Discovering Stone Issue 30 | April 2017 by Elite Publishing Co Pty Ltd

ISSUE 30 . APRIL 2017

ALL YOU NEED TO KNOW ABOUT STONE

NATURAL STONE ARTISTRY DISPLAYED AT MARMOMACC AUSTRALIAN STONE ARCHITECTURAL AWARDS ENTRIES MACHINERY COMPANY PROFILES

SEALER SELECTION GUIDE 2017 www.discoveringstonemagazine.com.au

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ASAA

Dedicated to the promotion of the Australian stone industry at home and overseas. ASAA seeks to develop standards of excellence in performance and product supply, and to facilitate greater co-operation between the various sectors and competing entities of our industry. TM

Australian Processors & Suppliers of Stone Apex Stone Pty Ltd CDK Stone Australia Dellermay Pty Ltd Paz Stone Stone Culture Stoneplus NSW Tillett Natural Stone Industries V-B Granite (Aust) Pty Ltd W K Marble & Granite Quarriers of Australian Stone Absolute Stone (WA) + Dimension Stone Group Australia AustralAsian Granite BAM Stone Cairns Marble Australia Capricorn Sandstone Quarries Gosford Quarries Granites of Australia Kanmantoo Bluestone Melocco Stone Victorian Bluestone Quarries

Stone Fixers, Landscapers, Geologists, Building Contractors, Sculptors, Educators Adelaide Stone Construction Ceramic Tile Systems Consolidated Building Services David Mark Tatler Geos Mining GroutPro Australia Marble Renewal Medusa Stone Provence Stone Masonry Stone Concept Holdings Techtile Consulting Tilecorp Pty Ltd Suppliers of Machinery/Equipment

Wholesalers/Importers, Resellers of Stone Aristocrats Marble & Granite Biesse Group Australia CAVE Cinajus Pty Ltd Cosentino Australia De Fazio Tiles & Stone Decor8 Tiles Europe Imports Ocean + Merchant Pacifico Stone Project Stone Australia RMS Natural Stone SAI Sandstone Solutions – Sealers for Tile & Stone Vercon Pty Ltd

CDK Stone Australia Manufacturers of Adhesives, Grouts, Sealants & Waterproof Membranes Ardex Australia Bostik Australia Construction Technologies Australia Euro Abrasives Laticrete Pty Ltd Parex Group Solutions – Sealers for Tile & Stone

ASAA MEMBERSHIP www.asaa.com.au

Government Agencies, Professional Service Providers, Associations Austrade – The Australian Trade Commission Bellmont Façade Engineering Building Diagnostics Asia Pacific (BDAP) Industry Capability Network Limited International Conservation Services Intertile Research Pty Ltd Italian Chamber of Commerce & Industry Jackson Teece Chesterman Willis Marble Institute of America (MIA) Materialswise Safe Environments Stone Initiatives & Materials Testing Group

seminars | standards of excellence | architectural awards Visit www.asaa.com.au to download a FREE version of ASAA’s new guide to ‘Sealing and maintaining natural stone’.

2016 Sealer Selection Guide available for FREE DOWNLOAD from www.asaa.com.au

Refer to ASAA news page in this issue of Discovering Stone for upcoming seminars and the AGM.

Sealing and maintaining

l NaturNae sto

BAM Stone bluestone

Sealer selection guide 2016

any of the calls the Australian Stone Advisory Association (ASAA) receives relate to problems which arise after the stone has been installed. A considerable proportion of those calls relate to sealing, cleaning and maintenance. We decided to produce a basic Sealer Selection Guide in response to requests by contributors and readers of Discovering Stone. We have attempted to make the ‘Guide’ as relevant as possible by focusing on use of three popular products, in specific locations and asking leading suppliers to nominate appropriate sealers. However, our guide can only provide readers with basic information. There will always be variables which have to be taken into consideration. Our guide cannot possibly address every possible situation or environment. Nevertheless, it does provide a valuable reference point and an insight into the available products from some of our leading suppliers. More than 50 companies in Australia are actively engaged in producing or distributing sealers for natural stone. Our guide largely features materials which have been tried and tested in the marketplace. Understanding the limitations of sealers is also important. Sealers are designed to improve the natural stain resistance properties of stone – they will not provide 100 per cent protection against all stains in all situations. As an example, an impregnating sealer will not prevent marble or limestone being etched by acidic solutions such as wine or soft drinks; impregnating sealers are designed to reduce the absorption of stains and cannot provide complete protection to the exposed surface. Surface sealers (such as acrylics and polyurethanes) provide excellent surface protection by forming an impermeable barrier. The drawback of this feature is that any moisture below the sealed layer cannot escape and peeling of the coating may follow. Participating companies can provide project specific advice, some also recommend approved applicators. We urge readers to seek precise advice before commencing the installation process. Our guide which is designed to encourage users to identify the right sealer and maintenance programme. ASAA CEO, Anthony Stock

Melocco Stone, Snowy River Pearl

FREE ASAA SEMINARS

Our Guide has been emailed to over 7000 specifiers and members of the stone and tile industries. Recipients also received a copy of the Australian Stone Advisory Associations’ guide to ‘Sealing and maintaining natural stone’. Both of these documents are also available for free download from the Archived Articles segment/ page of www.infotile.com and the homepage of www.asaa.com.au. Links to both documents will appear in editions of the ‘Tile+Stone eNews’ in March, April and May.

ASAA

TM © Australian Stone Advisory Association

CDK Stone Calacatta benchtop and splashback

Cairns Marble & Granite, Pilbara Cream

www.asaa.com.au | Sealing and Maintaining Natural Stone

Australian Stone Advisory Association Ltd

CONTENTS OF THE ASAA MANUAL

DS27_Sealer guide 2015.indd 1

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Geology of Stone Standards & Specifications Design Manual Stone Selection ASAA members enjoy a 50 per cent Stone Testing saving when they purchase the I ASAA Natural Stone Design Manual. Granite To join or order a manual call Limestone 0431 388 127 or email Marble & Onyx info@asaa.com.au Sandstone Travertine Over 400 copies sold to specifiers Slate Wet are as Basalt The manual exceeds 390 pages. Each section Installation has been carefully peer reviewed. Horizontal Surfaces Vertical Surfaces AVAILABLE AS A DIGITAL DOWNLOAD Wet Areas To place an order call 0431 388 127 Natural Stone Tiles during business hours or send an – fixing methods email to info@asaa.com.au. Residential Stone Countertops Capping & Sills Cost: Stone Furniture ASAA Members $132 horizon exterior tal surfaces – Architects $132 (includes GST) stone pav Stone Faced Veneer/Pre-cast ing Non-Members $264 Concrete Allow 24 hours confirmation before download. Cleaning & Maintenance Digital version is licensed to the purchaser. Restoration/Refinishing We accept Mastercard & VISA Slip Resistance of Stone Active Australian Quarries ALTERNATIVELY ORDER THE CD VERSION Allow $22 for registered mail and handling Images of Natural Stones of Australia Glossary of Stone Industry Terms Modelled on the Marble Institute of America Dimension Stone Design Manual, the ASAA Natural Stone Appendix (Production Table, Design Manual comprehensively covers geology, stone selection, installation, care, maintenance and MOHS Scale, Applicable ASTM restoration. Contains references to applicable standards and test methods, an extensive glossary, list of Standards & Tests) quarries, prime suppliers of stone and related allied products. ACROBAT READER REQUIRED

VERSION

PRODUCED AND PUBLISHED

© This copyrighted work is jointly owned by the Marble Institute of America Inc. and the Australian Stone Advisory Association Ltd and may not be reproduced, transmitted and otherwise disseminated without the express written consent of the Marble Institute of America Inc. and the Australian Stone Advisory Association Ltd.

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30 STONE ART 10

The best attributes of natural stone are given an international platform at Marmomacc in Italy. Discovering Stoneâ&#x20AC;&#x2122;s roving correspondent, Joe Simpson provides a tour.

The stone works from Adelaide Hills International Sculpture Symposium are on permanent display in local townships.

ASAA 25

The Australian Stone Advisory Association discusses its membership initiatives and entrants to the Australian Stone Architectural Awards are highlighted.

MACHINERY 30

Major suppliers discuss how they help their clients get the most out of managing stone.

DESIGN 40

A marble installation at a fashion store in Glasgow, Scotland was a significant project for London-based stone company, Diespeker & Co.

SEALER SELECTION GUIDE 41

The 2017 guide is still all about sealing, cleaning and maintenance.

NEW PRODUCTS 46

The latest products for the stone industry.

EVENTS 48

Global and international trade shows featuring stone take centre stage.

READ ON THE GO: Scan code to view the latest FREE digital versions of the magazine on our website. Simply click on the front cover once you have scanned the code.

best residential award winner

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ASAA Architectural Awards 2014 Project: Private residence in the Adelaide Hills, South Australia Architect: TT Architecture, Canberra Stone supplier and processor: Kanmantoo Bluestone, South Australia

when only the best will do

Kanmantoo Bluestone Phone: +61 8 8538 5155 Mobile: 0417 833 786 Fax: +61 8 8239 0900 www.kanmantoobluestone.com.au

Australian Slate & Stone Phone: +61 3 9894 0222 Fax: +61 3 9894 4533 www.australianslateandstone.com.au

EDITOR’S NOTE

MEET THE TEAM

There seems to be clear indications of a busy time for the stone industry this year, if activity at The International Surface Event (TISE) held in Las Vegas is anything to go by. Reports from the show reveal signs that are both encouraging and positive. You can read more in our Events section that highlights both local and international trade shows. A major event featured in this edition is Marmomacc held in Verona, Italy each year. The latest designs and technology advances related to natural stone are presented for attendees. On the local front, we look at the art pieces made of stone that are part of the Adelaide Hills International Sculpture Symposium.

Vicky Cammiade Publisher

Four new entries to the ASAA Architectural Awards are given prominence in this issue. The companies involved in these entries include Melocco Stone, Capricorn Sandstone, Solidstone Constructions and Cinajus. Our machinery features stone projects from some of the leading companies in this category, Biesse Group Australia, Asahi Diamond Industrial and TECHNI Waterjet systems. CDK Stone also get a mention.

Betty Tanddo Editor

The Sealant Guide is back bigger than ever. It remains focused on the application of three popular products in specific locations. We asked leading suppliers to nominate appropriate sealers in this edition. This latest edition of Discovering Stone also signifies a different look for the magazine. We hope you like it. Until next time,

Betty Tanddo Editor, Discovering Stone Magazine

Sandie Velkovska Advertising Sales Manager

Anthony Stock Contributing Editor

FRONT COVER IMAGE Seat bench or “Sampietrina” by designer Philippe Nigro for Euro Porfidi uses Trachite mare as the material. The cobblestone cubes used to pave Italian streets are used in this piece to create benches and seats that give the impression, for a brief moment, that the pavement rises to merge into the street furniture.

Philip Ashley Machinery Editor

Joe Simpson International Correspondent

STONE ART

Stone, design and technology The natural stone industry gathered at the Verona-based exhibition, Marmomacc. Joe Simpson reports.

10 | DISCOVERING STONE #30 | www.discoveringstonemagazine.com.au

ne of the key attractions at the Marmomacc event in Italy in late 2016 are the exhibits that can genuinely fire the imagination by displaying natural stone’s expansive design potential. The Italian Stone Theatre can be seen as a magical space. Given a restrained art gallery style presentation, the series of dramatic objects presented were sculpturally magnificent with eye-catching 3D demonstrations of the latest techniques for carving, polishing and finishing natural stone. Intricately detailed and forward thinking, these stone sculptures were true objects of wonder. Sensitively curated by Raffaello Galiotto and Vincenzo Pavan, The Italian Stone Theatre, as it was labelled, spanned an entire hall. Dedicated to experimentation with materials and machinery, it featured a broad range of innovative techniques from companies working in close collaboration with leading designers and architects. The Marmomacc exhibition was divided into three main parts. The first – The Power of Stone – delved into the hidden qualities of materials, using sophisticated processing equipment and embellishment to reveal surprising aspects of Italian stone culture tradition. The second – New Marble Generation – involved a number of designers taking up the challenge of using stone to create every day, functional products. It showed that, using modern processing systems, it is now possible to combine stone design with mass production in exciting, fresh ways. The third – 50 Years of Living Marble – paid tribute to some of the best Italian stone design products of the last 50 years. It took visitors on a journey from the “craftsmanship generation” through to the semimanual processing in the 1960s, to the “digital” stonemasons of today. Since the 1960s, numerous objects in marble have been included in the catalogues of major Italian brands

Agave is designed by Raffaello Galiotto and produced in Verde Guatemala (granite) from Marmi Strada.

boasting prestigious names such as Tobia Scarpa, Achille and Pier Giacomo Castiglioni, Sergio Asti, Mario Bellini, Enzo Mari, Karim Rashid, Zaha Hadid, Alessandro Mendini, Claudio Silvestrin and Raffaello Galiotto. This historical retrospective of Italian stone products provided an opportunity to reflect on the cultural, technical and commercial events that have accompanied the presence of these materials in Italian design. It should also encourage a reevaluation of the use of marble in design, especially as digital technologies have broadened the industry’s horizons. Another exhibit at – New Marble Generation – highlighted how the latest advances in design and processing have opened up opportunities for turning stone into technical and aesthetically-striking artefacts. It displayed how cultivated designs can be achieved using machines alone which often leads to automated mass production; objects that until now could only by produced by craftsmen. The exhibition showed that industrial replication is now one of the common factors behind the commercial success of stone products by top Italian designers. The utilisation of digital systems means that stone processing can benefit from technical aspects (precision, work speed, reduced waste, etc.) that are critical for mass production of complicated objects. The exhibition aimed to showcase prototypes of elaborate and multi-faceted designs intended for high volumes. There was a clear demonstration of high-tech, specialised processing skills for stone industry professionals who are keen for new approaches. The resulting artefacts from the marble exhibit focused on interior and exterior furniture components, as well as mass produced architectural design items. The designers worked across several theme-based sections, adapting the stone materials chosen by the curators to specific purposes.

www.discoveringstonemagazine.com.au | DISCOVERING STONE #30 | 11

STONE ART

In a complementary seminar, stone design in relation to modern technologies, trends and marketing was also analysed. Visually exciting, New Marble Generation featured a series of very ornate, three-dimensional stone objects; all very different but equally detailed and well executed. One of the stand-out pieces was Gong by Giorgio Canale. Partnered by natural stone supplier, Cereser working with Cifralluminio and TLC Carpenteria Metallica, the disk was made from White Diamond marble. The gong of light, an ancient Chinese instrument that dates back more than 4,000 years, was a source of inspiration for architect Canale. Domenico Cereser provided him with one of the most exclusive materials in its portfolio – White Diamond – in order to enhance its characteristics of translucency and versatility. The gong creates a synergy between Cereser’s natural stone and Folio Panel LED lighting system. Gong is a maxilamp capable of generating harmonies and modulations with light. It is ideal for use in hotel lobbies and large foyers as a way of delineating or illuminating reception areas. This project, as with previous designs by Canale, reflects a desire to pay homage to his hometown of Verona, where today it is used to announce the opera is about to start in the Roman Arena. Play Panca by Denis Santachiara is a sculptural seat in Carrara white marble. Its horn-like shape allows it to become a huge, passive amplifier assisted by the hardness of marble. A smartphone can be inserted at the opening of the trumpet to amplify music through this elegant form. Panca Sampietrina by Philippe Nigro was created in Trachite mare stone supplied by Euro Porfidi who specialise in stone works for streets and cities. The designer’s idea was to look again at a well-known object – the cobblestone cubes used to pave Italian streets – to create benches and seats. The conceit gives the impression that the pavement

Caleido by Raffaello Galiotto was made with Palissandro stone from Gruppo Tosco Marmi and cutting tools from GMM.

has risen to merge into the street furniture. Elic Table by Setsu and Shinobu Ito was created in Marmo Bianco Madielle and Marmo Bardiglio Madielle from GDA Marmi & Graniti. The table has a natural shape reminiscent of a propeller; a traditional yet futuristic form. This object shows that marble can be extremely smooth and sensual. The top almost looks like a cloth or carpet floating on air. Its slim thickness (just 20mm) is accentuated by even thinner edges to achieve extreme lightness and movement. The overall impact is enhanced by the beauty of GDA Carrara marble, with its natural decoration of dark veins.

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Pedra by architect Massimo Iosa Ghini was formed using Pietra di Vicenza (Vincenza stone) from Grassi Pietre, famous for its quarries. Pedra is a sculptural table that, besides being a furnishing element, also emerges as an image of lightness. Pietra Vicentina or “soft stone” here proves to be a malleable, soft material with unexpected features; it can be used to produce a uniform, even surface without joints. The use of local materials and innovative technologies, helps making the stone harmonious and streamlined. Pedra has an elegant oval-shaped base, with legs curving inwards recalling the profile of the top.

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STONE ART

Corolla uses Travertino stone from Rete Travertino Piceno and designed by Raffaello Galiotto.

Conversations on Stone by Marco Piva also uses Bianco di Carrara, this time sourced from Helios Automazioni. Sinuous forms and lightness are combined in this object in which the marble has an unusual duality of texture and dynamism. The resultant seating allows for people meeting and reflecting. Epigrams, remarks and thoughts imprinted into curved marble slabs are depicted as sheets of paper in the wind. The object aims to provide a stimulus for conversation about the possibilities offered by technology and craftsmanship that is capable of shaping this material in different and unexpected ways. Mobius Chair and Sofa by Giuseppe Fallacara was created from Perlato di Sicilia, Fibra di carbonio (Pearl of Sicily marble reinforced

with carbon fibre). The designer worked with MGI – Marmi e Graniti d’Italia Sicilmarmi in collaboration with Daniele Malomo and Maurizio Barberio. Inspired by the Möbius strip, the two chairs are configured as continuous 20mm thick bands of Perlato di Sicilia, reinforced by a layer of carbon fibre. The bands were made up by assembling lightweight pieces manufactured using CNC machinery. Their form emphasises the unexplored potential of stone as a contemporary material for architecture and design. Hole by Paolo Ulian uses Silver Cloud, Alps Glitter and Moon Rock from Nikolaus Bagnara. This series of ten modular coffee tables is worked from a single 1,000 by 1,000 by 50mm slab of marble using waterjet cutting

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technology. This cutting method minimises waste and even the small cylinders formed by drilling the tops were used to make the legs. The tables can be combined freely with each other and stacked to create table tops of different heights. Slabs of different materials processed with same cutting approach can create different combinations of materials and colours. HyparWall by Giuseppe Fallacara was made using Pietra Leccese (Lecce stone) from Pimar Italian Limestone. The designer collaborated with Marco Stigliano of New Fundamentals Research Group to produce this modular wall in perforated stone for exterior and interior use. It can be configured in many different ways along straight, curved or cylindrical courses due to the use of two basic ashlars that are easy to produce and assemble. These ashlars are made from recomposed stone using waste Lecce stone generated during other processing stages. The cemented ashlars have a “saddle” shape (hyperbolic paraboloid) that exploits the properties of grooved surfaces in order to optimise mass production using the mould and counter-mould technique. It is also possible to produce natural stone ashlars by cutting the material with diamond wire mounted on a robot arm. The two typical ashlars are mirror images of each other. Using Bislapis Nero Marquina (marble) and Bianco Carrara supplied by Remuzzi Marmi Bergamo, Collezione Bislapis by Marcello Morandini explores the potential of a composite material called Bislapis: in which thin marble and onyx are coupled together for functional home designs. Bislapis is a versatile construction material with characteristics of lightness, reliability, beauty and durability. The small collection shown at Marmomacc was an invitation for others to learn more about the potential of Bislapis. Kintsugi by Giorgio Canale uses Pietra Serena (grey sandstone) from

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National coverage — Manufacturing capability in all mainland states across Australia. Large stock holdings of natural and reconstituted stones from local and international suppliers. Residential and retail stone — supply and install. Commercial stone, tiling and civil landscaping contractors.

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STONE ART

and software used to manufacture high-tech works with a strong formal impact. It featured complex surfaces, high-precision details, reduction of waste and the enhancement of the material’s characteristics. It also comprised a sequence of installations using Italian technology and aimed to illustrate the skills needed to use digital instruments to process marble. Agave, designed by Raffaello Galiotto, was produced by stone products company Marmi Strada in Verde Guatemala (granite), and was displayed alongside Orosei Daino flooring and cladding by La Quadrifoglio Marmi and Graniti. This project used parametric software and five-axis water jet cutting technology, to create a sinuous, twisted and hollow figure, three metres high, using a pack of ten marble slabs only 300mm high. Caleido designed by Raffaello Galiotto was produced by cutting

stone company Tenax to explore kintsugi; the Japanese art involving the use of liquid gold to repair ceramic objects. The art of embracing such damage without shame, was the starting point for a research task that Tenax and architect Canale developed in order to define an industrial process capable of breathing new life into standardised materials. The “controlled split” texture bonded with tone-on-tone or contrasting resins suggests novel, creative uses of natural stone. The first object in this collection is a deluxe desk with which the designer used to present the latest technology. The soft slab used for the Kintsugi desk is in stark contrast to the traditional idea of rigidity associated with natural stone. The Power of Stone exhibit combined the age-old tradition of stone processing with the contemporary language of design. In this display, design was interpreted as the overall project that involves the production process, devices, tools

ABOVE: Organic is produced in Crema Nuova from Margraf using tools by Nicolai Diamant. BELOW: Spongia was produced by Helios Automazioni using tools from Digma. It is formed using Maljat from Helios Automazioni.

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STONE ART

ABOVE: Sol uses Porfido Rosso (antique red porphyry) from Alliance of Stone. BELOW: Thorn was produced using Cremo Delicato by Intermac.

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machine firm GMM using software by Licom System, and tools by ADI. The stone used was Palissandro by Gruppo Tosco Marmi; while floor and cladding was Ombra di Caravaggio by Piero Zanella. Caleido was created using slanted, symmetrical and crossed passes of the bridge saw. The solid base comprises eight mirror image segments; the toolpaths are marked on their surfaces. The flaky texture is generated automatically by overlapping bridge saw processing paths divided into eight sectors per side. The apparent randomness of the flakes generated by the passes achieves its expressive force through radial symmetry. Corolla designed by Raffaello Galiotto was produced by Donatoni Macchine using software by DDX. The stone is Travertino by Rete Travertino Piceno. Corolla utilised a diamond disc for slanted brushing over counterpoised three-dimensional paths. The project enhances Travertine Piceno through interpretation of the ancient theme of the Rose window in stone, brought up to date by design and production using digital technology. Isopode designed by Raffaello Galiotto was produced by T&D Robotics in Zandobbio Nuvolato (marble) by Marmo Zandobbio. The floor and cladding material was Zandobbio Classico from the same company. It recalls the retractable shell shape of mulluscs. Curved and shaped marble bands were cut with a robot controlled diamond wire from a single block of material with a significant reduction of waste. Organic designed by Raffaello Galiotto was produced in Crema Nuova from Margraf using tools by Nicolai Diamant. The floor and cladding material is Radika by Margraf. The optical effect of this work was generated by an amplification of the three-dimensionality and orientation of the pyramidal tips on the undulated surface, designed using 3D software and passes of a numerical control bridge saw using a conical diamond tool.

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STONE ART

Sol designed by Raffaello Galiotto uses Porfido Rosso (antique red porphyry) by Alliance of Stone â&#x20AC;&#x201C; Euro Porfidi machined with equipment from Pellegrini Meccanica. The floor and cladding material is Porfido Viola from the same supplier. The circular, undulating and counter-poised surfaces of this work were obtained with two diamond wire cuts. Millimetre calculation of overall dimensions, mechanical movements and related cutting paths allowed it to achieve complex geometry, that has also brought about a software modification for the unusual cutting mode. Spongia designed by Raffaello Galiotto was produced by Helios Automazioni using tools from Digma. It is formed from Maljat by Helios Automazioni, while the floor and cladding material is Dolomia by Marini Marmi. The pointed and modelled shapes of the work were achieved with two types of milling: with a disc and a shaping tool. The undercut channels were machined initially with a roughing tool and then by a specificallydesigned shaping tool. Special software managed toolpaths, and controlled the direction and orientation of each processing path.

Thorn designed by Raffaello Galiotto was produced using Cremo Delicato by Intermac; while the floor and cladding material is Arabescato Orobico by Cave Gamba. This work was processed with a five-axis milling machine to obtain a series of thin, tapered elements orientated in a differentiated manner, both offset and fixed, in order to increase the size of the final figure. Torso designed by Raffaello Galiotto was produced by Omag in Arabescato Altissimo from Henraux. The floor and cladding material is Pietra Lavica Vulcanica by Fratelli Lizzio. For this piece, six alternating twisted and undulating paths were followed by a diamond disc cutter to process a column placed on an interpolated lathe. The grooved surface finish is obtained directly by the tool without manual intervention. Zenit designed by Raffaello Galiotto was produced by Antolini using equipment from Prussiani Engineering. It is formed in Sodalite Blue while the floor and cladding material is Calcite Azul; both by Antolini. Zenit is a hollow vertical work, 3,600mm high, obtained from a 600mm marble block using water-jet cutting. The complexity of the twisted shape, and de-composition into cutting

ABOVE: Torso was produced by Omag in Arabescato Altissimo from Henraux.

paths, were made possible thanks to BELOW: Zenit is formed in Sodalite Blue and produced by the use ofusing parametric software that Engineering. Antolini equipment from Prussiani

Isopode was produced by T&D Robotics in Zandobbio Nuvolato (marble) from Marmo Zandobbio.

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20 | DISCOVERING STONE #30 | www.discoveringstonemagazine.com.au

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STONE ART

Cosmic Connections by Jhon Gogaberishvili uses Sellicks Hill Marble.

Geology meets art Joanne Hough writes about some of the stone sculptures that were part of the Adelaide Hills International Sculpture Symposium.

hree biennial stone symposiums (Carving Dreams in Stone) were held between 2012 and 2016 in the Adelaide Hills (SA), attracting internationally recognised sculptors from around the world. They have culminated in 24 communitycommissioned works permanently situated within local townships. The Adelaide Hills International Sculpture Symposium (AHISS) is a grass roots organisation that formed in 2011 to bring the arts to the Adelaide Hills by creating a Hills Sculpture Trail linking towns, art and scenery. Silvio Apponyi, noted sculptor, Adelaide Hills resident and artistic director, had a vision to “enrich the Hills with sculpture”. All symposiums were held at The Cedars in Hahndorf, the former home of Australian landscape artist Hans Heysen.

Some of the 2014 sculptures are highlighted in this article, and located throughout Langhorne Creek, Mount Compass, Meadows, Stirling, Mount Barker, Little Hampton and Mount Torrens. Uniquely South Australian stones are the preferred choice for the sculptures. To date these have included pink and grey Paris Creek and Macclesfield marbles, white Angaston Marble, grey Kapunda Marble, mottled Sellicks Hill Marble, white Mount Torrens Marble and Black Granite. Sellicks Hill Marble is referred to geologically as Fork Tree Limestone and is Early Cambrian in age. It is produced from Sellicks Hill Quarry (Private Mine 163), located about 50km south of Adelaide on the Fleurieu Peninsula. The quarry commenced operations in the 1970s supplying aggregate to

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Adelaide at around 1 million metric tonnes per annum. The stone has also been utilised as rip rap and spalls, and as dimension stone for interior feature tiles for the hotel market. However, differential hardness between the carbonate and the mottled clay component created issues with polishing. The marble is predominantly black with an attractive gold mottling, and cream and tan in parts. The historic Mount Torrens marble quarry was active in the early 1900s and reworked in the 1950s. Production was from an undifferentiated marble in the Early Cambrian Carrickalinga Head Formation. The Mount Torrens Marble used for one of the sculptures was sourced from pond excavation works near the Mount Torrens quarry and adjacent to the Amy Gillett bikeway into Mount Torrens. The marble is cream to white with buff and grey lenses and is similar in appearance to the Paris Creek and Macclesfield marbles.

The sculptures Cosmic Connections by Jhon Gogaberishvili from Georgia uses Sellicks Hill Marble completed in polished and smooth finishes on a rough and honed base featuring a sphere of Black Granite with stainless steel. It is located in Keith Stephenson Park, Mount Barker. Gogaberishvili said of his work, “There was neither time nor space before the universe was created. The whole universe was created after a big explosion and is full of planets and galactica, which move regularly and influence each other. It happened millions of years ago yet this regulation does not change. There is some divine force that makes unification, the universe’s secret support.” Flow by Agnessa Petrova from Bulgaria uses Paris Creek Marble completed in rough, honed and smooth finishes on a base of Angaston Marble. It can be seen at Alfred Langhorne Park, Langhorne Creek. Petrova said, “The energy and mystery of running water or wine and

all the beautiful wavy shapes created are the subject of the composition. I tried to express the inspiration and the feeling of freedom or flight that is suggested by these shapes.” Water Stone by Hew Chee Fong from Australia uses Black Granite. The polished top with stainless steel droplets is complemented by a rough underside to the base. It can be seen at Mount Compass Wetlands in Mount Compass. Fong simply stated: “Water, our most precious resource, it is life itself”. Fossils by Petre Petrov from Bulgaria uses Paris Creek Marble completed in rough and smooth finishes. The site for this sculpture is Meadows War Memorial Park, Meadows. Petrov said, “The sculpture gives the idea of the ‘life’ in a piece of stone from which the planet’s history is stamped. The hard stone we see now was once full of life and we are still able to see fossils of different bizarre creatures that lived on this place millions of years ago.” Journeys by Jocelyn Pratt from New Zealand uses Black Granite completed in polished and honed finishes, and featuring a centrally mounted stainless steel sail. It can be seen at the corner of Druid Avenue and Mount Barker Road, Stirling. Pratt said of her work, “A leaf boat – the journey of change, caring for our environment. Recognising the need to plant local native trees and plants, providing wildlife habitats and improving water and air quality.” Splash by Sakari Peltola from Finland uses Black Granite featuring honed, rough hatched, smooth and polished finishes. The pedestal has been left as it was drilled prior to removal from the quarry floor. It can be found at Willow Park, Little Hampton. Peltola describes her work in the following way: “A tiny drop in time. One fast passing moment. Beginning of life. Frozen forever still. Splash of life. Splash of joy”. Stone used for the 2014 symposium was donated by Graham Arthy, Bert Davis, Barossa Quarries, Melocco Stone and Chesini House. ■ FROM TOP: Flow by Agnessa Petrova uses Paris Creek Marble; Water Stone by Hew Chee Fong uses Black Granite; Fossils by Petre Petrov uses Paris Creek Marble; Journeys (left) by Jocelyn Pratt uses Black Granite; Splash (right) by Sakari Peltola uses Black Granite.

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ASAA

A bigger role to play The Australian Stone Advisory Association (ASAA) said it is on the brink of broadening its membership.

he ASAA Board has completed many initiatives but it recognises that members need greater assistance in the day-to-day operation of their businesses. It is evaluating at how it can give members additional support. The industry has changed, new materials have been developed and a large number of companies that import and sell or process natural stone also market engineered stone. In many instances, sales of agglomerate material exceed sales of natural stone. In its current form, the ASAA constitution does not permit companies that primarily manufacture, trade or process engineered stone to become members. Given today’s market dynamics, the ASAA does not fully represent the interests of the entire industry. As a result, the Board must decide if the constitution should be changed. Members will be consulted in June this year and a decision will be announced at the forthcoming AGM in Melbourne. An increase in the type of members who can join the ASAA will lead to greater efforts to promote the wide range of products and services being offered by the stone

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24 | DISCOVERING STONE #30 | www.discoveringstonemagazine.com.au

sector. A taskforce has been set up to determine how the membership can be increased. Another taskforce has been established by the Board to explore the possibility of creating a series of ASAA webinars. They can provide valuable information about stone selection, installation and maintenance to a much wider audience than “live’ seminars. These events can also be recorded and placed online. The directors acknowledge that many members have provided enormous, ongoing support over the years. Since the association was established, it has achieved a number of objectives which include: • Establishment of the ASAA Architectural Stone Awards adjudicated by members of the Australian Institute of Architects. (A number of new entries appear in this edition.) • Funding and development of a Hard Surface Eco Label in association with Good Environmental Choice Australia and the Australian Tile Council. The standard is recognised by the Green Building Council of Australia. • Organised seminars and participated in local and international expos. • Provided advice to architects and designers covering specification, installation and maintenance of natural stone, including site visits and preparation of detailed reports. • Thousands of visitors to the ASAA website have downloaded the guide to sealing, cleaning and classifying natural stone. • The ASAA Natural Stone Design Manual is probably the association’s major achievement to date. It was produced with the support of the Marble Institute of America, which permitted the ASAA to use some of its material and images. Hundreds of copies have been sold to design and construction professionals and other industry participants. The 2017 AGM will be held at Holmesglen TAFE, Chadstone, Melbourne at 4.30pm on 26 July 2017. Plans are also underway for two seminars commencing at 6pm, following the AGM. Details will be emailed to the membership and will appear on the website. Visit www. asaa.com.au for more information. ■

Australian Stone Architectural Awards

The following pages feature four new entries to the ASAA Architectural Awards. Participants are invited to enter in two main categories: • Australian natural stone • Imported stone They can also enter based on the six categories that are part of Australian natural stone including: • Best commercial project • Best civic project • Best export project • Best restoration project • Best sculpture/public art • Best residential project The imported stone categories feature: • Best commercial • Best residential The entries will be judged by members of the Australian Institute of Architects. Category winners will receive their awards at an industry function organised by the ASAA. An entry will also be chosen from the six category winners in the Australian natural stone segment to become the major award winner.

Criteria for award entries have been established by the ASAA in conjunction with the Australian Institute of Architects. They include: • An architect must be involved in the project; • The project must be completed after 30 June 2013; • Entries can be initiated by the project architect, stone producer, stone supplier, installer, builder or designer; • Entrants for the imported stone categories must be members of ASAA; • The project must display good design values; An entry form can be downloaded from the ASAA website, www.asaa.com.au. Entries should be accompanied by: • A general description of the project and stone used (ie. type, sizes and quantities); • Details of the architectural practice, the installer and stone supplier; • High resolution photographic images of the stone work. For more information, contact Anthony Stock on 0416 135 150 or email info@asaa.com.au.

www.discoveringstonemagazine.com.au | DISCOVERING STONE #30 | 25

ASAA

Stone marks the headland

CATEGORY

AUSTRALIAN STONE

digital image of the “Madonna with Child” by Giovan Battista Salvi. The image was printed on glass by G James. The large format, 50mm thickness diamond sawn and split finished buff and brown banded sandstone elements produced by Capricorn Sandstone, were affixed to the facade in accordance with Ardex Technical Bulletin TB 001, using SS clips. The project received recognition and awards in the 2015 Master Builders Association Awards. ■

- BEST CIVIC PROJECT PROJECT: Stella Maris RC Church, Broadbeach, QLD ARCHITECTURE & DESIGN: Straw & Dunne with PMG Architect CONTRACTOR: Stokes Wheeler Building Contractors STONEMASONRY: Natural Sandstone of Australia STONE SUPPLY: Capricorn Sandstone STONE DESCRIPTION: Buff & Brown banded 50mm thick sandstone cladding

www.discoveringstonemagazine.com.au | DISCOVERING STONE #30 | 29

MACHINERY A kitchen highlight stone from Pacific Kitchens.

Kitchen company has confidence with Intermac Biesse Group company, Intermac has been on hand to see Pacific Kitchens grow and develop.

ise business owners learn quickly that while expansion can be a very good thing, it can also easily put your business at risk. Expand too slowly as the volume of work builds, and you risk losing customers as you fail to meet their needs. Expand too quickly, and you can over-capitalise on equipment, and suffer real setbacks if the markets dips unexpectedly. Looking at the business Michael and Kerry Evans have built, Pacific Kitchens, located near Cairns in Far North Queensland, it’s clear to see that they have managed to successfully expand the business not only at the right times, but also in the right ways. That’s included adding more space, and more,

diversely talented employees, but it has also meant exploring new technologies. Their recent technology “heroes” have been an Intermac bridge saw, to which they added within less than a year an Intermac Master 30 CNC (computer numerically controlled) processing machine for stonework. This technology has enabled Pacific to expand from making cabinets and externally ordering stone benchtops, to processing its own benchtops, and delivering these along with the kitchen fittings.

History Pacific Kitchens has its origins in the year 2002, when the then 21-year-old Michael Evans decided to set up a kitchen and cabinet business in the Part of the team from Pacific Kitchens at work with the Intermac machine.

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town of Smithfield, about 15km north of Cairns. From the beginning, Michael was clear he wanted a “proper” business, not some kind of backyard operation. He opted to set up the business in a shed and workshop in a commercial area of Smithfield. The business underwent expansion phases in both 2007 and 2012 – every five years – and looks set for a further expansion in 2017. Usually each expansion means building a bigger shed to add onto the existing space they use. According to Michael: “We service an area three or four hours [drive] around us and there’s plenty of work, new home builds are our speciality but we can handle pretty much everything; even large projects such as the Ramada Treetops in Port Douglas.” As well as both new and renovated kitchens, the business has grown to offer wardrobes, entertainment units and bathroom vanities. It also does custom work for residences that includes furniture, staircases, general joinery, and fitouts for commercial customers including shops, reception areas, and bars. Pacific’s clients range from domestic renovators, new home owners and commercial businesses, to builders, local council and state

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MACHINERY

government agencies. The company sees its mission as listening to customers and treating each as though they are their only customer. The company takes pride in dealing immediately with any problem that does emerge – though most are merely simple adjustments. Michael and his team project manage every job from the start to its successful completion. The customer works with just one person from Pacific Kitchens who will get the job done.

Moving to stone In 2014 Pacific Kitchens underwent a different kind of expansion, and started to offer stone manufacturing to its clients. Michael tells the details of that move: “Like most cabinet shops we don’t have a lot of space. When a thirdparty stone benchtop supplier was late we were stuck with a houselot of cabinets to store for several weeks. It was starting to affect our production so we decided we would be better off doing the stone ourselves. First, we got hold of a very good stonemason – we wouldn’t have gone into stone without the right tradespeople. “It went very well, but we couldn’t keep up with the demand so we went to Intermac for advice. We had some CNC equipment from the same supplier in our cabinet shop so we knew it would fit right in and with the great advice and support we were getting from Intermac there was no need to look elsewhere. The machines are actually housed in the first shed that Michael started out in so they don’t take too much valuable space. The change made by

The Intermac machine at work.

Intermac Master 30 CNC processing machine is used for stonework at Pacific Kitchens.

adding the Intermac technology to the production workflow was considerable. Pacific Kitchens mainly process engineered stone and about 10 per cent natural stone products on their Intermac machines. The company says that a stone job that would have previously have taken four hours – half a day’s work – can now be finished in just 30 minutes. The machines are so accurate, that the company decided to upgrade the stone it purchases so as to eliminate the need to re-work jobs on lessthan-perfect material. “We went from 10 slabs a month to 60 slabs a month within a very short time, and we discovered that the machinery cost is not expensive compared to the material,” Michael advises. The Intermac machines helped Pacific Kitchens gain another slice of the market and more importantly, allowed it to offer customers a more complete, seamless service by delivering cabinets and stone tops together. As a result, the capital investment in Intermac has really worked out, with the machines paying for themselves in around 30 months. What is more, there is lots of upside potential left, Michael says. “There’s plenty of work in the area and our Intermac can produce a lot more than it does now.”

Knowledge and advice Of course, with any machinery that a business comes to rely on is vital to its production flow. She Intermac machinery needs to be very dependable. One of the critical factors for Michael was that support from Intermac was close at hand. “The machine must be

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reliable and if we ever do need support we need it quickly. Any service we’ve had has been prompt and very professional. The Intermac guys know their stuff, they know the industry and they know the equipment returns good value,” he said. “We bought the saw first along with a crane and they told us within twelve months we would be looking for a CNC processing machine. We cut the stone with the bridge saw and polished it by hand but our stone business grew so fast we had to get the Master 30 CNC machine. Intermac were spot-on with their advice; it was almost exactly twelve months until we got the Master 30 and we really haven’t looked back,” he added. Support is good to have, but it still doesn’t work out if the machinery itself is not well-built. Michael has lots of praise for the Intermac products: “Our Master 30 is 18 months old now and it’s never dry but there’s no rust anywhere. It has stainless steel trays and ceramic coating. It’s just a really well-built machine,” he said. Pacific Kitchens assigns one individual to every customer’s job, and that person is responsible for customer satisfaction from day one until the final product is delivered. It feels that Intermac treats them with the same respect and diligence, making sure any issues are resolved quickly, and providing helpful advice when it is needed. ■

COMANDULLI OMEGA PENCIL ROUND AT LAST A MACHINE PERFECTED FOR PENCIL ROUND FOR ALL FLAT, BEVELLED AND ROUNDED EDGES

TECHNI WATERJET + CDK STONE A NEW PARTNERSHIP AUSTRALIAN MADE - OPERATING WORLDWIDE PRECISION 5 AXIS WATERJET CUTTING MACHINES TECHNI AND CDK - A WINNING TEAM WITH UNBEATABLE PERFORMANCE AND SERVICE

GMM EXTRA MONOBLOCK CNC SAWING MACHINE FULLY INTERPOLATED 5 AXIS MOVEMENT 370ยบ ROTATING HEAD WITH INCLINATION 0-90ยบ

New South Wales 202 9822 5155

E info@cdkstone.com.au Queensland 07 5537 3222

cdkstone South Australia 08 8340 2877

Western Australia 08 6240 2200

MACHINERY

The TECHNI water jet system being used at Nasa Stones.

Waterjet system helps high-end stones Located about 55km north-west of Sydney in South Windsor, New South Wales, Nasa Stones is company that sees itself as stone work artisans providing cutting edge fabrication solutions for the current trend of large format porcelain panels. These include Maximum, Neolith, Dekton and others as well as natural and locally engineered stones. The company specialises in creating high-quality stone products from kitchen countertops to fireplaces to marble walls on the inside of elevators. With seven years in the business, Nasa was recently seeking to expand. Its owner, Samer Hmoozi, knew that he needed a waterjet system that

would work as hard as the company did, and produce the same reliable, excellent results. “There are new products in the market [Ultra Compact Surfaces]. The best option for cutting these types of materials is a waterjet. Our supplier highly recommended we cut the material with a waterjet because it will lessen the chance to crack the material and also achieve a better finish,” says Mr Hmoozi. With an eye to research, one of the first things Mr Hmoozi did was to visit a company that used CDK Stone products. What he saw really excited his interest.

“I left the customer’s location and was excited about what I saw. I was impressed with the quality of the product. Seeing the Quantum NXT™ Electric Servo Pump and the PAC 60™ in operation was truly what I was hoping to find. I’ve been doing my research. TECHNI Waterjet™ systems come highly recommended,” he says. One benefit of the system that turned out to be important to Nasa’s expansion plans was that the TECHNI Waterjet’s Quantum NXT Electric Servo Pump and Intec 713-G2™ (7’ x 13’) Waterjet Cutting System he was planning to buy had low power needs. Power supply could have created

Award Winning

Australian

Bluestone Nature’s gift

Office: New 61-63office Williams Rd,production Coburg VIC facility Australia 3058 and Telephone: 61 3 9354 5513 Facsimile: 61 3 9350 at 410-422 Francis Street, Brooklyn 30125262 Email: sales@vicbluestone.com Telephone: 03 9314 4700 Facsimile: 03 9314 0140 Website: www.vicbluestone.com Email: sales@vicbluestone.com Quarry: 1475 Princes Highway, Lara VIC Australia 3212 Website: www.vicbluestone.com Quarry: 1475 Princes Highway,facility Lara VIC Australia 3212 New office and production from mid-2014 at 410-422 Francis Street, Brooklyn 3012

problems at the location he planned to expand into, but these products eliminated that as a concern. With the Intec 713-G2, Nasa Stones has the ability to load one sheet of stone, cut all the panels, including the side panels with bevel cuts. With the integration of the PAC 60 Five Axis Cutting Head on the waterjet, it gives them the capability to cut a +/- 60-degree bevel with continuous rotation and account for taper compensation. Of course, a system that can do the job is only half the concern. The product needs consistent support as well. At Nasa, after sales support and top of the line service and installation is a priority for the high-end stone company. It’s very important, as frequently the products they provide are a major focal point for a room. Their product has to be perfect every time and they wanted a waterjet company had similar values.

Samer Hmoozi from Nasa Stones.

TECHNI Waterjet has invested in high quality service technicians, with more than 20 years’ experience. It also really helped Nasa’s confidence to know that TECHNI is the manufacturer of the complete Waterjet system, including software. “TECHNI has an excellent service team, and they make us feel like we are

in a partnership with them. There are too many reasons we have to highly recommend both TECHNI Waterjet and CDK Stone. The first reason is they have the greatest service technicians, from customer service to the installation of the machine to the training. The second reason is the Intec 713-G2 is doing a great job,” declares Mr Hmoozi. ■

Redefining Efficiency & Productivity.

The ultimate solution for stonemasons working with new generation sintered porcelain materials, Performance Waterjet’s Nexus system allows fabricators to efficiently cut to size, mitre, cut radiuses and and tap holes all in one operation... at exceptional production rates and without cracking or chipping.

Scan the QR code below to watch the Nexus bevel cutting a Dekton benchtop or contact us for more information on how waterjet can become a valuable part of your operation!

PERFORMANCE WATERJE T

P: 1300 722 559 E: sales@performancewaterjet.com.au W: www.performancewaterjet.com.au

TECHNI Waterjet™ Cutters are the preferred cutting tool for stone fabricators using modern stones such as Dekton, Neolith, or Maximum Fiandre. These man made stones are extremely hard and abrasive, and can therefore be very difficult to cut with traditional cutting tools such as saws, drills, and milling cutters. However, a TECHNI waterjet cutter can easily cut any shape, including accurately mitred edges ready for assembly, at speeds up to 1000mm/min.

MACHINERY

The BlueVac captive-head washing system in action.

Easy method for stone cleaning Watch our video, bevel cutting a Neolith bench top! Scan the QR code with your smart phone or visit our You Tube page!

Electric Servo Pump

Bevel Cutting Head

Precision 5 Axis Waterjet Cutting Machines For a quote or more info please contact

Waterjet Cutting Machinery for the Stone Industry T: +61 3 8552 6000 E: info@cdkstone.com.au www.cdkstone.com.au

Captive-head washing is a new way of lowering salts in brick, stone and render. The principle of the BlueVac captive-head washing system (originally called “Gregomatic”) is a combination of a targeted water jet that is transformed into a whirl within a shrouded head. This produces a rinsing action and together with a simultaneous vacuum suction, it removes dissolved or loose residue from the substrate. When using captive-head washing, the moisture content of the substrate will not rise, which means the negative pressure (i.e. vacuum) of the wash head is greater than the capillary effect of the substrate. Captive-head washing after pre-wetting with deionised water produces a significant salt reduction, not just on the surface, but up to a depth of 15cm. Salt reduction was greatest in the first 2cm, and declined with depth. Where the substrate was not pre-wet, the salt reduction was less significant. Results obtained with captive-head washing are comparable or better with those obtained by traditional poulticing procedures. The captive-head washing system has been shown to successfully remove the residue of desalination poultice without increasing the water load in the substrate. The system can also be used to rinse off bacteria (mould), low and high pH detergents, oils, fire damage soot and other contaminations from all washable surfaces including fibres (carpets). This patented system has won gold medals at the International Exhibition of Inventions in Geneva, Switzerland. The machine uses little energy and cold water, but remains highly efficient. Water usage for desalination purpose is approximately 20lt per m2 with approximately 5 bar (70 psi). A typical cycle (about three hours) of desalination involves firstly a dry clean of surface, then a wet wash twice before and a vacuum, as a final step. A cycle may have to be repeated a few times as required with a few days between.

Pre-wetting with deionised water is usually done a day before the first cycle. Waste water is drawn by a suction and can easily be disposed of. The machine is also easy to operate and transport. It is available from Let’s Clean: www.letsclean.com.au. ■

Extension for Kirkby quarry UK-based stone quarry and processor Burlington has gained planning permission to extend its Cumbrian slate quarry at its headquarters in Kirkby-in-Furness. Burlington Stone has quarried the Cumbrian slate from Kirkby for more than 170 years and it is anticipated the extension should mean production continues until at least 2050. The Kirkby quarry produces a vernacular roofing slate, walling

stone and architectural stone used on many local, historic and traditional buildings. Burlington said the move would ensure natural stone continues to be won from the heart of the Lake District and worked by the firm’s own craftsmen. Burlington is part of the Holker Group. CEO Duncan Peake said: “This is a hugely positive result for Burlington Stone. We are now in a position to commence our ambitious development plan for the business. We hope to see many future iconic buildings adorned with Burlington’s range of luxurious and signature British natural stone products.”

ABOVE: The Kirkby quarry produces a vernacular roofing slate, walling stone and architectural stone.

Measures proposed by the company will mitigate the environmental impact of the development work at the quarry site. Six phases of slate extraction and tipping are planned followed by final restoration. The quarry will be deepened by 55 metres and extended by 3.2ha, allowing a total of 6.5 to 7 million cubic metres of rock and overburden to be extracted. Material extracted will be used to restore the site progressively. ■

MarbleMatters IMPORTERS AND DISTRIBUTORS OF BEAUTIFUL NATURAL STONE PRODUCTS SINCE 2002.

Our products are available in different sizes and finishes. Customised sizes and finishes also available on indent. Marble Matters has built its reputation on reliable quality products with exceptional service. ANAMUR COBBLES

VISIT US Visit our warehouse and showroom at Unit 1, 68-72 Asquith Street Silverwater. CONTACT US Call us on 02 9648 6222. ITALIAN PORPHYRY COBBLES

www.marblematters.com.au

NEW PRODUCT ELEPHANT GREY LIMESTONE MOSAICS 3D AND TILES

MACHINERY

Asahi’s central role in Australian projects Japan-based, global diamond tool manufacturer Asahi Diamond Industrial has a long history of engagement with the Australian market. The modern Asahi is really a combination of two companies: the original Asahi, founded in Japan in 1937, and Triefus Company Ltd, which first listed its shares on the London Stock Exchange in 1947. Triefus began selling diamond tools for the Australian mining industry in 1950, and began some small-scale manufacturing there in 1951. Over the years an increasingly close association was built up between Triefus and Asahi, culminating in the acquisition of Triefus by Asahi in 1990. Asahi has continued to prosper, with manufacturing facilities in Japan, France, South Korea, Taiwan and Indonesia. Asahi also supports tool maintenance facilities in Australia, such as the in-house machine shop on Sydney’s Northern Beaches, which offers a repair and re-tipping service. This helps its customers maintain an efficient costper-cut ratio.

Its tools are regarded as being of the highest quality by a range of industries, including engineering, automotive, mining, and, of course, construction. For over 20 years, it has also been involved with some of the country’s largest stone projects including Sydney’s multi-billion dollar Barangaroo Reserve. No project in history has used more Sydney sandstone, with around 10,000 sandstone blocks being utilised to create the famous headland park, all of which were secondary cut exclusively using Asahi Diamond segments and blades. Working alongside chief stonemason Troy Stratti, and stone suppliers Bundanoon Sandstone and Capricorn Sandstone, Asahi supplied its Diamond blades for several different applications at the Barangaroo project. This includes the final processing of the sandstone blocks by the use of excavator’s, right down to the tooling the stonemasons used on site to cut steps and cladding. Designed using the latest Arix 3D arranged diamond technology, Asahi Diamond blades are renowned for their long-lasting precision cuts and are also used by other major stone processors around the country. Mr Stratti is particularly enthusiastic about Asahi products.

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FROM TOP: The Wurrungwuri Sculpture in the Royal Botanic Garden, Sydney (NSW); Stone Styles’ upgrades at Bond University, Gold Coast (QLD); The entrance to Bond University uses stone.

Fila brings out the beauty of the floor.

ABOVE: The Traditional Stonemasonary Company’s sandstone clock tower at Sydney Town Hall.

He said: “Asahi’s Diamond blades are world-class. They helped save an incredible amount of time and money when working on the Barangaroo project. They’re a customer-focused company and always offer a professional, efficient and personalised service which is paramount when working to strict deadlines.” The city of Sydney has also benefitted from the use of Asahi tools. Sandstone is a very common building material, and Asahi has been there to help with the construction of a wide range of projects. These include Hilton Hotel, the Park Hyatt Hotel at Circular Quay and the Wurrungwuri Sculpture in the Royal Botanic Garden, all located in Sydney. There is also the Traditional Stonemasonry Company’s sandstone clock tower at Sydney Town Hall and parts of the refurbishments at the Commonwealth Bank and the Reserve Bank building Martin Place. Outside of Sydney, there is Stone Styles’ upgrades at Bond University on the Gold Coast. Asahi products include but are not limited to: - Saw blades up to 3.5 metres - Stone core drills - Grinding wheels for stone - CNC tooling - PCD tooling for sandstone A large number of products are also available to purchase from the new online construction and engineering store which can be accessed at www.asahi-diamond.com.au. ■

More than 70%* of installation complaints are due to inadequate post construction cleaning, followed by poor maintenance cleaning practices. That’s why proper cleaning after installation is vital! • To allow the original beauty of the surface to be sustained over time. • To make tile maintenance easier. • To keep the tile features unaltered. FILA offers an effective range of user-friendly cleaners specific for the various grouts, materials and stain challenges for consistently excellent results.

DISTRIBUTOR: Tile Cleaning Products Phone: 02 9648 0395 Email: info@slique.com.au

DESIGN The End fashion store in Glasgow has a striking interior look created using Arabescato marble.

Marble installation for apparel store Joe Simpson writes about a marble project created by Diespeker & Co for End Clothing in Glasgow.

iespeker & Co is a Londonbased supplier of natural stone, terrazzo and other man-made materials for commercial and domestic projects. The company was recently involved in a marble installation for fashion retailer, End Clothing, which has just opened its second UK store in Glasgow, Scotland. The latest End store boasts a striking interior look created using Arabescato. This is a grey marble with black veining often in a circular pattern. For this project, the marble was used to produce a diagonal, linear look. The project also called for bookmatched marble. In this method of cutting the marble, the first slab is polished on the front, the next slab on the back and so on, so the pattern continues through creating a stunning, mirror image effect like opening up a book. In late November 2016, Diespeker took delivery of 30 slabs sized at 3,000 by 1,800 by 20mm, allowing for the creation of two panels per slab. The slabs were checked before being prepared for cutting. They were then delivered to the site. The sub-frame was a steel structure clad in 25mm ply. The marble was bonded and mechanically

fixed. One onsite challenge was the specification of an eightmetre elevation and the project was complicated by the need for top panels to make the elevation compliant. Altogether, 80 square metres of marble cladding and flooring were installed in an interior created by Diespeker for retail fit out specialist AD Baker. As well as the cladding, there were countertops and display plinths made by Stone Age in Calacatta Carrara Honed marble that was supplied by wholesaler Stone World of Park Royal, London. The Diespeker team rose to the challenge and the installation was completed on time, even though

Altogether, 80 square metres of marble cladding and flooring were installed in an interior created by Diespeker.

40 | DISCOVERING STONE #30 | www.discoveringstonemagazine.com.au

initial order to completion was just four weeks. Diespeker & Co was founded by Italian entrepreneur Luigi Oderico in Hamburg in 1881. Oderico expanded the business to London, where Diespeker was one of the first companies to offer terrazzo and mosaic to the UK market, alongside marble, granite and slate. Over the years, the business has grown into a well-run operation, with skilled craftsmen, the latest in Italian machinery and extensive experience in cutting, processing and polishing. As well as standard materials, Diespeker offers a rare service at its purpose-built factory in South East London; making and supplying bespoke terrazzo using traditional hand casting skills honed over many years. The full service comprises site surveys, technical support, drawings, supply and installation, with an aftercare package also available. Diespeker boasts an on-site showroom exhibiting a range of around 500 standard options, making it one of the most comprehensive displays in the UK. The company has also installed standard and bespoke solutions for such prestigious clients as The Royal Albert Hall, The Waldorf Hotel, Planet Hollywood, Wimbledon Tennis Club, Lloyds of London and Fischerâ&#x20AC;&#x2122;s of Marylebone. Recent investment has included state-of-the-art stone cutting and polishing technology. Diespeker even makes and matches terrazzo, to order, by hand. It is one of the very few companies in the UK that still offers this traditional service. â&#x2013;

SEALER GUIDE

Sealer selection guide 2017 This yearâ&#x20AC;&#x2122;s guide has been put together following requests for information to the ASAA regarding sealing, cleaning and maintenance.

n 2017, the guide is focused on the application of three popular products in specific locations. Discovering Stone asked leading suppliers to nominate appropriate sealers. The guide covers basic information only because there will always be variables that have to be taken into consideration. While it cannot address every situation, the guide can provide a valuable reference point and insight into some of the products available in the marketplace. Over 50 companies in Australia are involved in producing or distributing sealers for natural stone. This guide primarily features products that have already been tried and tested. Understanding the limitations of sealers remains important. Sealers

are designed to improve the natural stain resistant properties of stone. However, it would not be possible to guarantee 100% protection against all stains in every environment. For example, an impregnating sealer will not prevent marble or limestone being etched by acidic solutions such as wine or soft drinks. These sealers are general designed to reduce the absorption of stains and cannot deliver complete protection to the exposed surface. Surface sealers such as acrylics and polyurethanes have a high level of surface protection because they form an impermeable barrier. The main disadvantage is that any moisture below the sealed layer cannot escape. This may result in the coating developing a peel.

Participating companies in the following pages can provide advice for different projects, and some also recommend approved applicators. Discovering Stone encourages readers to seek advice before starting the installation process.

Sealers are designed to improve the natural stain resistant properties of stone.

42 | DISCOVERING STONE #30 | www.discoveringstonemagazine.com.au

Polished [1] Honed [2] Exfoliated [3] Blasted [4] Bush-hammered [5] Sawn/split finish [6] Satin / antique [7]

Limestone

Marble

Stone Sealer Gold – green star [All] Defender CSD50 [All] Intense – enhanced look [All]

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Toilet facilities – public places

Residential living areas

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Bench and vanity tops

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Bath and shower rooms

Hotels, offices, public places

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Residential living areas

Stone Sealer Gold – green star [All] Defender CSD50 [All] Intense – enhanced look [All]

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Toilet facilities – public places

External paving/ramps/stairs

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Solv Sealer Gold [All] Solv Sealer Pro [All] Intense – enhanced look [All]

Bench and vanity tops

Food court/Fast food outlets

Solv Sealer Gold [All] Defender SV [All] Intense – enhanced look [All]

Swimming pool surrounds

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Solv Sealer Gold [All] Defender SV [All] Intense – enhanced look [All]

Toilet facilities – public places

Shopping centre – walkway

Solv Sealer Gold [All] Intense – enhanced look [All]

Food court/fast food outlets

Solv Sealer Gold [All] Stone Sealer Gold – green star [All] Intense – enhanced look [All]

Solv Sealer Gold [All] Defender SV [All] Intense – enhanced look [All]

Shopping centre – walkway

Hotels, offices, public places

Solv Sealer Gold [All] Defender SV [All] Intense – enhanced look [All]

Hotels, offices, public buildings

Polished [1] Honed [2] Exfoliated [3] Blasted [4] Bush-hammered [5] Sawn/split finish [6] Satin / antique [7]

External paving/ramps/stairs

Granite

Solv Sealer Gold [All] Defender SV [All] Intense – enhanced look [All]

PRIME LOCATIONS

Sealer’s Choice® Gold – Rapid Cure (natural look) [ALL] Enrich’N’Seal™ (enhanced look) [ALL] Seal & Finish Low Sheen (satin finish) [3-7]

Sealer’s Choice® Gold – Rapid Cure (natural look) [ALL] Enrich’N’Seal™ (enhanced look) [ALL] ProBlock (pre-sealer) [2-7]

Sealer’s Choice® Gold – Rapid Cure (natural look) [ALL] Enrich’N’Seal™ (enhanced look) [ALL] Seal & Finish Low Sheen (satin finish) [3-7]

Sealer’s Choice® Gold – Rapid Cure (natural look) [ALL] Enrich’N’Seal™ (enhanced look) [ALL] ProBlock (pre-sealer) [2-7]

Sealer’s Choice® Gold – Rapid Cure (natural look) [ALL] Enrich’N’Seal™ (enhanced look) [ALL] Ultra-Solv® (natural look) [ALL]