic quadrangle. The newelements wrap around the exist-ing buildings to link the existingindividual science buildings andlibrary, and the connector ele-ments share details, such as soar-ing, V-shaped roofs, to linktogether the large building.

The facility includes class-rooms, labs, faculty offices andsocial spaces. It brings togetherbiologists, chemists, computerscientists, mathematicians andphysicists in one 140,000-square-foot structure, whose compo-

nents are each small enough tonot overwhelm campus neigh-bors, but still provide physicalconnections between all sciencedisciplines.

The new center activelyengages and utilizes the quality ofthe campus and arboretum; thedesign incorporates both physicaland visual connections betweeninterior and exterior spaces.Viewsof the surrounding woods areavailable from a majority of labo-ratories and through transparentsections of the building. In thecommons – the center’s mostspectacular and inviting gatheringarea – walls of glass face bothnorth and south. Outdoor teach-ing, popular on this campus, ismade possible in multiple loca-tions by using honed black gran-ite paneled walls as chalkboardsadjacent to terraces or lawns. Asheltered, Asian-inspired gardencenters the facility; the garden haswalks and seating areas made ofnatural cleft Pennsylvania blue-stone accented with fossilizedbluestone pavers. The LEED-certified building expresses andcelebrates Swarthmore’s commit-ment to the natural environment.

Building materials includelocal granite, wood and Pennsyl-vania mica schist, a local stonechosen to clad the exterior wallsof the Unified Science Center.Schist is the dominant materialin the majority of Swarthmore’sbuildings, as well as many of thehomes surrounding the campus;the vernacular use of this mater-

ial in local buildings encouragedthe architects to incorporate thestone into their design.

The Pennsylvania mica schistused in the center is from MediaQuarry; it ranges from blue to grayto brown and is usually separatedby color, though it is sometimesused full range. The blend chosenfor the science center is 50 percentgray and 30 percent blue, high-lighted by 20 percent brown.Penn-sylvania mica schist is a durablestone with the gray and blue vari-eties containing quartz,and blendsbeautifully with the native Pennsyl-vania cherry wood used through-out the Science Center.

The schist was field dressed bythe master masons of Davis-Giovinazzo Construction to createthe designated ashlar pattern.Davis-Giovinazzo set the plasmafinish granite paving and curbsand the Chappel stone used toveneer the mechanical sheds. JohnGiovinazzo said that the incorpo-ration of so many different types ofstone in complimentary finishesmade this project unique.

The success of the plannersand architects is evident.The Uni-fied Science Center providesSwarthmore with a beautiful andfunctional space as friendly to theenvironment as a science buildingcan be and an enhanced envi-ronment that will assist the collegein achieving their long-term goalsfor the study and profile of thesciences. It is imaginative andengaging, and has set a new stan-dard on campus. �


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US Stone_Sum06 5/11/06 4:54 PM Page 1

Industry News

available in North America, exclusivelythrough Global Granite & Marble.

The Global Easy Edger can grind, shapeand polish up to 21 edge profiles, from 3/4-inch to 2-1/2 inches thick, and up to 78 trimdetails up to four inches wide. The machinecan accommodate up to 10-inch blades thatcan make rips up to eight inches wide. Arear-loading table allows a fabricator to han-dle a slab as big as 48 inches wide and 123inches long. The head of the machine has a90-degree rotation capability to increaseflexibility for the fabricator.

The Global Vanity Master has a free-motion articulating arm that can route, shapeand polish slab edges up to 78 inches long and48 inches wide. It will help a fabricator createprecision edges for sink and vanity bowls aswell as the popular curved-end countertopsfound in kitchens, bars and offices.

Bonstone ReleasesTouchstone™Accessories

Bonstone Materials Corporation hasreleased a DVD that provides an extensivelook at the Touchstone family of products.The DVD begins with a brief history of thecompany. Then it features a menu where spe-cific products can be chosen for in-depthtechnical information, as well as videodemonstrations on uses, mixing and applica-tion. Not only is this DVD the perfect tool forinstallers and fabricators, but also industryprofessionals who are seeking product knowl-edge and training on Touchstone products.

Bonstone has also introduced the Touch-stone Quik Set fabrication shop heat lampfor cold and wet stone needs. This heavy-duty, moveable lamp is designed and testedto work with Touchstone epoxies toimprove cure speed and quality.

OSHA Moves toPrevent and Reduce

InjuriesThe U.S.Labor Department’s Occupation-

al Safety and Health Administration (OSHA)launched a new outreach and enforcementeffort aimed at preventing and reducinginjuries, illnesses and fatalities among workersin New England’s cut stone products industries.


SkillsUSA ProposesCollege/Post-

secondary OnlyContests

SkillsUSA will be offering new nationalcollege competitions for the following pro-grams of study that support fast growingoccupations: landscape architecture, civil engi-neering and geospatial technology.

SkillsUSA is offering the newly designedpost-secondary only program at the commu-nity college level. This program would pro-vide colleges with a mechanism to validatetheir college’s technical education programsand measure them against national standards.The new SkillsUSA program will allow inter-ested individuals to join SkillsUSA and entercompetitive events at the national level andoutside the traditional SkillsUSA boundaries.In order to enter a national skills competition,students would have to meet a qualifyingscore via online testing developed by industryprofessionals.

More than 280,000 student andinstructors join SkillsUSA annually, orga-nized into more than 14,700 sections and54 state and territorial associations.SkillsUSA is an applied method ofinstruction for preparing America’s highperformance workers in public careerand technical programs. For more infor-mation, visit www.skillsusa.org.

Global Granite OffersNew Precision ToolsGlobal Granite & Marble, a St. Louis-

based wholesale importer and distributor ofnatural stone products, is expanding itsimports to include two new pieces of equip-ment for small- and mid-size fabricators.

The Global Vanity Master™ and theGlobal Easy Edger™ are the latest precisioninstruments for fabricators who want tokeep pace with orders for natural stoneapplications specified by architects, design-ers and custom homebuilders. The tools are

BSI2903_Fall06a 8/22/06 4:31 PM Page 68

The new regional emphasis programfocuses on workplaces that cut, shape, finish,handle or distribute granite, marble and othernatural, engineered or other stone products.The industry, primarily made up of smalleremployers, has grown rapidly in the past fewyears, prompted by an increased demand forcountertops and other stone products.

During the summer months, OSHAoffices in Connecticut, Maine, Massachu-setts, New Hampshire and Rhode Islandconducted outreach activities to informindustry employers and employees of theprogram, promote their awareness of thehazards common to their workplaces, andprovide information on possible abatementmethods. This included contacting employ-ers to encourage them to schedule a freesafety and health audit by their state consul-tation service.

Adirondack NaturalStone Opens Two

New QuarriesIn addition to its current six quarries,

Adirondack Natural Stone announced theopening of two new granite quarries. Withthis addition, Adirondack will be offeringsome new colors, including: Hawthorn, ablend of gray, white and black striations, withpink colored crystalline mixed throughout;and Heritage, a mixture of black, gray andwhite striations. Both granites have micamixed in, making it sparkle in the sunlight.These will be offered in mosaic veneer, rough-ly squared and rectangular, ashlar, uniwall andwallstone.

Luck Stone’s AugustaPlant Celebrates 30

Years of SafetyLuck Stone Corporation celebrated 30

years without a lost-time injury at its Augus-ta plant in Staunton, Va.

Almost 100 people attended the safety cer-emony, which was held at the Holiday InnGolf and Conference Center in Staunton.Attendees included county board of supervi-sors; officials and inspectors from the MineSafety and Health Administration (MSHA);the Department of Mines Minerals and Ener-gy (DMME), including its director of miner-

al mining, Conrad Spangler; the VirginiaTransportation Construction Alliance(VTCA); and the National Stone and SandGravel Association (NSSGA). Additionally,Spangler presented a letter and certificate onbehalf of the governor’s office congratulatingthe plant on its safety record.

Luck Stone Corporation is one of thelargest, private, family-owned and -operatedaggregate companies in the United States,and is the 12th largest of crushed stone inthe nation.

WALKER ZANGERIntroduces NewBathroom Vanity

CollectionAs homeowners have discovered the plea-

sures of spas and boutique hotels, they haveoften dreamt of bringing these experienceshome. The WALKER ZANGER BathroomVanity Collection allows them to do just that,for it is the world’s first collection of vanities,washstands and consoles that are designed toperfectly complement natural stone.

With 12 designs available in a total of 22different variations, the collection embraces awide variety of cultural and stylistic influences,ranging from American Neoclassicism andHollywood Regency to Art Deco.

Park IndustriesIntroduces New

ProductsThe Park Industries® has introduced a

new traveling bridge saw and a thin stoneveneer machine.

The PYTHON II traveling bridge saw isextremely simple to operate. The simple,touch-screen interface allows operators toprogram the saw with no previous computercontrol or software experience. It’s that easy.The program guides operators through set-ups and cutting cycles faster than manualprocesses available on the market. In addition,the PYTHON II can run unattended, result-ing in significant labor savings for owners.

With the capabilities of handling a 78” to100”diameter diamond blade, the PYTHONII can saw stone up to 42”in depth. The arbordrive is available in a 50- or 75-horsepowermotor with soft start to assure high produc-


SILOAM STONE, INC.SILOAM STONE, INC.

Natural Sandstone

Phone: 719.275.4275www.siloamstone.com

E-mail: [email protected]

– Permanent – Elegant– Beautiful – Dramatic

– Water Features – Veneer– Retaining Walls – Rip-Rap– Stairways – Signs– Walkways – Bridges– Entryways – Patios

BSI2903_Fall06a 8/22/06 4:31 PM Page 69

tion sawing. The variable, cross head travelspeed of five to 40 feet per minute allowsoperators the flexibility in determining theblade travel speed based upon various stonetypes.

The bridge, cross travel, and raise andlower assemblies are rigid structures utilizinghigh-precision, round slide bearings onreplaceable, case-hardened chrome shaftsresulting in precision cutting, lower diamondcost and vibration-free sawing. The gantrytravel drive has a variable-speed, dual-drivemotor with speed reducers, rack and piniondrive, and brakes on both sides. This systemsecures the gantry position to achieve accuratestone thickness. The laser light on the bridgeshines a consistent width across the entire slablength, displaying where the blade will tra-verse. This allows for a one-person set-upbecause it simplifies cut location alignment. Inaddition, the primary load carrying bearingsand shafts on the cross travel are submergedin oil and protected by solid way covers,which

results in lower maintenance costs and fewmechanical adjustments.

The all-new ThinStone® TXS-4500 stoneveneer fabrication system creates thin veneercorners and flats from processed sandstone orlimestone, either from split-face or natural-finish materials. This remarkable, revolution-ary system is designed to dramatically reduceproduction costs as well as significantlyincrease production capabilities.

This revolutionary system can processsoft limestone to the hardest sandstone. TheThinStone TXS-4500 can cut stone up to 12inches high, two to 24 inches long, and upto 12 inches thick. The system has the flexi-bility to provide finished product 12 incheshigh, two to 24 inches long, and 1/2-inch totwo inches thick.

Park’s new ThinStone TXS-4500 is a revo-lutionary approach to improving and increas-ing the production of thin stone veneer cor-ners. By giving fabricators a better, moreprofitable method of creating finished prod-

ucts, the ThinStone TXS-4500 system is help-ing to make natural veneer stone becomemore affordable and more available for resi-dential and commercial construction uses.

Superior StoneProducts Introduces

New StoneProtection

As the stone industry is being forced toprovide solvent-free stone sealers to meetVOC requirements, several companies havedeveloped solvent-free products to complywith these new regulations. However, therehave not been any products created that per-form as well as the original solvent-basedproducts…until now!

Superior Stone Products is proud tointroduce ZERO-Ultimate Stone Protector.ZERO will erase any doubts you may haveregarding VOC-compliant stone sealers.

ZERO is manufactured using materialsspecifically designed for use with naturalstone. Our “competitors” use off-the-shelfproducts that are mass-produced for otherindustries. Superior is a true chemical compa-ny manufacturing our own fluoropolymers,designed to actually bond with natural stone.Utilizing our exclusive fluoropolymer tech-nology, ZERO provides unequaled protectionagainst staining and is VOC compliant.ZEROis water-clear, has a fresh scent and providesultimate protection against oil- and water-based stains.Used annually,ZERO will protectyour natural stone investment by allowingyou enough time to safely wipe up spills pre-venting your stone from staining. ZERO isavailable in 24-ounce spray bottles,quarts,gal-lons, and five- and 55-gallon containers.

Global Granite &Marble Names New

Sales EngineerJialin Qi has joined Global Granite &

Marble as a sales engineer.Qi brings seven years of sales, marketing

and engineering experience,both domestic andinternational, to the Global Granite & Marbleteam. His newly created position will supportsales of two types of machinery he helpedintroduce to the U.S. market: the Global EasyEdger™ and the Global Vanity Master™.

Industry News


Meshoppen Stone Inc.P.O. Box 127, Meshoppen, PA 18630

800-836-1269 or 570-833-2767Visit us at our website: www.meshoppenstone.com

• PennsylvaniaBluestone Flagstone,Square Cut and Irregular

• Fieldstone

• Treads

• Tumblestone

• Various types ofLandscape Stone

• Custom Cut Orders

• Delivery Available

Full Color Range of square cut Pennsylvania Flagstone

Meshoppen Stone Inc. has been distributing various types of PennsylvaniaFlagstone and Stack Stone to Architects, Contractors, Garden Centersand Stone Resellers for over 40 years. Our high quality natural stoneproducts are quarried in Northeastern Pennsylvania. We market our

stone for use in many applications such as flooring in patios and sidewalks,steps, retaining walls, fireplaces and driveways.

Call today for our color brochure and current price list!

BSI2903_Fall06a 8/22/06 4:31 PM Page 70

StoneExpo_Fall06 8/8/06 1:18 PM Page 1

As sales engineer, Qi will offer technicaladvice to customers and help the machinerymanufacturer improve design and quality.His responsibilities include machinedemonstration, customer assistance withproblem-solving and post-sales technical,and training support.

Prior to joining Global Granite & Marbleas a full-time employee, Qi worked as a sum-mer intern for the company during graduateschool, communicating with Chinese suppli-ers, developing the company website, andimplementing new methods of inventorycontrol. He’s also worked as a consultant withAllsteel Inc. of Muscatine, Iowa. Qi also bringsexperience from his work as marketing man-ager for Guiyang Tristar Machinery Co. Ltd.,Guiyang, Guizhou, China; and founder, pres-ident and project manager for ShanghaiWudai Digital Technology Co. Ltd., Shanghai,China.

Qi received a bachelor’s degree in mechan-ical engineering from Zhejiang University,Hangzhou, China. He also earned a master’sdegree in operations management from theHenry B.Tippie School of Management, IowaCity, Iowa.

Valders Stone &Marble Receives

MSHA AwardValders Stone and Marble Inc. is proud to

be a recipient of a second consecutive “Certifi-cate of Honor” awarded by Mine Safety andHealth Administration (MSHA) in Washing-ton,D.C.The award honors the employees andthe company for more than 203,000 man-hours of quarry operation without any fatalaccidents or permanent total disability injuries.These consecutive certificates of honor span aperiod of time from 1999 to 2004. The latesthonor was bestowed in April of 2006.

Valders Stone and Marble, Inc., a divi-sion of Eden Stone Company is a quarrierand manufacturer of dimensional cut lime-stone building products used for residential,institutional, commercial, and governmen-tal facilities, both nationally and interna-tionally. The quarry also produces rip-rapstone for public and private projects that isused for shoreline and harbor protection,primarily for projects located on the shoresof local lakes and waterways. �

68 Barden Stone, Inc.1557 Cherry LaneMemphis, TN 38117Phone: 901.683.8264 FAX: 901.763.3850www.bardentstone.com

55 Buechel Stone Corp.W3639 Hwy. HChilton, WI 53014Phone: 800.236.4473FAX: 920.922.5298www.buechelstone.com

16 Bybee Stone Co., Inc.P.O. Box 968Bloomington, IN 47402Phone: 812.876.2215FAX: 812.876.6329www.bybeestone.com

31 Cee Jay Tool, Inc.P.O. Box 7698Loveland, CO 80537Phone: 970.962.9594FAX: 970.962.9074www.ceejaytool.com

15 Champlain Stone, LTDP.O. Box 650Warrensburg, NY 12885Phone: 518.623.2902FAX: 518.623.3088www.champlainstone.com

3 Cold Spring Granite CO202 S Third AveCold Spring, MN 56320Phone: 320.685.3621FAX: 320.685.8490ccossairt@coldspringgranite.comwww.coldspringgranite.com

59 Colorado Flagstone, Inc.P.O. Box 63Masonville, CO 80541Phone: 970.203.1072FAX: [email protected]

23 Connecticut Stone Supplies, Inc.138 Woodmont RoadMilford, CT O6460Phone: 203.882.1000FAX: 203.882.1991www.ConnecticutStone.com

47 Cumberland Mountain Stone, Co.389 Flagstone Lane P.O. Box 297Crossville, TN 38557Phone: 800.334.7719FAX: 931.484.6329

IFC Delaware Quarries6603 Route 202P.O. Box 778New Hope, PA 18938Phone: 800.533.4954FAX: 215.862.1680www.delawarequarries.com

38 Flynn Stone QuarryRR2, Box 2228Lakewood, PA 18439Phone: 570.446.0844FAX: 570.448.2014www.flynn-stone-quarry.com

5 Gallegos Corp.P.O. Box 821Vail, CO 81658Phone: 970.926-.3737FAX: 970.926.3727www.GallegosCorp.com

1 GranQuartz L.P.P.O. Box 2206Tucker, GA 30085Phone: 770.621.5200FAX: 770.621.9771www.granquartz.com

17 Keene Building ProductsP.O. Box 241353Mayfield, OH 44124Phone: 877.514.5336FAX: [email protected]

10 Lompoc Stone28092 Forbes RoadLaguna Niguel, CA 92677-1288Phone: 800.726.2292FAX: [email protected]

39 Lyons Sandstone2439 CR 37 ELyons, Colorado 80510Phone: 303.823.5659FAX: [email protected]

9 MS International, Inc.2095 N. BataviaOrange, CA 92865Phone: 714.685.7564FAX: 714.685.7569www.msistone.com

70 Meshoppen Stone, Inc.P.O. Box 127Meshoppen, PA 18630Phone: 570.833.2767FAX: 570.833.2180www.meshoppenstone.com

63 Mt. Moriah StonePhone: 707.799.3777FAX: 916.408.3976www.mtmoriahstone.net

11 Natural Stone Veneers Intl. P.O. Box 347Fond du Lac, WI 54936Phone: 877.923.2800FAX: 920.923.3800www. n s v i . c o m

43 New Mexico Travertine3700 Camino Del LlanoBelen, NM 87002Phone: 505.864.6300FAX: 505.864.6390www.nmtravertine.com

27 Owen Sound Ledgerock LimitedP.O. Box 445, RR5Owen Sound, Ontario, Canada N4K 5P7Phone: 519.376.0366FAX: [email protected]

35 Park Industries, Inc.P.O.Box 188St.Cloud, MN 56302Phone: 320.251.5077FAX: 320.251.8126www. parkindustries.com

9 SAS ForksP.O. Box 260East 1039 State Hwy 34Luxemburg, WI 54217Phone: 888.795.1747FAX: [email protected]

31 Scott Stone, Inc.3285 Jones DriveMebane, NC 27302Ph: 800-649-8782Fx: 919-563-6335www.scottstone.com

69 Siloam Stone, Inc.315 N. 7th StreetCanon City, CO 81212Phone: 719.275.4275FAX: [email protected]

7 Silverado Building Materials9297 Jackson RoadSacramento, CA 95826Phone: 916.361.7374FAX: 916.361.8929www.silveradoonline.com

19 Spartan Tool CompanyP.O. Box 6078Elberton, GA 30635Phone:706.498.3145FAX: 706.213.9111

71 Stone ExpoPhone: 972.536.6440Toll Free: 866.550.6808FAX: 972.536.6404www.STONEXPO.com

30 Strid Marble and Granite3901 S. Industrial RdCheyenne, WY 82007Phone: 307.638.3662FAX: [email protected]

14 Tennessee Valley Marble428 Endsley Quarry LaneFriendsville, TN 37737Phone: 800.786.6314FAX: 865.995.0219www.tennesseevalleymarble.com

IBC TexaStone QuarriesP.O. Box 38Garden City, TX 79739-0038Phone: 432.354.2569FAX: 432.354.2669www.texastone.com

58 Tri State Stone & Building Supply, Inc.8200 Seven Locks Road P.O. Box 34300Bethesda, MD 20827Phone: 301.365.2100FAX: 301.365.5524www.carderock.com

34 Trow & Holden45 South Main StreetP.O. Box 475Barre, VT 05641Phone: 800.451.4349FAX: 802.476.7025www.trowandholden.com

67 U.S. Stone Industries3515 W. 75th StreetPrairie Village, KS 66208Phone: 913.529.4154FAX: 913.529.4158www.usstoneindustries.com

51 Vinci Stone Products798 Marriottsville RoadMarriottsville, MD 21104Phone: 410.442.4000FAX: 410.442.4001www.vincistone.com

BC W.F. Meyers1017-14th StreetP.O. Box 426Bedford, IN 47421Phone: 812.275.4485FAX: 812.275.4488www.wfmeyers.com


Adver t isersI n d e x t o

Industry News

BSI2903_Fall06a 8/22/06 4:31 PM Page 72

P.O. Box 38Garden City, TX 79739

432-354-2569www.texastone.com

Residential

Commercial

C-3 Texas steeple 10-05 2/13/06 12:32 PM Page C-3

C-4 WF Meyers_Spring06 5/11/06 3:57 PM Page C-4

Documents

BYBEE PRIZE - Natural Stone Institute · 2020. 9. 11. · 60 Industry News 64 Advertising Index ... ColdSpringGranite_Sum06 8/14/06 4:11 PM Page 1. 4 BUILDING STONE MAGAZINE Fall