THE MODERN STONE AGE
The Stone Work of Hector Santos Renaissance Publishing
By Hector Santos
THE MODERN STONE AGE
Contents Chapter 1 Walls
2
Classy Structure Endurance Tight Space Cold Temperatures
4 6 8 10
Chapter 2 Steps
12
Rise and Run Examples Spirals More Tight Spaces
15 16 18 20
Chapter 3 Flat Work
22
Examples Water Issues
24 26
Chapter 4 Fire
30
Examples Simple Smoothing the Joints
32 34 36
Chapter 5 Veneer
40
Epic Veneer Another Epic Veneer
42 46
Chapter 6 Sculpture
48
My Sculpture Explained Neolithic Inspiration Embrace Doughnuts Piece of Cake Hole in One
50 52 56 58 60 62
Chapter 7 Wall Sculpture
64
My Wall Sculpture Explained
66
Random Notes and Thoughts
79
Of all of the aspects of practical stone masonry, dry laid wall building is the most relaxing. These walls are what got me into this whole mess.
WALLS
Butternut Lane Retaining Walls Taftsville, Vermont
T
ight space. This two-tier retaining wall was done late in the summer of 2005. The existing retaining wall was constructed of six-by-six hemlock timbers, and these were decomposing. The embankment was sliding towards the garage, so stone was called to the rescue. This project was extremely challenging. When I started, I had access to two sides: the front and the back of the garage. I had only inches of room to move within. On either side of the excavator was the garage or the embankment. I had no access from the top, because of the placement of the existing house. The excavation consisted of a trench that went into the ground about two feet. That resulted in an embankment that towered ten to eleven feet above me, with the foundation of the house about twelve to fourteen feet from the edge of the embankment. It was nerve-wracking. A good hard rain could have caused the embankment to fill the excavated footing, and I would have to start all over. Fortunately, it was dry that summer. After the footing was dug, I filled it with three-inch ledge stone and compacted it. I built the first tier with no problems and started on the second. Then, life became really challenging. I had access from only one side now. I built a small road to get to the second tier. Then, I dug another footing and worked backward. It was very slow going and took longer than I expected. But, as you can see, these walls are never going anywhere: some of the stones weigh up to five or six hundred pounds and tie back into the wall two to four feet.
Before
During
After
9
Doing patios grinds down your fingernails and leaves your back and knees feeling like a crusty old stone mason.
10
FLAT WORK
SCULPTURE 12
E
mbrace is a piece that I donated to the North Universalist Chapel Society. It was created in the summer of 2000 and is a permanent installation behind the church.
“Embrace� 2010 Woodstock, Vermont
13
Splitting the slab of marble for “Jones”
“Jones” 2001 Rutland, Vermont
D
oughnuts. In the summer of 2001, I was the Vermont Artist in Residence at the Carving Studio* in West Rutland, Vermont. This sculpture was named after a doughnut shop that I would stop at every morning on my way to work on the sculpture. The residency was for one week, and it took me a week of ten to twelve hour days to complete the sculpture. The weather was not on my side; it rained almost every day. As a result, we set up a tent for me to work under. All things considered, the project went very well and the sculpture still stands today.
“Jones” 2008 Rutland, Vermont *The Carving Studio and Sculptural Center is a school dedicated to teaching students about sculpture. The studio environment offers instructional workshops and residencies to assist students in exploring their sculptural visions.
15
My wall sculptures are a thin slice of my landscape sculptures. They are a great way to make the outdoor environment part of your indoor life.
16
WALL SCULPTURE 17
“Rush” 20" x 20" Stone on Painted Wood
18
“Pin Point” 27" x 20" Cut Stone
“Weaving Stone” 20" x 27" Cut Stone
T
he Modern Stone Age is a representation of some of the stone projects I have had the pleasure of doing since 1998. It contains many photographs and short stories. I hope you will enjoy this book as much as I did when I created it and the stone work inside. —Hector Santos
Renaissance Publishing Printed in the United States of America