W A L L
G O L D F I N G E R
S TON E TA B L E S S p e c i f i c at i o n G u i d e
FIRST DRAFT v0.1
|
2008
Design by: Butler Rogers Baskett
Contents
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Design by: Ted Moudis Associates
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6
Contents Introduction
Configurations & Materials
Stone
Design Process
10
Rectangular
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Granite
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Matching
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Ellipse
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Marble
52
Bases
14
Boat-Shape
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Limestone
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Structure
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Racetrack
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Travertine
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Legs
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Round
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Quartzite
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Base Options
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Slate
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Custom Bases
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Corian 速
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ZodiaQ 速
WALLGOLDFINGER, INC.
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STONE SPECIFICATION GUIDE
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Design by: CUH2A
ManufacturING
COMMUNICATION TECHNOLOGY
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Quarries
66
Table Top Access
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Selection
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Connectivity
60
Water Jet
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Microphones
W A L L G OLD FINGER 7 Belknap Street, Suite 3 Northfield, Vermont 05663 P 802 | 485-6261 F 802 | 485-6267
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Edge Profiles
72
Conferencing
www.wallgoldfinger.com
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Finishing
74
Control Panels
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Video Conferencing
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Š2008
Introduction
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Design by: Butler Rogers Baskett
Throughout the ages, architects, designers, and
stones, which can be combined with wood,
builders have chosen stone for its permanence,
metal, leather, faux leather, and glass to produce
strength, and beauty. Whereas selection was once
furniture.
limited to locally available stone, today’s marketplace is worldwide with a growing array of options. WallGoldfinger, Inc. has been producing cus-
The layout of stone on a table, desk, or credenza is limited only by the designer’s conception and the material available. We have fabricated
tom stone furniture for 30 years, so we know our
tables with “book-matched” slabs joined at the
way through the complex selection and manufac-
center for a seamless, homogenous appearance, as
turing processes. Our craftsmen work in marble,
well as used different stones in opposing configu-
granite, limestone, travertine, and manufactured
rations mixed with wood and stainless steel.
WALLGOLDFINGER, INC.
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STONE SPECIFICATION GUIDE
Design by: ADD, Inc.
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Design by: Swanke Hayden Connell Associates
Advanced manufacturing processes, such as
Design by: Gensler
waterjet cutting, allow the forming of any shape, as well as the accurate marriage of stone to veneer or metal components. Years ago, an elliptical table with a wood edge, stone perimeter, stainless steel band, and center veneer panel seemed costprohibitive or technically impossible. Today such creative work is not only practical but affordable.
Design by: AI Architecture
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Notes
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S T O N E S P E C I F I C AT I O N G U I D E
Design by: Gensler
Configurations and Materials
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Configurations & Materials Rectangular
Stone
Sahara Gold limestone, brushed stainless steel
10 Stone with Stone
Grigio Carnico and Crema Marfil antiqued marble, honed finish, ¼” bronze inlay
Stone with Metal
Verde granite, Nordic black marble, brushed stainless steel
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STONE SPECIFICATION GUIDE
Configurations & MAterials Rectangular
CONFIGURATION
Stone with Leather
Breccia Pernice Rossa marble, synthetic leather, ribbon stripe mahogany
11 Stone with Wood
Crystal Olive Granite, figured and quartered cherry, bronze inlay
Stone Riser
Verde Luchensa marble, pomelle sapelle, solid mahogany, ¼” ebonized inlay
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Configurations & MAterials Ellipse
Stone
Sahara Gold limestone, brushed stainless steel
12 Stone with Stone
Botticino Semi Classico limestone, Verde Uba Tuba Bahia granite, Creta Cloud marble, brushed stainless steel and ¼” inlay
Stone with Metal
Absolute Black granite, Argos marble, brushed stainless steel
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STONE SPECIFICATION GUIDE
Configurations & MAterials Ellipse
Verde Fondo Mare marble, synthetic leather, solid cherry, brushed stainless steel and ¼” inlay
Stone with Wood
Classic travertine, figured and plain sliced anigre, brushed stainless steel ¼” inlay
Stone Riser
Emperador marble, quilted maple and walnut veneer
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CONFIGURATION
Stone with Leather
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Configurations & Materials Boat-Shape
Stone
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Calacatta marble and powder coated black metal
Stone with Stone
Breccia Oniciata Classico marble, Crema Marfil marble, ¼” stainless steel inlay
Stone with Metal
French Vanilla marble, brushed stainless steel
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STONE SPECIFICATION GUIDE
Configurations & MAterials Boat-Shape
Blue Pearl granite, synthetic leather, ¼” stainless steel inlay, metal mesh
Stone with Wood
Aquamarine granite, quartered figured anigre, solid maple, brushed stainless steel
Stone Riser
Breccia Nouvelle marble, quartered cherry, Majilite® leather
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CONFIGURATION
Stone with Leather
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Configurations & Materials Racetrack
Stone
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Emperador Costa marble, walnut veneer base, stainless steel
Stone with Stone
Crema Savoy and Verde Michelangelo marble, walnut, stainless steel
Stone with Metal
Argos marble, Black Absolute granite, stainless steel
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STONE SPECIFICATION GUIDE
Configurations & MAterials Racetrack
Saint Laurent marble, solid cherry, stainless steel, synthetic leather
Stone with Wood
Madura Gold granite, maple, stainless steel
Stone Riser
Bambarino marble, ribbon striped mahogany
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CONFIGURATION
Stone with Leather
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Configurations & Materials Round
Stone
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Verde Michelangelo marble, ribbon striped makore, powder coated metal
Stone with Stone
Giallo and Emperador Dark marble, cherry, stainless steel
Stone with Metal
Uba Tuba and Black Absolute granite, stainless steel
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STONE SPECIFICATION GUIDE
Configurations & MAterials Round
Macaubus marble, synthetic leather, cherry, statuary bronze
Stone with Wood
Royal Gold marble, curly maple, stainless steel
Stone Riser
Aquamarine granite, plastic laminate, walnut, stainless steel
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CONFIGURATION
Stone with Leather
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Configurations & Materials Video Conference
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Peperino Rosso marble, brushed stainless steel and ¼” inlay
American Mahogany granite, Pine synthetic leather, brushed stainless steel and ¼” inlay
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STONE SPECIFICATION GUIDE
Configurations & MAterials Video Conference
CONFIGURATION
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Bordeaux granite, ropey and solid cherry, brushed stainless steel and ¼” inlay
Morisca Oro granite, polished and honed Spider Black marble, brushed stainless steel and ¼” inlay
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Notes
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S T O N E S P E C I F I C AT I O N G U I D E
Stone
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Stone Granite
Granite is a very hard, igneous rock, formed
African Tapestry
from volcanic eruption. The color and size of the spore in the granite indicates the proximity to the original eruption. Granite is more resistant to damage, harder and more uniform than marble or
Bahama Gold
travertine. It is relatively consistant in appearance, and virtually immune to wear and deterioration. It has become an economical choice
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for today’s designer because of its endurance, esthetics, and low maintenance.
The texture or pattern of the stone is what will most likely influence which granite you choose. Some granites are speckled or have little flecks of color here and there while others have veining running throughout similar to marble.
Barre Grey
Blue Eyes
Carmen Red
There are hundreds of colors and patterns, from simple whites to golden honey yellows, exotic reds, ocean blues, deep browns, and forest greens, to charcoal grays and jet blacks.
The closer to the original eruption, the smaller the spores; the further away from eruption, the larger the spores.
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STONE SPECIFICATION GUIDE
Stone Granite
AZUL ARAN
san sebastian
san sebastian polished
IVORY BROWN
25 COLONIAL DREAM
ROSA CINZIA
SIERRA DORATA
GRAN BEIGE
GHIANDONE SARDO LIMBARA
VIARA
JUPARANÀ COLONIA
GIALLO VENEZIANO FIORITO
TROPICAL FANTASY
PINK OLYMPIA
DESERT BROWN
HIMALAYA BLUE
LABRADOR CHIARO
BALTIC GREEN
LABRADOR SCURO
boreal green
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Stone Granite
Juparana Gold
Oro Romano Dark
Diamond White
CALEDONIA
Palazzo Quartzite
Vermont Green
Peacock Light
Siena
Venetian Gold
Purangaw IPE
winneway
MULTICOLOR RED
Verde Fontaine
Gallix
Eloisa
Juparana India Gold
Tan Brown
Brown Antique
Blue Pearl
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Matrix Stone
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STONE SPECIFICATION GUIDE
Stone Granite
Dark Fantasy
Sea Foam
Juparana Champagn
BALTIC BROWN
27 Yellow River
ash rose
Sunny Gold
ZAPHIR BROWN
Aquarius
Purangaw Ekos
Breccia Rossa
Madura Gold Honed
Golden Sea
american red
canadian red
newton brown
kodiac
Ubatuba Bahia
nordic black
Taillon-black
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Stone Marble
Marbles are crystalline limestones which have
Crema Valencia
metamorphosed by heat and pressure beneath the earth’s surface over a very long period of time, ranging from 7 to 120 million years. They vary in texture from coarse to fine. Giallo Siena
In a pure state, marble is clear white, almost translucent. When mixed with other materials, marble varies in color from grays to blacks, to beautiful shades of pink, yellow,
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green, red and brown. Onice Verde
Marbles have been classified into four groups known as the Marble Soundness Classification which should be taken into account when using marble, for all marbles are not suitable for all building applications. This is particularly true of the comparatively fragile marbles classified under Groups C and D, which may require additional
Marble colors are usually distributed in streaks, veins, and irregular cloudy blotches throughout the stone, caused by different mineral deposits.
fabrication before or during installation. The basis of this classification is the characteristics encountered in fabricating, and has
classification indicates what method of fabrication is con-
no reference whatsoever to the comparative
sidered necessary and acceptable in each instance based
merits or value of each type of marble. The
on standard trade practice.
BIANCO CARRARA
VERDE ISSORIE
Group A Marbles having uniform qualities, without streaks, dry veins, and irregular blotching.
Group C Marbles with geological flaws, voids and veins. Standard practice is to repair variations and reinforce the stone.
ROSA NORVEGIA
FIOR DI PESCO CARNICO
Group B Similar to Group A, however, a little more difficult to work with due to natural flaws in the marble. Limited amount of filling is required.
Group D Highly colored with a greater degree of variation in geological flaws, voids and veins. They are the most difficult to fabricate and require additional repair work and reinforcing.
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STONE SPECIFICATION GUIDE
Stone Marble
CALACATTA FANTASIA
ARABESCATO CARRARA
valley fiorito
PAONAZZETTO
29 PERLATO SICILIA
KARNIS
ROSA ATLANTIDE
missisquoi
PIETRA DORATA
PERLATO OLIMPO VENATO
AMARELLO
BRECCIA ONICIATA
CREMA VALENCIA
BRECCIA AURORA CLASSICA
BRECCIA DAMASCATA
Breccia Oniciata
ONICE VERDE
GIALLO SIENA
EMPERADOR CHIARO
FIOR DI PESCO CLASSICO
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Stone Marble
Statuary Vein
Golden Spider
AURISINA FIORITA
PERLATO ROYAL
LIOZ MONTEMOR
NAPOLEON GRAND MELANGE
NOISETTE FLEURY CLASSICO
MONDRAGONE
Olympus Gray
Verde Giada
ROSSO RAMELLO
Opera Fantastico
Rosso Verona
Rosso Imperial
Rosso Sevilla
Rosso Levanto
BRECCIA PERNICE ROSSA
ROSSO ALICANTE
DUCHESSA ROSATA
cascapedia
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STONE SPECIFICATION GUIDE
Stone Marble
KARIBIB
ROSA EGEO
Solar Grey
BLUE TEDESCHI
31 Verde Luana
PALISSANDRO BLUE NUVOLATO
Oasis Antiqued
Royal Green
FOSSILE MARRONE
Oro Esotico
GRIGIO FUMO
BLACK EFES
Silver Beauty
Nero Marquina
VERDE ALPI
Verde Acceglio
PORTORO
noir st laurent
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Saint Laurent
Grigio Carnico
Stone Limestone
Limestone is layered and formed at the bot-
Fossil Brown
tom of oceans or lakes from the skeletons and shells of sea creatures that lived in warm seas millions of years ago. It will often contain seashells and fossils embedded in the surface. If this limestone is subjected to intense heat
Fossile Pisces
or pressure and a few millennia, a crystallization will occur and the limestone will become a “true marble�.
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Limestone varies greatly in hardness, density, and porosity from stone to stone. Some limestones are very soft and can only be fabricated to a honed finish. Other limestones are very dense and hard and can be finished
Limestone is a unique natural stone and at times, contains visible mysteries of our past within slabs.
to a polished or a glossy shiny surface. Pure limestones are white or almost white. Because of impurities, such as clay,
Portoro Limestone
sand, organic remains, iron oxide and other materials, many limestones exhibit different colors, especially on weathered surfaces. Most
Ambrato Limestone
limestone is grey, but all shades of limestone from white to black have been found. Colors of limestone are soft and earthy, ranging from the creamy beiges to deep browns, reds and
Camargue
blacks. There are also lighter creams, ivories, and smoky gray blues, as well as pastel shades of yellow to pink are all possible.
Cedar
Limstone patterns vary from solid to variegated, and may be crystalline, clastic, granular, or dense, depending on the method of formation.
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STONE SPECIFICATION GUIDE
Stone Limestone
Topaz
Sunny Desert Polished
charmot
VILHONNEUR
33 Cedar Limestone
Creta
Ramon Gold
Galala Beige
Fossil Green Honed
Riviera Beige
MASSANGIS
Ivory Antico
Lagos Blue Honed
Jerusalem Gold
Jura Beige
Sunny Desert Antique
Amarello Negrais
buxy Gris
Rosa Laurens
Cedar
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Stone Travertine
Travertine is a form of limestone. It often
Denizli Cream
consists chiefly of calcium carbonate formed by precipitation in hot mineral springs over a period of 600,000 years. It comes out of the
Classic Travertine Polished
ground relatively soft compared to marble, but hardens with age and exposure. Travertine has a sponge-like textured appearance as gas bubbles become trapped and create a pitted surface on the stone. These pitted surfaces or cavities are frequently filled
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with a matching epoxy or dust resin during the fabrication process. Filling the small
Travertine is porous with many visible holes that can be filled, usually with a cementicous filler, or left unfilled for a more rustic appearance.
holes and pits gives the travertine a more finished look.
Brown Azarshahr
The stone surface can also be left in its natural state with the small holes and pits unfilled. This is a warmer aged look which
Gray Travertine
will acquire a beautiful patina over time. Leaving the stone unfilled will affect the durability, however; it will attract dirt much
Silver Travertine
easier than a filled travertine. Travertine colors are in warm earthy tones, more easily from the softest ivories and palest creams, rich shades of golden honey, to silvery greens to deep mocha browns. The color tones vary and veins or bands of contrasting color run throughout the stone.
Travertine can be cut on either a “vein” cut, which is against the bedding that reveals the bedding planes, or a “fleuri” cut, which is along the bedding plane and reveals a flowery, often circular pattern. This cut is also referred to as a “crosscut” pattern.
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STONE SPECIFICATION GUIDE
Stone Travertine
ONICIATO CHIARO VENATO
ONDULATO
Silver
Navona Travertine
35 ST. PETER LIGHT
ST. PETER CLASSICO
ONICIATO SCURO VENATO
Classic Honed
Antique
Gold
Timber
SCURO STUCCATO
ALHAMBRA
SCABAS ROSA
SCURO NOCE
ST. PETER DARK
GIALLO PERSIANO
Noce Travertine
ROSSO PERSIANO
Aurora
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Stone Quartzite
Quartzite was transformed from grainy
Ambradorata
quartz-rich sandstone, although it took 500 hundred million years or more to accomplish the process. Quartzite is a metamorphic rock heated under pressure deep within
White Gold
the earth’s mantle where the original quartz sand grains and quartz silica cement became fused into one.
Finnish Silver Green
Quartzite has a rich crystallized appearance and is hard, compact and very fine-grained. Most
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varieties of quartzite contain at least 90 percent quartz and are the largest and purest concentrations of silica in the earth’s crust. Quartzite breaks through, not around the quartz grains and produces a smooth
The stone’s mica content (or other silicate minerals) often shimmers with a subtle hint of sparkle, which makes the stone a perfect complement to other natural materials, as well as chrome, steel and other metal surfaces and fittings.
surface rather than a rough and granular one. Sandstone will shatter into many indi-
Normally quartzite is white or light grey, but it may
vidual grains of sand, while quartzite breaks
be found in a variety of other colors including yellow,
into sharp angular fragments — the crystal-
light brown, blue, green, purple, black, shades of pink
lization of the quartzite makes it harder. It is
or red depending on the other minerals such as mica,
one of nature’s most durable stones.
tourmaline, zircon or iron oxide that may be present.
Pure quartzite displays understated tones of whites, grays or pinks. However, when small amounts of other minerals are involved in the metamorphic process, quartzite will take on a diverse series of colors.
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STONE SPECIFICATION GUIDE
Stone Quartzite
White Moon
Azul Imperial
Azul Macauba
Ocean Green
37 Giallo Pianosa
Sahara Yellow
Niagra
Verde Aquamarina
Himachal Green
Bamboo Yellow Blue
Golden Quartz
Raymond
Verde Agreste
Verde Cactus
Turquesa Di Rosa
Silver Grey
Verde Bamboo CrossCut
Zeera Green
Red Fire
Hollywood
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Stone Slate
Black Slate
Slate is a metamorphic fine-grained rock that can easily be split into thin, durable sheets. Most slate is formed below the earth’s surface by changes in the makeup and appearance of
Natural Plum
shale, a sedimentary rock. Heat from deep in the earth changes some of the clay in shale into mica and chlorite. Slate results when pressure created chiefly by mountain-forming
Pure Pink
movements in the earth’s crust squeezes the
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mica and other minerals into parallel layers. Depending on where they originate from, some slates are much softer than others. Slates from the US, Canada, and the UK are usually of a harder variety. The soft veining and mottled colors of slate are earthy and usually darker. They include variations of reds and turquoise greenish blues as well as softer grays and
Most slate is grey to black in colour, but the rock may be red or purple depending on its mineral content.
deep solid blacks. Green slates may change color or fade with time. Slate can be rustic and romantic or sleek and refined. It won’t etch, it doesn’t burn, and it’s nonporous so the maintenance is fairly simple.
The multi color slates are rustic and more colorful. Coating slate with mineral oil will help to protect the stone as well as deepen the natural colors.
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STONE SPECIFICATION GUIDE
Stone Slate
Garland Cedited
Brazilian Green Honed
Brazilian Gray
Brazilian Black
39 Unfading Green
Green Brazilian
Summit Honed
Unfading Purple
Black Split Face
Mottled Green Purple
Grayson
Black Lacephylite
Heathermoor
Atlantic
Winchester Black
Black Brazilian
Black Lacerust
razilian Multicolor
Raja Multicolor
Unfading Red
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Stone Corian ®
Corian® is a thermoformable material from DuPont™ that has endless shape and design options. From chairs and vases, to wall cladding and countertops, the uses of Corian® are virtually limitless in commercial environments. Corian® sheets inspire designers and architects to build stylish spaces with pieces cut horizontally or vertically. Durable, easy
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to maintain, and low-emitting, Corian® solid surfaces can contribute to a sustainable design goal and help projects achieve LEED® credits in a variety of applications. Suitable for both horizontal and vertical applications, Corian® combines beauty and performance with a range of environmental benefits that can help contribute to: MR Credit 1.3 - Building Reuse MR Credits 3.1 and 3.2 - Materials Reuse MR Credit 5.1 and 5.2 - Regional Materials EQ Credit 4.1 - Low Emitting Materials: Adhesives & Sealants Corian® and the adhesives and seal-
Corian® is: • Flexible and versatile • Available in over 130 colors
ants used to install them are GREENGUARD
• Stain resistant
Indoor Air Quality Certified® as low emit-
• NSF/ANSI Standard 51 Certified for food contact and Class I(A) fire rated
ting materials. With the new Corian® Terra
• Durable: Tough and long-lasting
Collection, you have a palette of 25 colors
• Can be renewed: Color runs all the way through, making restoration easy if necessary.
to choose from that are certified by Scientific Certification Systems (SCS) to contain recycled content and can contribute to MR Credits 4.1 and 4.2 for Recycled Content.
• Heat-resistant • Easy-to-clean and maintain: Smooth seamless appearance • Non-porous surface does not promote the growth of mold and mildew when properly cleaned • GREENGUARD Certified® as a low-emitting material
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STONE SPECIFICATION GUIDE
Stone Corian 速
Rain Cloud
Silver Birch
Clam Shell
Tumbleweed
41 Sagebrush
Slate
Matterhorn
Silt
Rosetta
Burled Beach
Aztec Gold
Sonora
Verde
Spruce
Pine
Malachite
Lava Rock
Earth
Egyptian Copper
Cinnabar
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Stone ZodiaQ ®
Zodiaq® is an advanced composite material made of 93% quartz. It is a long-lasting and virtually maintenance-free material, linking
• Non-porous and carefree: No sealant, polish or reconditioning.
function and aesthetics to make commercial
• Made from 93% natural quartz crystal, one of nature’s strongest materials.
installations stand out. There is design flexibil-
• 45 colors and stain resistant, scratch resistant, heat-resistant.
ity, versatility and a multitude of options with
• NSF/ANSI Standard 51 Certified for food contact and Class I(A) fire rated
Zodiaq® quartz surfaces. The creative potential of Zodiaq® is a perfect blend of nature and science, giving the
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Zodiaq® is:
impression of natural stone without natural stone’s imperfections.
• Unconventionally beautiful: Dramatic veining and movement capture the imagination. • Durable: Made from an extremely hard mineral, quartz crystal. • Easy to clean: When properly cleaned, Zodiaq® is mold and mildew resistant. • GREENGUARD Certified® as a low-emitting material
Sparkling crystals within its surface give a
Designed with designers in mind, Zodiaq® is pro-
stunning light-play and a mesmerizing depth,
duced in large slabs, allowing for the creation of large
while the surface’s inherent sheen adds to this
areas and minimizing the need for distracting seams.
reflective effect. Zodiaq® is ideal for your clients
Zodiaq® can be used for a wide range of horizontal and
who seek the ultimate in elegance and dramatic
vertical applications across all sorts of environments. It
design without compromising performance.
can be cut to exact requirements with complete precision.
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STONE SPECIFICATION GUIDE
Stone ZodiaQ 速
Carmel
Minera Pearl
Bedrock
Marrone Ambrato
43 Giallo Michelangelo
Autumn Light
Sandalwood
osso Verona
Meteor Grey
Woodland Grey
orealis Blue
Charcoal
Magellan Green
Royal Brown
Smokey Topaz
Black Forest
Copper Sunset
Copper Canyon
Verde
Gold Abyss
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Notes
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Design Process
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Design Process Lightweight
Lightweight Stone TOP In addition to producing custom stone tables, credenzas, and reception desks, many types of granite and marble can be fabricated in a lightweight process for use on reconfigurable furniture. A five-foot-square stone table top that would normally weigh five hun-
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dred pounds or more can be made with a thin layer of the same stone on a lightweight aluminum core that weighs less than 30% of the solid stone. This customized panel can be made with a mitered waterfall edge of the same stone, or set into a frame of finished hardwood or fine metal.
Design by: Gensler
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STONE SPECIFICATION GUIDE
Design Process Lightweight
FOLDING TablE Top Designed by WallGoldfinger using a lightweight stone panel, this hinging method allows the 5’ x 5’ table top to fold in two pieces and to be removeable from a room with ease.
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Design Process Matching
Slab Cutting Quarry blocks are reduced to slabs by a gang saw consisting of steel
Fleuri cut with bed
blades set parallel in a frame that moves forward and backward. The most productive and precision gang saws are a series of diamond tipped blades with individual hydraulic blade tensioners. Others are fed a cutting abrasive in a
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stream of water. Marble blocks can be sawn
Sawing and position of block in quarry. Level of beds vary
Vein cut across bed
either parallel or perpendicular to the bedding plane. The perpendicular cut is referred to as an across-the-bed or
direction, and are available as either vein or
vein cut; the parallel cut is with-the-bed
fleuri, while others produce a pleasing surface
or fleuri cut. Some marbles produce a
only when sawed in one direction and are
pleasing surface when sawed in either
generally available only in that variety.
Surface Patterns Only certain marbles lend themselves to specific pattern arrangement, such as the side slip and end slip patterns. This is because a constant natural marking trend throughout the block is required. Formal pattterns require selectivity
End Slip Match Panels from the same block are placed end to end in sequence to give a repetitive pattern and blended color in the vertical
Side Slip Pattern Panels are placed side by side to give a repetive pattern and blended color in the horizontal
which often increases the installed cost of the stone. Usually, material sawed for a vein cut can be matched; fleuri cuts can be blended. Any pattern other than the “blend� must be listed in the original job specifications prior to stone fabrication.
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STONE SPECIFICATION GUIDE
Design Process Matching
Matching and Blending Although the arrangements of matched panels indicate an almost perfect match of the veining lines, it is impossible to achieve this perfection due to that portion of the marble block lost during the sawing process and due to the shifting of the veining. Brecciated marbles, for example, are extremely difficult to cut into matched patterns and should be blended instead. Ideally, jointing should be planned for grouping of four panels of equal size. book match Pattern The adjacent faces of panels 1 & 2 are finished. Panel 2 is placed next to panel 1 as the pages of a book are opened.
End MAtch Pattern The adjacent faces of panels 1 & 2 are finished. Panel 2 is inverted above panel 1.
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Quarter or diamond match pattern Panels 1 & 2 are book matched. Panels 3 & 4 are book matched and then inverted over the top of panels 1 & 2.
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blEnd Pattern Panels of the same variety but not necessarily from the same block arranged at random. This scheme is followed when no other pattern is specified.
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Design Process Matching
When designing a table or credenza on which
be oriented to blend the separate slabs in the best
there are more than one piece of stone, deciding
possible way.
how to match the slabs is an important part of
The layout of the stone on the table, cre-
the process. Some stones are even and homoge-
denza, or desk is limited only by the designer’s
nous, needing little attention to orientation. Oth-
conception and the slabs of material available.
ers, particularly heavily veined marbles, should
We have fabricated tables with two book-matched
End Match Pattern
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Book Match Pattern
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STONE SPECIFICATION GUIDE
Design Process Matching
slabs joined at the center for a continuous, ho-
slip matched), how fragile the stone is, whether it
mogenous look, and we’ve produced furniture
is veined or brachiate, the initial size of the slab,
with different stones in opposing configuration
and if the selected slabs are in sequence (cut and
and combined them with wood and stainless steel.
maintained in order from the same block). Wall-
Many factors come into play, such as how the slabs were cut from the block (book matched or
Goldfinger and our partner stone sources have the experience to identify the best options available.
Book match Pattern
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Reverse Diamond Pattern
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Design Process Bases
structure Stone is heavy. On average, a three centimeter (1Ÿ�) thick slab of stone weighs twenty pounds per square foot, so on a table five feet wide by fourteen feet long, the top alone weighs 1400 pounds. WallGoldfinger takes special measures to design the furniture to accept that extra weight: steel frames under a rigid one-inch
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plywood subtop, rabbetted case sides transferring weight directly to bottom plates, and bolting narrow bases to the floor are all methods employed to accommodate and stabilize the weight.
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STONE SPECIFICATION GUIDE
Design Process Legs
Cross Leg A lightweight aluminum leg that incorporates wire management — a custom WallGoldfinger proprietary extrusion. A clip-in plate can be added to contain wire management. Anodized or powder coated finish available.
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Stainless Steel Cross Base
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Design Process Base Options
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The bases for our stone tables are also open to in-
steel and glass cubes. We can accomodate your
novation and expression. We’ve made everything
aesthetic desires with the structure and support
from large plastic laminate single units to veneered
necessary to handle the requirements of a table
pedestals to trestle-style wood bases and stainless
made from stone.
Aluminum pedestals
Brushed Stainless Steel drums
Stock veneer or custom veneer Base
Stock veneer or custom veneer Pedestals
Leather wrapped Pedestals
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STONE SPECIFICATION GUIDE
Design Process Custom Bases
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Notes
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Sardinia marble quarry, Italy
ManufacturING
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ManufacturING Quarries
Architectural-quality stone is available in a tremendous variety. However, unlike hardwood, stone does not “grow” in multiple regions. Generally, a type of stone is available from one mountain in one region of one country only. There may be similar types in other areas, but they tend to follow the mineral tendencies of the
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region, with some variations. Barre Granite quarry, Vermont
One quarry, in fact, can produce several varieties of stone as the masons cut deeper into the mountain and find variations in color. Carrarra, Italy, for example is home to many types of Calacattas – Calacatta Regina, Calacatta D’Oro, Calacatta Bhorghini, to name a few. But when they strike a particularly clean and white section of the mountain, that stone is classified as Statuary White and sold at a premium. Because each mountain, and thus each type of stone, is unique, it can become something of a perishable commodity. A smaller mountain may produce a limited quantity of a highly-prized stone;
ger exists, unless you can find a
for a few years may actually be
once it hits the stone yards it may
yard that has a reserved or undis-
obsolete; likewise, the stone table
be bought up quickly and used in
covered stock, which is usually in
we produced for you seven years
various projects. When the quarry
small quantities. So that beautiful
ago may be impossible to match
is tapped out, that stone no lon-
sample that’s been in your library
exactly.
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STONE SPECIFICATION GUIDE
ManufacturING Selection
While any number of stipulations may direct selection of a particular stone for a specific application, there are several significant influencing factors. Among them are aesthetics, color, strength, durability, design, texture, finish, size, thickness, availability, and cost. The effects any of these factors may have on another can influence the final choice. Design considerations are nearly equal among the factors of aesthetics, strength and durability. This is particularly true of interior applications. The imagination of designers is boundless, and it is the fabricator or supplier who must counsel the design professionals as to what is feasible and what is not. On a large project, take wastage into account to make certain there will be enough material to complete the project. Material from a quarry today may be different from what was available six months ago. The criteria of the producer to select stone also vary from quarry to quarry.
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ManufacturING Water Jet
Waterjet technology is a computerized cold cutting method that can cleanly and efficiently cut stone and most materials into any two dimensional shape. Waterjet allows for complex and difficult shapes to be cut with equal ease and a high level of accuracy and precision.
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The entire cutting assembly travels along a track determined by AutoCAD electronic files. A waterjet machine has essentially two components: the x-y-z table which moves the cutting head over the material and a high intensity pump that generates 55,000 psi. The cutting head is a nozzle with a Ÿ� sapphire crystal orifice through which water is forced by the high intensity pump. A garnet abrasive is fed into the waterjet stream for stronger erosion action when cutting harder materials. Waterjet is an important breakthrough in fabrication methods for both industrial and architectural applications. Depending on the material, thickness and intricacy of the cut, the savings compared to traditional cutting methods can be substantial.
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ManufacturING Edge Profiles
Bevel
Half Bullnose
61 Double Pencil
Roman Ogee
Triple Waterfall
Pencil
Full Bullnose
Classic Ogee
Reverse Knife
Dupont
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ManufacturING Finishing
Polished Finish
Polished
A polished surface finish is shiny and reflective. This is a glossy mirror like finish. The full color, depth, and crystal structure of the stone is visible. Your stone appears darker and the colors seem richer. A polished finish seals or closes more of the pores of the stone surface, helping to repel moisture while highlighting the
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character of the natural stone and is
Design by: Visnick and Caulfield Associates
considered the finest and smoothest finish available.
High Honed
High Honed Finish A high honed surface finish is a middle of the road finish. This is a newer surface finish which has a light or a faint gloss. It is not as shiny as the polished finish nor as “matte like� as the honed granite finish. It is in between the two. SIMULATED to depict high honed finish
Honed Finish
Honed
To achieve a honed surface finish, the finishing process ends prior to the buffing stage. The result is a smooth surface without reflection. The stone will have a matte-like appearance. A perfectly honed granite finish is one without scratch marks. The finish remains flatter than a full gloss polish. SIMULATED to depict honed finish
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NOTES
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Design by: Gensler
COMMUNICATION TECHNOLOGY
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COMMUNICATION TECHNOLOGY Table Top Access
There are no more limitations for accommodating power, data, and AV in a stone table than there would be in a table topped with veneer, leather, or any other material we use. With the technological advances in the process of manufacturing stone, we do not need to compromise the details we can offer just because the top is “set in stone.” Power/data hatches, passthroughs, holes for microphones, wire chases underneath, even monitors that lift electronically out of the table — all are possible.
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Plated Steel Grommet Designed to fit into a 1¼” hole with flange raised slightly above desktop. Hand-made of the highest quality steel, highly polished, then plated, it comes with a single ½” cord slot and 1¼” diameter hole. Available Finishes: Matte Black, Satin Chrome, Black Chrome, Polished Chrome, Satin Nickel, English Antique, Polished Brass.
Solid Brass Grommets This series is ideal for fine executive desks and credenzas, conference tables and computer stations. Each grommet cap is made of solid brass and is simply beautiful. Each liner is hand-machined from solid brass tubing, a labor-intensive operation that requires several steps of polishing with different compounds followed by plating and a final polishing. Three low-profile sizes with liner going into hole 1 ⁄ 8”, 2 3⁄ 8” and 2 7⁄ 8”. The cap sits just 1⁄ 8” above the desk7
top for a trimmer, thinner appearance. Available Finishes: Matte Black, English Antique, Satin Chrome, Polished Brass, Black Chrome, Satin Nickel, Polished Chrome. Unfinished also available.
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COMMUNICATION TECHNOLOGY Table Top Access
Single Doors WallGoldfinger’s custom metal doors provides access to power/data management units mounted underneath table surface. Available in two standard sizes: 6” x 8” and 8½” x 13” with or without brush strip. Custom sizes and finishes are available when requested.
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COMMUNICATION TECHNOLOGY Table Top Access
Double Doors
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A
B
C
Retractable Doors
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COMMUNICATION TECHNOLOGY Connectivity
Plug-in Cords Communication trough with configurable power, style
D
and data capabilities (D), and has ability to accommodate multiple users at one time. It mounts flush with the table surface to maximize work space and blend into the environment. Pull-out Cords Offers convenient access to A/V and network cables (E, F). Cables are counterweighted to retract when not in use, and can be stored out of sight while remaining con-
E
nected to the system, offering a discreet way to access cables and connection points as they are needed. Pop-ups Motorized, vertically lifting enclosure for hideaway computer-video interface and connector access (G), raised and lowered using a remote control or by pressing on the top surface. The pop-up installs at an adjustable height below the tabletop, allowing the top to accommodate surface matching material. Built-in safety features prevent closing on obstructions.
G
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F
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COMMUNICATION TECHNOLOGY Microphones
Button Microphones Low profile omnidirectional and cardioid boundary layer condenser microphones designed for applications such as tele/video conferencing, recording or amplification of round table discussions and wherever the microphone needs to be as unobtrusive as possible.
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The half-cardioid polar pat-
Design by: Swanke Hayden Connell Architects
tern is aimable and assures highgain-before feedback. The high sensitivity guarantees a constant output level even from long distance sources. Elastic bearing rings achieve mechanical isolation from the mounting surface and therefore offer effective sound isolation of the microphone.
CLAM SHELL Grommet top pivots to expose microphone. Push on top to both open and close cover. The top can be brushed stainless steel, brushed bronze, black powder coat, or veneered to match the surface material. Available in either single or double microphone units.
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COMMUNICATION TECHNOLOGY Microphones
Goose Neck Microphones Specially designed for installation into tables or desks and suitable for use in discussions and tele/video conferences. The 85-mm long gooseneck provides a 4-pin female mini XLR connection to connect the microphone to the power supply which can be installed into tables or desks and provides a protection against mechanical vibration. The microphone features: cardioid polar pattern; high gain-before-feedback; flat, wide range frequency response; high-quality reproduction of speech; flexible gooseneck for optimum positioning; unobtrusive design.
TABLE BOXES Easy and flexible installation, designed to fit a 2” round hole with ¾” to 2½” table thickness. Mounting hardware is supplied to allow for a variety of table thicknesses. Can be easily configured to match customer needs, and matched to nearly any décor with black, aluminum or brass top.
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COMMUNICATION TECHNOLOGY Conferencing
RF Series Microphones Developed in direct response to interference (noise) problems effecting microphones, IP phones, hearing aids etc. by popular GSM devices such as PDA’s, cellular phones and mobile phones with two way walkie-talkie capability. With the goal of minimizing
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the number of microphones on the conference table, but also keeping in mind performance, ease of installation and aesthetics, they are designed to be placed in the middle of the conference table, and can be used for either mobile or permanently mounted using the hollow bolt and nut provided.
Conference Phones With industry-leading full duplex for natural, simultaneous two-way conversation, the conference phone delivers remarkable voice quality. Users can speak in a normal voice and be heard clearly up to ten feet away. Smart technology provides maximum microphone sensitivity, while reducing distracting room and background noise. The microphones are controlled by intelligent microphone mixing technology, which activates the microphone closest to the person doing the talking and helps reduce background noise from the other mics. A 2.5-mm jack on the side of the console lets you plug in a cell phone, handy if no landline is available, as it lets you use the conference system’s speaker and mics through a cellular connection. WALLGOLDFINGER, INC.
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COMMUNICATION TECHNOLOGY Conferencing
Flip-Over Microphones
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Flip-Over Speaker phones
Design by: Perkins+Will
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COMMUNICATION TECHNOLOGY Control Panels
Touchpanels Touchpanels offer a powerful feature set including standard built-in video, audio and ethernet; bright, high-contrast, wideangle displays; lightning-fast response and 24-bit color depth, resulting in astounding performance at a truly ground-breaking price point.
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Touchpanels offer un-
Design by: Ted Moudis Associates
matched video capabilities and graphical performance to support a host of control applications. They also offer anti-aliased 3D objects including buttons, frames, gauges and sliders. Anti-aliased
Design by: HLW
text options include standard, embossed, beveled and fringed, presenting an ideal “canvas” to create great looking designs for any application without increasing the panel’s file size or download time. Audio features include builtin amplified speakers, volume control, line-level stereo input and a microphone with automatic gain control and line-level output. The speakers may be used to amplify signals from TV and video sources, or to support programmable intercom functionality with the microphone.
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COMMUNICATION TECHNOLOGY Video Conferencing
Stone table tops work equally well in a dedicated AV/Teleconferencing room. Most AV consultants recommend a honed or high-honed finish instead of a mirror polish to reduce the glare and reflection from lights and windows.
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Design by: Gensler
Design by: Gensler
Design by: Mancini Duffy
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Design by: BHDP Architecture
Design by: Gensler
Client List Selected
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AIG, New York NY
Hogan & Hartson, Washington DC
Alex Brown & Sons Incorporated, Balitmore MD
IAC/InteractiveCorp, New York NY
Ambac Financial Group, New York NY
IBM Corporation, Armonk NY
BNP Paribas, New York NY
Jennison Associates, Boston MA
Bricklayers Union, Washington DC
Kohlberg Kravis Roberts & Co., New York NY
Bristol-Myers Squibb, Princton NJ
KPMG, New York NY
Brown, Rudnick, Freed & Gesmer, Boston MA
Laborers International Union, Washington DC
Bryan Cave, New York NY
McCarter & English LLP, Boston MA
Cadwalader, Wickersham & Taft, New York NY
McKee Nelson LLP, Washington DC
Cleary Gottlieb, Washington DC
Montgomery, McCracken, Walker & Rhoads,
Covington & Burling, New York NY
Philadelphia PA
Covington & Burling, Washington DC
Moore and Van Allen, Charlotte NC
Cypress Advisors, New York NY
Penn Mutual, Philadelphia PA
Deutsche Bank, New York NY
PricewaterhouseCoopers, New York NY
Ernst & Young, New York NY
Silver Lake, New York NY
Epstein Becker & Green PC, Boston MA
Sullivan & Cromwell, New York NY
Epstein Becker & Green PC, New York NY
The Conti Group, New York NY
FactSet, Norwalk CT
UBS/Warburg Dillon Read, New York NY
Faulding Pharmaceuticals, Paramus NJ
Vinson & Elkins LLP, New York NY
Fish & Richardson, Boston MA
Widener Building, Philadelphia PA
Goodwin Procter LLP, New York NY
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Design by: Butler Rogers Baskett FIRST EDITION
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W A L L
G O L D FINGER
7 Belknap Street, Suite 3 Northfield, Vermont 05663 P 802 | 485-6261 F
802 | 485-6267
www.wallgoldfinger.com
Š 2008