Spring 2015 • Vol. 6, No. 1
Materials • Technology • Trends
BRICK’S ENVIRONMENTAL FOOTPRINT p6
LA GRANGE TRAIN STATION p10
MASONRY FLASHING p16
WALTHAM WATCH FACTORY Restored for modern living p28
STONE 101 p40
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volume 6 | Number 1
Spring2015 |contents
f e at u r e s 6 Materials
Brick: An Old Way to a Better Tomorrow
Since early mankind moved out of caves and into communities, brick was a desired construction material. With readily available raw materials, a simple manufacturing process, and durable and sustainable results, brick’s continued prominence is easy to understand. By Chris Hines
10
Project Spotlight
Workhorse Rally
The Village of La Grange has a long-standing tradition of preserving its past, including its beloved Stone Avenue Train Station, which recently underwent a vital restoration. By Marc Rohde and Douglas Ogurek
16
Materials
Masonry Flashing
Flashings remain a critical component of any cavity wall system, diverting moisture outward as it collects in the cavity space to the exterior of the façade through the weep openings. A failure in this arrangement can ultimately lead to degradation of wall components. By Jeremy S. Douglas CSI, CCPR
40
Materials
Stone 101
What every member of a project team must know before, during, and after installation of natural stone. By Mike Buechel
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www.masonr ydesignmagazine.com LIONHEART PUBLISHING, INC. 506 Roswell Street, Suite 220, Marietta, GA 30060 Tel: 770.431.0867 Fax: 770.432.6969 E-mail: lpi@lionhrtpub.com www.masonrydesignmagazine.com Publisher John Llewellyn llewellyn@lionhrtpub.com Editor Cory Sekine-Pettite cory@lionhrtpub.com Managing Editor Jennifer Morrell jmorrell@lionhrtpub.com Art Director Alan Brubaker albrubaker@lionhrtpub.com Assistant Art Director Jim McDonald jim@lionhrtpub.com Online Projects Manager Patton McGinley patton@lionhrtpub.com Advertising Sales Director Marvin Diamond marvin@lionhrtpub.com Reprints Kelly Millwood kelly@lionhrtpub.com Subscriptions Amy Halvorsen amyh@lionhrtpub.com
On the cover: Bruner/Cott & Associates transformed Massachusetts’ Waltham Watch Factory into a modern mixed-use development.
The editorial mission of Masonry Design is to educate and inform architects, engineers and specifiers about the vital role that masonry plays in the construction markets in the United States and Canada, as well as to promote masonry and masonry systems in building design (commercial, residential, institutional and educational), interior design and hardscaping applications. With each issue, readers will become better informed of the design trends, latest materials and newest technologies that will aid them in creating better masonry projects.
Photo: Richard Mandelkorn
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Masonry Design (ISSN 1941-0975) is published quarterly by Lionheart Publishing, Inc.
Restoration
A Timely Renaissance
For nearly a century, throngs of area residents of Waltham, Mass., made their way to work in the iconic 1854 factory of the Waltham Watch Company along the Charles River. Today, the factory is enjoying a second life, thriving once again through a mixed-use renaissance that provides innovative living and working spaces in its restored and renovated buildings. By Henry Moss, AIA, LEED
co l u mns & d epa r t me n t s 4 From the Editor 50 Supplies 51 Index to Advertisers
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Subscription Rates – For a free subscription to Masonry Design and Masonry Design eNews, sign up at: www.masonrydesignmagazine.com Click on Subscribe
Copyright © 2015 by Lionheart Publishing, Inc. All rights reserved. The copyright owner, however, does consent to a single copy of an article being made for personal use. Otherwise, except under circumstances within “fair use” as defined by copyright law, no part of this publication may be reproduced, displayed or transmitted in any form or by any means, electronic or mechanical, including photocopying or by any information storage and retrieval system, without the prior written permission of the copyright owner, Lionheart Publishing, Inc. Send e-mail permission requests to cory@lionhrtpub.com.
Disclaimer – The statements and opinions in the articles of this publication are solely those of the individual authors and contributors and do not necessarily reflect the opinions of Lionheart Publishing, Inc. or the editorial staff of Masonry Design or any sponsoring organization. The appearance of advertisements in this magazine is not a warranty, endorsement, or approval of the products or services advertised.
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from the editor
What’s Going On?
Cory Sekine-Pettite, editor To make comments or suggestions, send e-mail to cory@lionhrtpub.com.
Nearly every time I start to contemplate potential topics for my editor’s letters, I go through the same struggles: tossing around topic ideas, conducting research, composing articles in my head, starting and stopping the writing process, and finally sitting down at my laptop just prior to our publication deadline to bang out a brief – but sincere – note to our readers. This time around, it occurred to me that I could – and should – use this page on occasion to find out what’s going on in your worlds instead of just sharing what’s happening in mine. It is easy to get wrapped up in my own thoughts and editorial plans, and sometimes forget that I have a valuable resource in the readership of Masonry Design. After all, the main purpose of this magazine is to educate and inform readers about the vital role that masonry plays in the U.S. construction market. We strive to bring you articles on design trends, and the latest in materials and technologies that will aid you in creating better masonry projects. Thus, it’s best if – from time to time – I look up from my computer screen and see what’s going on. So tell me, dear readers,
what news have you from your corner of space? What struggles – if any – are your firms experiencing? Is your business growing with the economy? If so, in what areas of practice? Moreover, do you have topic ideas that you would like to see explored in this magazine? For example, are there certain materials or technologies about which you’re curious? Do you have some thoughts on business topics we could cover? Would you like to contribute such a column? Similarly, are you an expert in building materials, hardscaping, design software, seismic design, et cetera who would like to share your knowledge with the A/E/C community? Don’t be shy. Send me an email, or give me a call. I’m open to any and all ideas, and I’m always enthused to hear from our readers. Besides, you’ll be giving me an excuse to stop working on my next editor’s letter. wMD
highlights coming in
Summer ‘15
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• BIM Update • Wall Systems • Moisture Control
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MATERIALS
BRICK:
AN OLD WAY TO A BETTER TOMORROW Images courtesy of Boral Brick. 6 |
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SINCE EARLY MANKIND MOVED OUT OF CAVES AND INTO COMMUNITIES, brick was a desired construction material. With readily available raw materials, a simple manufacturing process, and durable and sustainable results, brick’s continued prominence is easy to understand. As people have become more discerning “green” consumers, they have discovered that products touted for some environmental advantages often have hidden drawbacks that may outweigh the benefits. Because of that, it is important to examine a product’s lifecycle from a number of perspectives to understand the true environmental effects of its use. A number of independent organizations have emerged to gauge the environmental impacts of products. Among those is the McDonough Braungart Design Chemistry ’s Cradle to Cradle Certified™* certified program for products, which measures the recyclability of products by determining how the raw materials are perpetually circulated within a closed loop rather than ending up in a landfill. Nationally renowned w w w.masonr ydesignmaga zine.com
[ABOVE]
The country’s largest brick plant, a Boral facility in Terre Haute, Indiana, exemplifies the industry’s strive for sustainability.
By Chris Hines, technical leader, Boral Stone Products, LLC Spring 2015
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MATERIALS
[ABOVE]
Today’s brick are available in a multitude of colors and finishes.
programs also have established rating systems to account for the sustainability of materials used (such as ENERGY STAR and Certified Green Professional™). No matter the evaluation test or method, brick’s many positive attributes earn it high praise. Brick manufacturers have done their part to make a difference. Today’s brick plants take advantage of alternative energy sources, such as sawdust and agricultural waste products, and burning methane gas captured from landfills. Advancements in process technology also have
[RIGHT]
Brick is a top choice in building cladding.
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helped manufacturers produce more efficiently (320 percent better). Because brick can be made with recycled materials, waste is minimized. And, the materials needed for the manufacture of bricks (typically clay or shell) are abundant throughout the United States, reducing the need for extensive transportation (and the resulting fuel usage). The country’s largest brick plant, a Boral® facility in Terre Haute, Indiana, exemplifies the industry’s strive for sustainability. Certified Gold under the U.S. Green Building Council’s Leadership in Energy and Environmental Design (LEED) program, the Terre Haute plant uses recaptured methane gas as fuel for the plant. Advanced robotics and improved packaging reduce the plant’s waste footprint. As the commitment to sustainability continues to grow, brick remains a leading building material that can be trusted to deliver high performance, low maintenance, long life and a comparatively small footprint. From architects who incorporate brick into their designs for its energy-efficient qualities to builders who appreciate its durability and ease of construction to owners who enjoy it livability, brick is a top choice in building cladding. It’s a building material of the past, but its durability and sustainability makes it a one for the ages. wMD
[ABOVE]
Brick is a top choice in residential design and construction because it is durable and sustainable.
tt
AS THE COMMITMENT TO SUSTAINABILITY CONTINUES TO GROW, BRICK REMAINS A LEADING BUILDING MATERIAL.
*Cradle to Cradle CertifiedTM is a certification mark licensed by the Cradle to Cradle Products Innovation Institute. Chris Hines is a technical leader with Boral Stone Products, LLC.
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PROJECT SPOTLIGHT
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WORKHORSE
RALLY
Historic restoration revives beloved La Grange Stone Avenue Train Station By Marc Rohde and Douglas Ogurek Images courtesy of Legat Architects.
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PROJECT SPOTLIGHT TOM LIVINGSTON, PRESIDENT OF THE VILLAGE OF LA GRANGE, ILL., REFLECTS WITH FONDNESS ON THE STONE AVENUE TRAIN STATION. “My father took the train out of this station for forty years. It’s a real workhorse,” he said. However, time had taken a toll on the century-old station: rusted gutters, rotting wood, peeling paint, a deteriorated roof. The workhorse needed mending. In 2005, the village launched a restoration effort that would truly “take a village” to pull off. It would require the input of a wide range of resources, ranging from village officials to legislators, railroad representatives, and community organizations. On a warm October morning last fall, Livingston and the La Grange community celebrated the project’s completion. The 900-square-foot station, with its locally quarried limestone and bold arches, now gleams with as much charisma as it did when it was built in 1901.
[BELOW]
Masonry arches and built-in seating add to the train station’s allure.
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Worthy of a railroad suburb La Grange has long been a railroad community. Railroad service began as early as 1864 and by 1869, commuter rail service connected the village to nearby Chicago. In 1870, Franklin D. Cossitt purchased 600 acres of land adjacent to the railroad. Nine years later, the Village of La Grange was incorporated. The Stone Avenue Train Station exemplifies both the Classical and Richardsonian Romanesque styles. Heavy, rusticated stone arches, gabled roofs, and wood dentil detailing define the station. The limestone of the outer gallery walls likely was sourced from a local quarry. The La Grange Area Historical Society designated the station a local landmark in 1971.
Materials • Technolog y • Trends
Over the years, the station endured several renovations, which replaced many of the original features with less-than-historic versions. When the latest restoration project was undertaken, the design team had to contend with recreating the turn-of-the-century feel within limited budget parameters, while also respecting ongoing maintenance requirements. Marc Rohde, director of municipal architecture at Legat Architects said, “Generic globe lighting on the outside and fluorescent ceiling lights on the inside detracted from the authenticity of the architecture.” Rohde has mourned many train stations damaged by decades of commuter traffic and harsh Chicago winters. “The Stone Avenue Station is a historic landmark that had taken a real hit. When I first inspected it, I saw beat-up asphalt shingles on the roof, gaps in the limestone, and beadboard that was gray and peeling.” The village secured funding for the anticipated $1,085,000 project through two primary grant sources: Congressman Dan Lipinski ($700,000 grant) and the West Suburban Mass Transit District ($385,000 grant). The project was competitively bid and awarded to Boller Construction of Waukegan in 2013. Rep. Lipinski (D-IL 3rd District) had seen old stations demolished, then replaced by new stations that looked similar to the old ones. He said, “The Stone Avenue station is a cherished part of the La Grange community and I didn’t want it to meet a similar fate.”
[ABOVE]
Early 20th century image of the train station.
The village and Legat Architects enlisted the assistance of the La Grange Area Historical Society.
The way it should be To help research and reignite the station’s historic charm, the village and Legat Architects enlisted the assistance of the La Grange Area Historical Society. “The society uncovered the station’s original 1901 plans, which were used to help guide the renovation design,” said Assistant Village Manager Andrianna Peterson. “The team also studied the society’s collection of early postcards and photographs of the station’s historic features.” w w w.masonr ydesignmaga zine.com
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PROJECT SPOTLIGHT The unearthed documentation influenced material and fixture selection, including the identification of period-correct light fixtures outside and new chandeliers inside. Additionally, the team replaced plain aluminum doors with aluminum-framed oak doors and repainted with historically accurate colors. “The project focused on preserving the look and feel of many of the station’s beautiful historic features,” said Rohde. “For instance, the restoration fixed the rotting dentil molding along the roofline and replaced the old beadboard on the outdoor ceilings with stained oak beadboard.” Designers also had to be respectful of the village’s budget and maintenance constraints. There was a careful balance between choosing affordable, contemporary materials and creating authenticity. For instance, 100-percent recyclable and durable polymeric slate roof tiles replace the damaged asphalt shingles. The new tiles are a cost-effective alternative to traditional slate and require much less maintenance. The tiles also are aesthetically appealing. “When you look at the roof,” said Rohde, “you see subtle color changes based on your perspective and the position of the sun.” The project scope also addressed historic platform signage. Legat used the 1901 station plans to recreate the design of the original carved wood and metal platform sign. Additional repairs included landscape improvements (design courtesy of the La Grange Garden Club and Hitchcock Design Group) to make the station more inviting with beautiful, yet accessible outdoor spaces.
La Grange residents continue to embrace the iconic Stone Avenue Train Station; it serves nearly 1,000 commuters each day.
[BELOW]
Among the improvements to the station are tuck-pointed limestone and restored dentil molding, as well as new gutters and stained oak beadboard.
A community constant The Village of La Grange has a long-standing tradition of preserving its past. Turn-of-thecentury homes in many styles enrich its large historic district. The thriving downtown includes a tapestry of buildings dating from the late 1800s. In the last century, the village has transformed from a quaint shopping town to what Livingston calls “a transit-oriented, vibrant downtown.” Indeed, the village has been fortunate to receive several recent accolades, including one of the “Best Places to Live” and “Best Downtown” by Chicago magazine and “Top Transit Suburb” by the De Paul Chaddick Institute. La Grange residents continue to embrace the iconic Stone Avenue Train Station; it serves nearly 1,000 commuters each day. “Everyone keeps saying how beautiful it is,” said Andrea Barnish, resident and chairman of the Design Review Commission, which was consulted on the station’s upgrade. “It’s nice to see it was restored and not replaced.” Curtis Linder, resident and treasurer of the West Suburban Mass Transit District said, “It’s a dramatic improvement to an architectural gem.” The workhorse is back on track. wMD Marc Rohde, AIA LEED AP, is director of municipal architecture at Legat Architects. Douglas Ogurek, LEED AP BD+C, is communications manager at Legat Architects.
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MATERIALS
MASONRY FLASHING How to select the proper materials to ensure continued performance through the life expectancy of a wall By Jeremy S. Douglas CSI, CCPR
FLASHINGS REMAIN A CRITICAL COMPONENT OF ANY CAVITY WALL SYSTEM, DIVERTING MOISTURE OUTWARD AS IT COLLECTS IN THE CAVITY SPACE TO THE EXTERIOR OF THE FAÇADE THROUGH THE WEEP OPENINGS. A failure in this arrangement can ultimately lead to degradation of wall components, including mortar, lintels, non-stainless anchors, and fasteners, as well as a reduction of R-Value in certain types of insulation. In a steel stud wall system, flashings help prevent excessive moisture from reaching beyond the sheathing, causing mold growth and deterioration of the batt insulation and interior wall board. Since infiltration of moisture poses the greatest risk to the long-term integrity of a masonry wall, careful consideration must be given when selecting flashing materials to ensure continued performance through the life expectancy of the wall itself. Codes regarding masonry flashings are somewhat ambiguous; though it would be unreasonable to expect every condition we encounter to be addressed by a code council. To examine any masonry wall code, our first resource is usually TMS 402-13/ACI 530-13. In this code, flashing is referenced in a general manner: 6.1.5 General design requirements • 6.1.5.1 Design and detail the backing system of exterior veneer to resist water penetration. Exterior sheathing shall be covered with a water-resistant membrane, unless the sheathing is water-resistant and the joints are sealed. 16 |
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MATERIALS
[ABOVE]
Materials must be compatible. Shown here is an asphalt-coated flashing with a solvent-based mastic against a polymeric air barrier, which is not good.
• 6.1.5.2 Design and detail flashing and weep holes in exterior veneer wall systems to resist water penetration into the building interior. Weep holes shall be at least 3/16 in. (4.8 mm) in diameter and spaced less than 33 in. (838 mm) on center. This provides the very minimum direction for the use of flashing and weeps as part of the overall building envelope, suggesting that if the sheathing is not water-resistant, the backup wall must be kept free of moisture. The flashings and weep holes assist in this assignment, though minimum weep size at maximum spacing allowed by this code section would be considered inadequate for drainage or ventilation needs of the wall cavity by most of the masonry industry. The 2012 version of the International Building Code also addresses flashing materials, in a slightly more specific manner, though meant to be applicable for many construction types other than masonry: 1403.2 Weather protection Exterior walls shall provide the building with a weather-resistant exterior wall envelope. The exterior wall envelope shall include flashing, as described in Section 1405.4. The exterior wall envelope shall be designed and constructed in such a manner as to prevent the accumulation of water within the wall assembly by providing a water-resistive barrier behind the exterior veneer, as described in Section 1404.2, and a means for draining water that enters the assembly to the exterior. 1405.4 Flashing. Flashing shall be installed in such a manner so as to prevent moisture from entering the wall or to redirect it to the exterior. Flashing shall be installed at the perimeters of exterior door and window assemblies, penetrations and terminations of exterior wall assemblies, exterior wall intersections with roofs, chimneys, porches, decks, balconies and similar projections, and at built-in gutters and similar locations where moisture could enter the wall. Flashing with projecting flanges shall be installed on both sides and the ends of copings, under sills and continuously above projecting trim.
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MATERIALS
[ABOVE]
Sealing lap joints is of high importance.
While this code is still very broad, it does give us more of a directive. It provides some specific locations for flashing materials. It calls out for end dams. It also makes drainage a more imperative factor. Take the last part of 1403.2 for example: “ and a means for draining water that enters the assembly to the exterior.” This now requires a drainage plane and flashing system in exterior walls where it may not have been typical before. For instance, with lightweight manufactured or thin stone materials, it has been perfectly acceptable to apply metal lath to the exterior sheathing with nothing between them but a single layer of a common building wrap and to then adhere the stone directly. By this requirement of the IBC, if there is a possibility of moisture getting behind the veneer, we must provide for drainage, whether that is a double layer of building wrap or a full wall installed drainage plane. What these codes do collectively tell us about flashing and drainage is that: a. Flashings are present at the intersection of masonry and chimneys, walls, roof intersections, porches, decks, balconies, etc. b. Flashings are present at sills, above doors, windows, and other openings c. Flashing must be properly lapped and sealed so it is completely waterproof d. The flashing at a minimum must be made flush with the exterior of the veneer e. Flashings will be present at the base of the wall, and over lintels and relieving angles f. End dams are present where the flashing will no longer be continuous within the cavity Another crucial component to the flashing system is the air or cavity space. This is addressed in another section in the Veneer chapter of the TMS 402-13
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Penetrating a flashing is not ideal,but sometimes you have to – like here at a relieving angle bolt. Assure any penetrations are completely sealed and that they only occur on vertical legs. code that requires we maintain a minimum of a 1-inch air space. This void serves many purposes, including ventilation and drainage, which ultimately minimizes efflorescence. Many would argue, however, that a 1-inch air space is insufficient in a masonry wall, due to construction tolerances. Tolerances of plus or minus 1/4 inch are allowed for both the backup and veneer walls across 10 feet. Consider then, what a 1-inch air space becomes when the backup wall moves outward 1/4 inch and the veneer wall moves inward 1/4 inch. Fifty percent of the air space is lost, and mortar bridging from the veneer to the backup becomes a certainty. Most industry professionals recommend an air space of 2 inches, or at the very least 1 1/2 inches. This provides the mason with more room to work and less constriction of the cavity wall when moving in and out of allowable tolerances. Provided adequate weeps are installed at shorter intervals, a larger cavity also helps to equalize pressure levels to that of the exterior, keeping air pressure in the wall cavity lower. What the codes referenced above do not in any way address are items such as material durability, recommended installation methods of flashing materials, or the use of drip edges a the veneer face. For these general requirements or good practice topics, we look to technical papers written by an advising entity
Most industry professionals recommend an air space of 2 inches, or at the very least 1 1/2 inches.
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MATERIALS
Shown is a cell vent,fully opening head joint. such as the Brick Industry Association or the International Masonry Institute, or of course to the various manufacturers – provided their track record is long in keeping with good masonry practices. The matter of selecting a flashing material for a masonry wall today should be given ample consideration. The Brick Industry of America’s Technical note 7 suggests that we are to “Select flashing that is waterproof, durable, UV-resistant and compatible with adjacent materials” and that “It is suggested that only superior quality materials be selected, since replacement in the event of failure may be expensive.” While both of these statements are completely true, the one consideration that needs to be given above all else today is compatibility of material adjacencies. We can no longer simply look to the performance expectation of the flashing material, but have to consider everything it touches, and respectively everything that touches it. As an example, most air or air/vapor barriers today are polymeric in their composition. This typically requires the use of compatible sealants like silicones or urethanes. If we were to simply recommend the use of the same copper composite flashings we have used consistently over the last several decades, those sealants would not be able to adhere to the flashing material. Conversely, the mastics used for lapping and sealing those asphalt-based flashings typically are petroleum-based and contain solvents, which likely will cause damage to the polymeric barrier material. The same consideration should be given to the self-adhering flashings that require solvent-based primers before installation. These concerns have brought about some changes to flashing materials over the last decade or so. In many cases, asphalt coated copper composite flashings
The matter of selecting a flashing material for a masonry wall today should be given ample consideration.
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MATERIALS
Shown is the beginning of vanadium staining due to a lack of ventilation in the wall. There were no vents at the wall top,and cotton ropes were used instead of open weeps at the bottom. have shed their asphaltic layers for a polypropylene film, which replaces the standard fiberglass scrims in helping to strengthen and support the copper foil. Polypropylene also allows for better adhesion to many types of sealants, and can be coated with special additives to allow for a stronger adhesive bond, or also for UV stabilization. In shedding the asphaltic component, this also eliminated a significant amount of weight from the flashing rolls, which meant they could be manufactured in longer lengths. Longer, lighter flashing rolls ultimately mean longer continuity of flashing runs without lap joints. Of course, fewer lap joints in the end mean fewer opportunities for flashing failures. The same manufacturing process has been applied to a lightweight, flexible stainless steel foil. The advantages of using stainless steel in a masonry wall are numerous. First, stainless steel is common to drip edge plates, termination bars, and fasteners that already are being used in the same proximity as the flashing material, so we eliminate the possibility of galvanic corrosion in the wall. Also, stainless steel is much more cost-stable than copper. Consider this: when a mason contractor calls for a cost on a large amount of copper flashing to bid a job, then four to six months later is actually awarded the subcontract, the price of a standard copper flashing can rise as much as 40 percent. Stainless steel in foil form hasn’t moved much more than 5 percent in the last few years. But more importantly, for a cost equal to or less than that of a copper composite flashing, a comparable flexible stainless steel flashing’s puncture resistance is 20-percent greater and its tensile strength is doubled. Changes also have occurred in the way self-adhering flashings are manufactured. Until recently, most of these “peel and stick” membranes have been comprised of between 4mils and 8mils of extruded polyethylene and between 32mils and 36mils of a rubberized asphalt adhesive. This technology has been left relatively unchanged over the better part of the last 30 years, but it has not been without its setbacks. First, an extruded polyethylene film can best be envisioned as the same material we see in a common kitchen sandwich bag or the 24 |
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When soliciting information from the flashing manufacturer, be sure to compare testing data. bags we take home from the grocery store. The problem is that polyethylene film by itself does not provide a surface that is easy to adhere to, or to allow for the adhesion of other materials. Additionally, polyethylene films do not allow for easy lamination to the rubberized asphalt component. When placed in an environment where we have extreme fluctuations of temperature and humidity, the course to delamination of these two components is easily set. Newer self-adhering flashings typically use much heavier membranes, up to a full 40mils in thickness, and they may use string-supported or woven films that add tremendous strength to the membrane. New manufacturing capabilities also make use of adhesives that have higher melt temperatures than rubberized asphalt, which prevents any adhesive leaching from the masonry joints when the wall is susceptible to heating beyond the rubberized asphalt’s melt temperature. These newer adhesives also retain better viscosity and elasticity than their asphaltic counterparts, which tend to harden, shrink, and crack, in the very same manner asphalt performs on a roadway. With the introduction of air/vapor barrier systems, there also has been a significant change in the way flashings are installed on a CMU backup wall. The term thru-wall flashing indicated the flashing material was laid into the mortar of the bed joint on top of the second course of block backup. This type of installation is no longer practical, as flashing installed prior to the air/vapor barrier materials likely will interfere with the continuity of the later applied barrier system. Instead, all flashings should be installed at the same time the brick is laid by attaching them to the backup wall with a termination bar. This also allows for the flashing to be left off the wall for extended periods before the brick installation where it is susceptible to weather and other damages common to the construction practice. Because there are so many products available to the design community today, and because the adjacent materials in the masonry wall are in a perpetual state of evolution, it is more important than ever to thoroughly vet our material selection and wall details, taking particular care in detailing the interfaces of adjoining systems or products. When soliciting information from the flashing manufacturer, be sure to compare testing data on critical elements like puncture resistance and tensile strength of materials. Most importantly, be sure to compare the period of warranty offered by the flashing manufacturer to the life expectancy of your wall, and you should have a pretty clear indication as to whether or not the material you’re considering is appropriate to use. wMD Jeremy S. Douglas CSI, CCPR is director of architectural sales at Hohmann & Barnard, Inc.
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A TIMELY
RENAISSANCE
Bruner/Cott & Associates Transforms Massachusetts’ Waltham Watch Factory for Modern Mixed-Use
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FOR NEARLY A CENTURY, THRONGS OF AREA RESIDENTS OF WALTHAM, MASS., MADE THEIR WAY TO WORK IN THE ICONIC 1854 FACTORY OF THE WALTHAM WATCH COMPANY ALONG THE CHARLES RIVER. The first enterprise to produce watches on an assembly line, the company operated in its expansive, 405,000-square-foot facility until 1949, after which a few light industrial and office tenants occupied the buildings. Today, the factory is enjoying a second life, thriving once again through a mixeduse renaissance by Bruner/Cott and Associates (Cambridge, Mass.) that provides innovative living and working spaces in its restored and renovated buildings.
By Henry Moss, AIA, LEED All photos courtesy of Richard Mandelkorn (unless otherwise noted)
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Waltham Tower - Before
Waltham Tower - After
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Long-time experts in the restoration, renovation, and adaptive reuse of historically significant buildings and industrial locales, Bruner/Cott recently completed its three-phase, five-year renewal of the seminal factory site. The resulting Watch Factory complex, as it is now known, integrates modern loft apartments and offices with views of landscaped courtyards and the serene river, a small museum showcasing the site’s industrial history, docks at each end of a riverfront park passage, and a public boat-launch to the city’s historic center. Phase I of the project, completed in 2009, covered approximately 1/3 of the complex’s square footage and includes offices, commercial space, and the museum. Phases II and III, completed in 2010 and 2014 respectively – and almost entirely residential – encompassed the remaining space. Phase II added 96 units at moderate rents and spaces for a restaurant and café. Phase III added 67 more units and a parking deck embedded in the sloping site. Realized within the guidelines of the Secretary of the Interior’s Standards for Rehabilitating Historic Buildings and approved by the National Park Service, the project marks the firm’s fourteenth conversion of a large industrial complex for changes of use that revitalize their civic roles. Architectural significance The Watch Factory complex possesses integrity of setting, design, materials, workmanship, community appreciation, and historic associations. It is significant not only because of its scale and prominent urban setting, but also because of the quality of the architectural masonry in its main elevations, its spatial integrity as an ensemble of courtyards enclosed by semi-transparent mill buildings, and its bold roofline treatments. The factory presents a proud frontage for roughly one-quarter mile along Crescent Street, a main Waltham thoroughfare that
Photo courtesy of Bruner/Cott
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Photo courtesy of Bruner/Cott
Photo courtesy of Bruner/Cott
parallels the river. Comprising a series of five-story brick entrance blocks and elaborate towers that mark the ends of long factory floors, this elevation – built of orange-red brick masonry with narrow mortar joints articulated by brownstone-capped piers – is remarkably consistent architecturally, despite its erratic and idiosyncratic development. The entrance blocks with elaborate roofs (originally taller and even more ornate) are close to the continuous sidewalk, while 200-foot-long factory facades are set back and separated from the street by sloping planes of lawn. Behind the frontage, the facades were constructed less expensively, with rough brick masonry more typical of late 19th century textile mills. The complex’s street facade conceals a semi-private world of landscaped interior courtyards that open onto an extension of the Riverwalk, a public pedestrian system along the Charles being developed by Berkeley Investments, developer of the Watch Factory project,
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in collaboration with the Department of Conservation and Recreation. The rear facades of the factory, which create a powerful architectural experience along the waterfront, were built as unpretentious industrial brickwork with six, tall vertical masses dedicated to elevators and other services standing next to the river. The dust-free environment necessary for watchmaking within the buildings led to an ad-hoc approach to their construction that departed from that of the region’s great textile mills and warehouses. Most floors at the Watch Factory are supported by joists and boarded ceilings. Later, upper floors added to existing walls and foundations are sometimes suspended with wrought iron rods from overhead trusses. The earlier buildings next to the river have wood columns, while the later buildings have cast iron versions. Preservation achievements Berkeley Investments’ goal for the site’s rehabilitation was to maintain the historic significance and appearance of the complex as much as possible, subject to the review process of the Department of the Interior’s Investment Tax Credit program for Historic Preservation. The design and construction of the project was vast and its execution complicated, in part because the factory’s spaces first evolved through a variety of structural approaches. Preservation aspects of Phase I of the project focused on retaining two buildings along the river and another inside a courtyard that a previous w w w.masonr ydesignmaga zine.com
The main lobby is located in the contiguous factory building and is accessible only to residents and their guests.
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DESIGN TRENDS / RESTORATION developer had proposed to demolish (with preliminary approval by the National Park Service). Interior spaces were largely left unchanged except for removal of hazardous lead paint on windows and brick walls, and the removal of redundant stairs as well as lead-painted ceilings to reveal the structural timber overhead. Phase II incorporated the original management offices of the complex, and treated windows and many areas of stained and varnished interior millwork as special restoration projects. Phase III carried on the approach to retention with restoration and the display of steel stairs and structural elements established in Phase II. Character-defining elements of all exteriors were treated carefully with interwoven campaigns of repair, restoration, and reconstruction. Meticulous consideration of individual areas of masonry, slate roofing, wood windows, and landscape features minimized replacement and further minimized demolition. Slate roofs were repaired and recovered with matching slates. The most severely soiled areas of brickwork were cleaned and extensively repointed. Brick matches were difficult to achieve, but most were managed with salvaged materials from blocked openings. The main entrance to the building was placed at the original headquarters of the Waltham Watch Factory, a building at the leading edge
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of the complex with more domestic scale than its factory-floor neighbors. The entrance preserves original historic architectural features as it passes through the former headquarters. The main lobby is located in the contiguous factory building and is accessible only to residents and their guests. The interior treatment changes dramatically at this entry point with long passages of vibrant color juxtaposed within corridors and views directed outward toward the trees and courtyards. In the mid-20th century, the impressive 19th century aesthetic of the complex was compromised when the three main Crescent Street entrance blocks were disfigured by the addition of concrete access walkways along both sides, and crude openings were formed to accommodate doors and vestibules. Bruner/Cott removed nearly all of these alterations and also reinstated the brickwork that was demolished when they were built. The original entrance openings were reconstructed, and changes in level were managed to allow for accessible doorways to large main lobbies. These new entrances correspond to those displayed in
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DESIGN TRENDS / RESTORATION the factory museum’s mural-sized photographs, which show hundreds of employees coming and going at the change-of-shifts. Connections like these strengthen historical associations with the factory for today’s visitors. Though these individual workers may be long gone, their spirit of industry, innovation, and camaraderie continues to thrive at the renewed complex. The project also is exemplary for its retention of existing windows, original frames, and the management of heat loss with storm windows. The window sashes in the Phase I buildings were replaced with wood replicas in 1980 by a previous owner, but the frames remained intact. Thermal calculations and pressure-testing for water exclusion helped build confidence that the existing windows with re-conditioned storm windows could approximate the performance of thermally broken aluminum replacements with insulated glazing units. Window treatments in the residential Phase II and III areas differed slightly – because of possible lead poisoning, they were replaced with matching sub-divisions and profiles. Maximizing space, aesthetics, and value for commercial and residential offerings was critical throughout the project, and the working floors of the main mill buildings presented a unique challenge in this regard. Their enormous windows, designed to flood the interior with natural light to facilitate the watchmakers’ work, were a bonus, occupying a much higher percentage of the buildings’ elevations than the tall, 12/12 sashes of typical textile mills. However, the floor plates of the spaces were quite narrow – just 25 feet outside-to-outside. Their tight width demanded
Photos courtesy of Waltham Historical Society
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creative design solutions that would make the project’s rental apartments function for modern tenants while at the same time developing efficiencies for the whole. Crafting the solution within the project’s proforma was akin to a puzzle that produced distinctive results when completed. The resulting units, largely duplex, are appealingly singular and enjoy exposed brick window walls and light and views from two or more directions. Skip-stop elevators and a window-lined, single-loaded corridor provide ease of circulation in the residential buildings. Fully rented, there is now a waiting list of potential occupants for the apartment units. To fully realize its laudable rehabilitation goal, Berkeley Investments also financed substantial repair programs to other major features of the factory site that most building owners would avoid. A surviving, centrally located smokestack that dominates the skyline was saved when the company employed specialist steeplejacks to stabilize and repoint large areas of its brickwork, install lightning protection, and emphasize it with architectural lighting. Several blocked freight passages were opened by the design team to allow for public views through the complex into its
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The project also is exemplary for its retention of existing windows, original frames, and the management of heat loss with storm windows.
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DESIGN TRENDS / RESTORATION internal courtyards. And the extent of building glazing coupled with its narrow floor plates also helps create an extraordinary transparency that sometimes allows views through more than one set of structures, linking Crescent Street to the interior courtyards. Landscape and sustainability Landscape architecture was a critical element in the Berkeley Investments’ master plan for the project, as well. Sustainability is largely addressed through its substantial commitment to stormwater management, critical due to the factory’s waterfront location and dense development. Berkeley and the Bruner/Cott design team worked closely with hydrologists from the Charles River Watershed Association and with environmental engineers from Haley & Aldrich on these systems. The solutions developed for this project provide important models for other historic industrial river frontages. Richard Burck Associates, the project’s landscape architect, garnered the 2014 USGBC Massachusetts Green Innovation Award for its work.
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Phase I is notable for the surprise and pleasure of its dramatic hidden courtyards, large outdoor rooms that integrate rain gardens with areas of outdoor seating while cleansing airborne pollutants from stormwater. Extensive “horizontal-flow” rain gardens in the courtyards collect, cleanse, and naturally cool stormwater runoff before its release into the river. These sustainability features are indistinguishable from their other function as visually ordered planting beds. This approach extends to Phase II, where the courtyards are less corporate in feeling. The Phase II apartments surround a vast internal courtyard with elm trees flanking walkways from two gated entry portals to building entrances. Flowering trees weave through a paved gathering space. Portal locations favor residents who use the Riverwalk to make their way to the commuter rail station and to the cinema and restaurants along nearby Moody Street. The project team saved a 150-year old Red Oak tree, a mature Maple, and a Chestnut in an open courtyard that adjoins the restaurant and a café space. The second, fully enclosed courtyard contains a sleek storage shed for residents’ kayaks and bicycles as part of its architectural and landscape solution. Intrusive shrubs and unhealthy trees in the sloping lawns along Crescent Street were removed to restore their spatial clarity, and new blight-resistant elms were located to emphasize the entrance blocks. Paving and plant choices create a balance between the industrial interior of the site and its more civic and institutional street frontage. The watch factory today The Waltham Watch site now offers a meaningful and tangible connection to the city’s unique history. Despite a legacy of improvisational building and questionable subsequent interventions, Bruner/ Cott’s redevelopment work has successfully created a useable historic site with many community benefits. More than 160 apartments were added to the city’s housing stock – all in adapted historic industrial space. Offices in the central group of linked buildings house more than 20 private employers, significantly contributing to the local economy. Perhaps most importantly, the Watch Factory complex now can be experienced by the public within the context of the urban landscape. A supportive developer, consultants and engineers, sustainability and landscape experts, along with Bruner/Cott’s coordinated design efforts with local and national placemaking organizations, have paid off abundantly in the form of a cohesive urban vision. The richness of the Waltham Watch Company’s past and the material and spatial assets it left behind now unfold through new ways to live and work within its venerable walls. wMD
The Waltham Watch site now offers a meaningful and tangible connection to the city’s unique history.
Henry Moss, AIA, LEED, is a principal with Bruner/Cott & Associates in Cambridge, Mass.
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MATERIALS / STONE
STONE 101 What every member of a project team must know before, during, and after installation of natural stone. By Mike Buechel All photos courtesy of Buechel Stone. STONE. THE TERM DOESN’T HAVE THE SAME MEANING IT DID 50 YEARS AGO. There was a time when someone would say “I’d like to put stone on my project” and everyone had a pretty good idea what they were considering. That was then. The legitimacy of the word has completely turned upside down. Now, “stone” can mean just about anything with tag lines and terminology that completely blurs the lines of natural and manufactured. The list of “stone” products today is so long, installation options so varied, and specifying requirement often so complex that stone used in masonry could have its very own Wiki-style encyclopedia to try and explain it; and everyone still would not be able to agree on what terms and definitions would actually be acceptable. Daunting as it might be, I’m going to try and help with some of the mystery and fuzzy terms used in the stone masonry world and give you insight into how simple natural stone is. I’ll discuss how important it is for everyone to be on the same page when projects incorporate masonry, specifically stone; review things all parties should discuss when specifying, selecting, and installing stone, understanding the differences in stone; give a few basic hints to be more productive; and wrap it up with some examples of epic fails. When is a stone not a stone? Let’s start with the most basic principle when it comes to stone. It’s sort of like a quote from the movie What About Bob. “There are two types of people in this world: Those who like Neil Diamond, and those who don’t. My ex-wife loves him.” Stone’s got the same kind of black-and-white comparison. “There 40 |
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[LEFT]
Sitewall mock-up
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[BELOW - INSET]
An incorrect installation where the original mason contractor was fired. [BELOW]
Finished project that was fixed after first mason was fired.
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are two types of stone in this world: those made in a factory and those made by Mother Nature. Factory-made stones want to be natural stone.” Most people may not realize there’s such a thing as manufactured stone. I’m not going to go through the plethora of options in the stone industry, but I want to begin with this ultra-basic example – cast stone trying to emulate natural cut stone, and manufactured stones trying to duplicate natural building stones. Through this article, I’m going to focus on natural stone used in masonry. It’s what I know best, and it’s one area often not as well understood by specifiers, masons, and contractors. Basic stone terminology Building stone probably has the greatest range of meaning around the country. If you’ve been part of any building project in the last 75 years, few if any of those projects likely used stone in its true building stone application where the stone is the structural framework of the building. Today, stone for the most part is a façade. The structural importance of stone just isn’t a factor anymore (although a lot of attention is paid to the durability of stone). Building stone, for Buechel Stone at least, is considered natural stone used to clad a project. Building stone encompasses full veneer and thin veneer as these types of stone are used “on buildings.” Full veneer is natural stone nominally three to five inches in bed depth, with some options as much as eight inches in bed depth depending on the type of stone and installation you’re considering. Thin veneer is
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a natural stone nominally 3/4 of an inch to 1 1/4 inch in bed depth and needs to be less than 15 pounds a square foot. Although they are both natural stone, there is quite a difference in installation procedures. Full veneer needs a stone ledge incorporated with the foundation wall for the stone to rest on. The stone also is anchored to the wall with some fashion of wall ties or similarly specified anchoring system. Thin Veneer falls under the category of “adhered masonry,” meaning it’s stuck directly to the wall and can hang without a support ledge. Here too there are quite a few installation options. So that’s the basics of natural stone used as a building façade. Nothing too hard for most of you to grasp as this audience obviously is familiar with the basics of masonry. So I will to spend more time on what happens before the installation, during, and after installation as all too often steps are missed or assumed, which can result in a project that doesn’t end in success or meet expectations. Setting expectations Being a really good natural stone mason can result in a bit of an anomaly. It forms a marriage of two opposing views – time is money, and you can’t rush art. There are true stone masons able to work both sides of this marriage, and when you watch them work it truly is awe inspiring. It’s almost like they can “feel” where the stone fits, and can trim the stones with an accuracy and consistency that just can’t be taught. This is where setting expectations at the very beginning of a project is critical. Not every mason will be the right fit for the job. It’s amazing how many projects I’ve stopped by where there isn’t even a chisel on the project. You know those are the ones where speed of installation is the most important factor. That’s okay though. That’s the point of setting expectations, and expectations come from direct communication, not just something put into a spec. All too often communication seems to be an afterthought or things are assumed to be covered. I find it interesting that the masonry contract typically is awarded based on price, whether it’s the mason or the supplier. There might be something in the spec like “must have five years similar experience,” or something along those lines. How often are these types of requirements truly followed or considered? That’s not really my point. Once the mason is selected, they often have to do a mock-up for the project. This is an area where expectations often are not communicated well. First, who is to say the mock-up done by the selected mason is the best for the project? All too often suppliers are expected to submit materials for approval and can be competing against several different companies to get the right “look.” Even the best, most pristine stone supplied can look like complete rubbish if the mason is not familiar with the final install looks and requirements. Besides the right look, what pieces of stone are used, or more importantly not being used? Here again, there have been instances where pieces are omitted from a blend. The architect or final decision maker comes by and gives the panel a yay or nay. The project can be won or lost based on that panel. Now the project is awarded, stone is sent to the project, the mason starts laying up the stone, and all of the sudden people start wondering why the project doesn’t look right. Yet the supplier was just told his or her stone was approved w w w.masonr ydesignmaga zine.com
[ABOVE]
Sill not meetnig up to the stone.
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ONCE THE MASON IS SELECTED, THEY OFTEN HAVE TO DO A MOCK-UP FOR THE PROJECT. THIS IS AN AREA WHERE EXPECTATIONS OFTEN ARE NOT COMMUNICATED.
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MATERIALS / STONE without anyone pointing out the layup isn’t really the correct blend of the material shipped. In the meantime, the general contractor took the mockup down and no one took any pictures… again, communication to set expectations. A few pre-project meetings and photos can save a lot of headaches and problems before the first stone is installed. The mason is such a key factor in a project. So many reputations rest on his or her shoulders. These professionals obviously have their own reputation, but they also carry the burden for the reputation of the stone supplier, the general contractor, the architect, and the project owner. This could be said for many of the tradesmen associated with the project, but there are few areas of the project as obviously visual to the rest of the world as the masonry.
[ABOVE]
On this project, contractors did not look at the colors of the stone to make sure they matched up correctly.
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Who’s in charge? It is important to understand who has the true final say in the project. If you’re getting the okay from the general contractor, but the architect is heavily influencing the end result, you have to make sure they’re part of the discussion process. Before starting, have an agreement with the proper channels on how you are going to keep in touch during the project. For quick questions, should you text? How about sending photos at specified times? Having this discussion right at the beginning will make everyone know who is responsible for each area. It’s important everyone knows his or her personal responsibilities before the job starts. Even the best blueprints often have inconsistencies. It’s amazing how often an estimator will comb through a set of plans and find conflicting information, from walls showing up on one page and magically disappearing on a references cross section; to one page showing the option in stone and the next showing it in brick. So a simple thing, like is it full veneer or thin veneer might not be spelled out. Some projects have both full veneer and thin veneer, making the quoting process even more detailed. Make sure you know what’s going where. Specs often are cut and pasted into the spec book. This is a great thing to help speed up the process for the architectural specifiers, but it is important to make sure they give you the details needed to quote the exact same thing as everyone else. Flashback: I still remember years ago we had a customer in the showroom for a rather large residential project. The general contractor and mason contractor already were selected, and both were reputable businesses. When the customer selected the actual materials, they selected a lower- to mid-priced stone (full veneer). What they selected next though resulted in a battle that ended poorly. The homeowner picked a mortar containing a white-based Portland cement and a cut stone that was not the product used for the original quote. Both of these options were considerably more expensive than what was budgeted, but neither the mason nor the general contractor relayed that to the homeowner because that’s what they selected. In the end, the mortar and cutstone details ended up being double what was in the allowance, and on a Materials • Technolog y • Trends
big home, those numbers add up quickly. The customer was not aware there was an allowance on the masonry for the materials as it was a lump sum quote. The mason thought the general contractor talked with the home owner about the cost, while the general contractor assumed the mason told the owner, and the consensuses was the owners would be okay with the prices because that’s what they selected. The contractors were wrong. Again, you can never over-communicate about details in a project. The homeowner was in charge of the final decision, but no one asked, “Do you want to pay more money, or do you want to get what was in the spec?” When it comes to deciphering who’s in charge, it can be a tricky thing, and you might not be getting the same decision maker as the others bidding the job. Who gets to decide something when there’s a spec like “gray adhered stone in a random ashlar pattern to meet ASTM standard xyz?” Is it natural or manufactured stone? Whose version of “gray” is being used? Is it just about submitting the lowest priced option that somehow fits that description? Who gets to decide what’s acceptable? My company was bidding a project last year that had roughly 75 architects working on the project. In this project, the final decisions were run through two of the architects and two project owners. Yes, there were a lot of hoops to go through to get answers on questions relating to “the look” they wanted. One Friday, we were told to make up a new sample panel that had to be onsite by Monday. No LTL carrier would guarantee it would get there on time, so we hired someone to take a pickup truck more than 2,000 miles one way because one of the decision makers wanted something a little different than one of the other decision makers wanted. In the end, we didn’t get the project,
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WHO GETS TO DECIDE SOMETHING WHEN THERE’S A SPEC LIKE “GRAY ADHERED STONE IN A RANDOM ASHLAR PATTERN TO MEET ASTM STANDARD XYZ?”
[BELOW]
Everything looks bad about this. Below grade, no ties, shims left in the mortar, joints were struck, tight against the wall.
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MATERIALS / STONE but sometimes these are the levels you have to go through to get everyone on the same page. And yes, sometimes literally going the extra mile is needed. It might not mean you’ll win the project, but it does show you are willing to do what is needed. My flashback project showed the importance of the inter details a project bid and specifications used. Mortar, flashing, cut stone details, caulking, moisture control options, lintels, and more can affect installation and costs. Who is in charge of these decisions if something is changed? Also, don’t assume you’re not supposed to bid these items or that you have to. Make sure to check these in the spec as they may not be what you think they’d be. If other project subcontractors need to cover these items, do they all know the timeline and schedule you are on, not just the general contractor? If you as the mason are responsible for some of these, is the work being billed to you or the general contractor? Again, these seem like arbitrary things, but every project is different and each general contractor may handle these items a little different. If you have to purchase any of these items, do you have the cash flow to cover these expenses if the general contractor is slow in paying? Meanwhile, you’re cut off from your supplier for not paying. Things like this can be the difference between a successful job and Chapter 11. I’ve seen it happen. Make sure to communicate all aspects of the job on the front end and expectations will result in reality.
[BELOW]
Building Stone Lines - various installation techniques
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Installation 101 – how to avoid epic failure So you were awarded the project and they liked the work you did on the mock-up. Now what? Again, seems like it should be rather straightforward. On larger jobs, I’ve seen something that seems like it wouldn’t be a big deal, but is skipped. If the mock up panel is still on-site, make sure all the masons and laborers check it out and review with the final decision makers what they like about the panel and what is okay to do or not to do. Make sure to get your
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own picture of the finished panel. If the panel is gone, make sure whoever installed it works with the rest of the crews to make sure everyone’s laying the stone the same. It’s not about how good or tenured all the masons are; it’s about everyone doing work that looks the same throughout the project. At least once a year, I’ll be walking somewhere and see a stone project where you can obviously see different masons laid the stone on different areas of the building. I know most people will just walk right by and think, “Wow, nice building; look at all that stone.” That’s not the point. It’s about making the job look good all around. Stone is not brick or block. The same stone can be open to a lot of interpretation at the time of installation. If the project is something other than a running bond installation, there are a few good rules of thumb to remember. First, keep horizontal joints under four feet. This is a little bit of a judgement, but it is mostly related to larger wall areas of stone. If it’s a smaller wall, say just a four- to six-foot-long wall, just make sure it looks good to the eye and doesn’t run more than half of the length of the wall. Vertical joints have two things that should be followed. One is the minimum recommended spacing between vertical joints. Never have them less than four inches apart. This also leads into the other – do not have long vertical joints. If joints are four inches or less apart and stacked on top of each other, they really stick out. The old rule of thumb on linear stones is trying to keep a 2:1 or 3:1 pattern where the heights of two stones (or three) equal the height of one stone. Another key thing to consider is the consistency of a mortar joint. All too often you see a project where the stone is almost drystacked on top of each other, and then there’s a one-inch joint right next to it. This happens on mosaic style installs more commonly, as it can be difficult to have the mortar joint stay consistent without trimming the stone. So if you aren’t trimming stones, you’ll see it in those installations for sure. My biggest pet peeve though is when someone is laying an ashlar style stone and trims the stone to fit the space. Ashlar and Castle Rock stones are to be laid as squares and rectangles or trapezoidal patterns, depend on how the blend is supposed to look. Trimming stone to look like an “L,” “T,” or “Z” to fit into a space is the biggest no-no. I just shake my head when I see this. There is nothing about this type of install that’s okay. w w w.masonr ydesignmaga zine.com
[ABOVE]
Bad installation: pillar not wrapped, no paper.
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MATERIALS / STONE Where masonry is located and what types of materials are used is something that should be reviewed before installation. One area to watch is a chimney chase. Chases framed in wood need special attention for climates that have cold winters. Wood can grow and shrink dramatically, and an icy night with the fireplace roaring can result in the wood expanding quickly. We’ve had projects where the inside of the chase wasn’t insulated properly, and the stone cracked the whole length right through the stone at the corners. Originally, the thought was the mason didn’t wrap wire lath around the corners correctly (another common installation error). When contractors pulled some stone off, however, they found the lath was fine. The issue was there wasn’t any insulation in the chase, and the owners had a high efficiency fireplace that cranked out the heat. It wasn’t the mason’s fault, but a little consideration on material interaction could have saved some major problems. Tips There are a few things you can do to help make sure everything on your job goes great and you make the money you were anticipating. One thing I’ve seen masons do is get the stone laid out ahead of time. Really good laborers not only will lay out the stones ahead of time, they’ll grab from multiple pallets so the stone gets a better total blend. The really, really good ones even sort out the pieces by size and/or length. This way, as you’re installing the stone you can more easily call out, “I need a 16 by 4” (16 inches long by four inches high) and the laborer can “eye-spy” the right piece for you quicker. [BELOW] For whatever reason, it seems one of the least used tools of the trade is Fond du Lac Tailored Blend, your phone. With technology as available as it is today, make sure you put as 50 percent Rockfaced much of it to work for you as possible. The camera on your phone is a tool you from Buechel Stone. can’t underutilize for so many parts of the job. Before you start, take pictures
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of the walls: Everyone will then know what backer was used, how the flashing was incorporated, and if is there was any moisture barrier installed on the wall. Once the wall is up, you obviously have no good way to tell what’s going on behind there. Then, take pictures for each step. For full veneer, show you’re keeping the airspace required and the cavity clear of excess mortar. For thin veneer, show how the mesh is anchored and things like wrapping the corners correctly. You also should use your phone the first day to take a photo of the project and send it to the decision maker(s). In my experience, there have been numerous projects throughout the years where a mason is working on a project for a week or more and thinks things are going great. Suddenly the decision maker shows up and says, “I don’t like this, and this, and this….” Soon, you’re cutting out stones with a chop saw and trying to tuck point new stones into place (and you know mortar never matches up quite right). Worse, they say it’s all wrong and you have wall areas that need to come down. One trick I’ve seen is really simple, but can prevent ugly issues later on. If you have a spot where there is a transition between your stone and another cladding like stucco or siding, take a 1x2, 2x4 or something similar and put it where the stone is supposed to stop and the sill is supposed to start. I know some people will snap a chalk line for this and that’s not bad, but by putting the wood in place forces you to pay attention to where the stone is going to stop before you add the sill. Once you have the stone done, you can pull the length of wood down and have a perfect line to put the sill on. Just make sure you consider the thickness of the sill you are using, along with a mortar joint! When you pull the piece of wood off the wall, make sure to fill in the screw holes so you don’t have a spot were water can infiltrate the wall. Tools are another area often overlooked. If you are a true stone mason, you have to have good chisels, and not just one type. Good chisels have a feeling in your hands that is balanced, and just feels “right.” We sell some made by a local blacksmith that forges each one by hand and makes tools almost exclusively for stoneworking. Another company is Trow and Holden. They offer professional tools as well. One chisel you don’t often see, but is just about the best there is to speed up the trimming is a point. The small chipping edge allows you to take off high points and clean up stone without trying to force a two-inch-wide chisel on a small imperfection of the stone. A small-scale splitter also is useful at speeding up the process. The advantage of these over a saw is it snaps the stone fairly quickly, and doesn’t leave saw marks. For thin veneer though, a diamond saw is great. Thin stone isn’t always easy to trim with a splitter or brick hammer. One key thing I’ve found though is to make sure and cut the back of the stone, and cut it roughly half way through. Then, tap the end on a hard surface to snap the remaining part off. This way, it will still have a natural finish on the face if you rake the mortar joint back. So to wrap this up, the most important thing you must do is communicate, communicate, communicate. Assumptions throughout a project often result in something going terribly wrong. Almost every project problem or issue I’ve seen or helped with could have been avoided if someone along the way talked to someone else on the project specifics. It seems like the more ways we have to communicate, the less likely we are to actually do it. wMD
[ABOVE]
Making Zs, Ts, & Ls
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THE MOST IMPORTANT THING YOU MUST DO IS COMMUNICATE, COMMUNICATE, COMMUNICATE.
Mike Buechel is VP of operations and marketing for Buechel Stone Corp. w w w.masonr ydesignmaga zine.com
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Supplies | Brick, Block, & Stone From thin brick to full brick to pavers, no matter what your needs may be, manufacturers constantly are improving and expanding their offerings. Presented here are a few examples of new brick, block and stone options for your design needs.
Get Your Products Featured! The Summer 2015 Supplies section will feature design and analysis software. Send your product descriptions and images to Cory Sekine-Pettite at cory@lionhrtpub.com.
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1 Buechel Stone Corp
www.buechelstone.com
Buechel Stone’s natural stone products are an ideal choice for any building application. No other building material offers the unique textures, natural colors, and breathtaking visual appeal found in natural stone, the company says. When it comes to beauty, strength, and longevity, natural stone is in a class of its own. Buechel Stone’s unparalleled service and exceptional selection of natural stone supports its mission to provide the best, most dependable experience in the natural stone industry – guaranteed. Buechel Stone lives by that mission and will do whatever Mother Nature allows to make sure your project is done to your complete satisfaction. Advantages of working with Buechel Stone: • In addition to natural Building Stone in full veneer and Natural Thin Veneer, the company offers full lines of landscaping and cut stone products to compliment your project. • Your natural stone installations can be protected with Buechel’s weep system. • You have access to Buechel products nationwide with assistance for product selection, project planning, takeoffs, and shop drawings. • Buechel stone is 100-percent natural stone, quarried and fabricated to strict quality standards. • The company has state-of-the-art production equipment and can generate CAD shop drawings for customers to review. • The company implements quality control standards on every pallet of stone, ensuring only the highest quality product is shipped.
2 Trenwyth
www.trenwyth.com
InsulTech™ ICMU by Trenwyth, an Oldcastle Architectural Brand, is a complete thermally broken insulated masonry system, which includes a full complement of masonry units. Insultech offers high thermal efficiency in an innovative design combining a pre-assembled structural masonry unit, molded EPS insulation insert, and thin veneer face. It provides design flexibility, installation efficiency, and is available in standard finishes as well as Trenwyth colors and textures, the manufacturer says. Features and benefits of the system include the following: • Complete insulated concrete masonry system with a full complement of masonry units • Consists of a pre-assembled structural masonry unit, molded EPS insulation insert and thin veneer face with finished size of 12” x 8” x 16” • Installed as a complete assembly to improve installation efficiency • BASF Neopor® EPS molded insulation inserts provide a 15.2 R value • Fully thermally broken units and system • Meets 2012 IECC Energy codes from Zones 1 through 7
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3 • Internal stainless steel metal anchors molded into EPS inserts ensures safety connection to the back wall providing wind-load resistance and Fire Integrity™ for fire safety • Innovative design provides continuous insulation and air tightness formed by the EPS inserts in combination with compliant closed cell gasket material • Multitude of color and texture options for aesthetic needs.
3 Arriscraft
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www.arriscraft.com/us/
Arriscraft, manufacturer of naturally made products that emulate quarried stone, introduces Urban Ledgestone – a new Building Stone product designed with simple installation in mind. This natural, ledgestone-style Building Stone features long, sleek lengths in three sizes and two striking colors: Dusk and Frost. Urban Ledgestone is Arriscraft’s first product designed to be installed in a coursed pattern, which is incredibly easy and efficient to install (masons can pick automatically from the skid, installing one size at a time, without having to maintain a specific pattern). Urban Ledgestone also can be installed in a more traditional ashlar pattern. Either configuration creates a modern, elegant result. Arriscraft manufactures a vast range of premium stone for commercial and residential projects, including full-bed Renaissance® Masonry Units and Building Stone, Thin-Clad adhered and clipped veneers, Adair® Limestone, and cast accessories. Designers can select from a truly comprehensive line of styles – from old-world to contemporary – in natural colors, with custom applications available.
4 CalStar
www.calstarproducts.com
CalStar’s brick products, including its specialty line, can significantly reduce a project’s environmental impact, the company says. For example, CalStar says that for a 100,000brick project, specifying CalStar brick can: • Divert more than 85 tons of landfill waste • Avoid 210 tons of new raw material mining • Reduce CO2 emissions by more than 80,000 lbs (40 tons) • Save 500 million BTU of energy The difference between these bricks and others is CalStar’s manufacturing process. These composite bricks are produced using less than 20 percent of the energy required to make clay brick. The specialty brick, including the Ambassador (3 5/8 x 2 1/4 x 15 5/8), Norman (3 5/8 x 2 1/4 x 11 5/8), and Roman (3 5/8 x 1 5/8 x 11 5/8) all are available in CalStar’s premium smooth finish in sizes that not all clay manufacturers can produce, the company says. The Ambassador also comes in a split face finish. CalStar reports that many architects like the modern look these sizes are able to achieve. wMD w w w.masonr ydesignmaga zine.com
advertiser’s index page#
company-phone-website
1 Amerimix 888.313.0755 www.amerimix.com
15 Arriscraft International, Inc.
800.265.8123 www.arriscraft.com
19 Hohmann and Barnard, Inc.
800.645.0616 www.h-b.com
C2 Laticrete International, Inc.
800.243.4788 www.laticrete.com/mvis
23 Mortar Net Solutions
800.664.6638 www.mortarnet.com
26-27 SPEC MIX, Inc. 888.773.2649 www.specmix.com
25 Tradesmen’s Software
800.494.4899 www.tradesmens.com Spring 2015
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