Fall 2008 Volume 31, Number 3

BSI3103_Fall08 9/16/08 2:53 PM Page a

A Publication of Building Stone Institute Fall 2008 Volume 31, Number 3

20082008 BSIBSI BYBEEBYBEE PRIZE PRIZE 20082008 BSIBSI TUCKERTUCKER DESIGNDESIGN AWARDSAWARDS BSI FullPage Template 9/10/07 11:09 AM Page 1 BSI FullPage Template 9/9/08 4:44 PM Page 1 BSI3103_Fall08 9/16/08 2:51 PM Page 2

A Publication of Building Stone Institute Volume 31 • Number 3 Fall 2008

Photo courtesy of Pei Cobb Freed & Partners Architects LLC Features Departments 6 President's Message BSI Bybee Prize 8 Awards Reception 9 Jurors 10 Henry N. Cobb: Fulfillment in Practice 60 Industry News Get to know a legendary architect whose historic works show 64 Advertising Index concern for “not just how a building meets the sky but how it meets the ground.” Cobb was awarded the 2008 BSI Bybee Prize for a career of excellence in the use of natural stone. BSI Tucker Design Award Winners 16 Ridge House Artful Design Written in Stone On the Cover: Designer: Bohlin Cywinski Jackson, Wilkes-Barre, Pa.

West Texas Hadrian limestone is the primary material used on the 2008 BSI 20 Campbell Cliffs Tucker Design Award-winning George A. Using Stone to Blend Old and New Purefoy Municipal Center in Frisco, Texas. The winning project team features Designer: Line and Space LLC, Tucson, Ariz. Building Stone Institute members Holzman Moss Architecture, 24 Glencoe Dee Brown Inc., Cold Spring Granite and TexaStone Quarries. Showcasing Stone’s Grandeur Designer: Liederbach & Graham, Architects, Chicago

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Features

28 Opus 22 Rising from the Ground Designer: Marpa Design Studio, Boulder, Colo.

Fall 2008 32 Bailey Plaza Modeling the Versatility of Bluestone Designer: Michael Van Valkenbrugh Associates Inc., Landscape Architects PC 38 Community Chalkboard A Monument to Free Expression Designer: Pete O'Shea, Siteworks; Robert Winstead, VMDO 32 Charlottesville, Va. 38 42 Atwater Commons Distinctly New England Designer: KieranTimberlake Associates LLP, Philadelphia 46 Park East Synagogue Sacred and Historic Designer: Mark Simon, FAIA, with Edward J. Keagle, AIA Centerbrook Architects and Planners, Centerbrook, Conn. 50 Seattle City Hall A City’s Hope Designer: Bassetti Architects / Bohlin Cywinski Jackson 54 George A. Purefoy Municipal Center Everything’s Bigger in Texas Designer: Malcolm Holzman, Holzman Moss Architecture, New York 50

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BSI President's Message Tucker Design Awards BUILDING STONE INSTITUTE Honor Excellence in Margie Lechowicz, Executive Vice President 551 TOLLGATE ROAD, SUITE C ELGIN, IL 60123

Natural Stone Tel: 847.695.0170 Fax: 847.695.0174 Web: www.buildingstoneinstitute.org E-mail: [email protected] INCE 1919, THE BUILDING STONE INSTITUTE (BSI) has provided support to those in the natural stone industry. BUILDING STONE INSTITUTE 2008 OFFICERS Our membership is comprised of companies and individuals representing all areas of the natural stone industry including quarriers, fabricators, installers, distrib- 2008 President Robert Barden Vice President Doug Bachli utors,S importers, exporters, service and equipment providers and design professionals. Immediate Past President Scott Buechel BSI’s mission is to provide and unite this international institute of companies, organiza- Treasurer Robert Hicken tions and others for the purpose of advancing all aspects of the natural stone industry. To Secretary Thomas Schlough that end, in 1977 the BSI established the Tucker Design Awards, named in honor of Beverly R. Tucker, a past president of the BSI. BOARD OF DIRECTORS Recognized as the stone industry’s most prestigious award, the Tucker is highly respected John E. Arnold Robert Barnes Jr. by the design/build community. It provides the opportunity to honor those who have con- Bernard Buster George Bybee tributed significantly to the world’s architecture. This issue celebrates the 2008 Tucker Design Glen Chesshir Mary Dillon Award winners. This year’s recipients were honored during our awards ceremony held in Duffe Elkins John Grubb May at the Fairmont Hotel in Dallas, Texas. Sharad Muralidhar Rob Teel Architects, landscape architects, interior designers and others who feel their work has achieved design excellence in the use and incorporation of natural stone are encouraged to PROFESSIONAL BOARD MEMBERS enter the competition, which is held biennially. Completed projects located anywhere in the Robert H. Mortensen, FASLA Barry Starke, FASLA, AICP world are eligible. The Tucker Design Awards are awarded to honor excellence in the concept, design and construction of projects that utilize natural stone including residential, commercial and insti- tutional structures; landscapes; interiors; and restoration. Memorials, landscape elements and fountains are also eligible. Detailed entry guidelines and a Call to Entry form for the 2010 awards will be posted on the BSI Web site: www.buildingstoneinstitute.org. The jury will make their selection in December 2009, and the awards are presented at a gala event the following spring. Also in this issue is BSI’s tribute to the internationally acclaimed Henry N. Cobb, FAIA, recipient of the 2008 BSI Bybee Prize. Named in honor of late James Daniel Bybee, a long BSI is a proud Member of the Natural Stone Council standing BSI member and former Board president, the prize is awarded to an individual architect or landscape architect for a body of work executed over time and distinguished by outstanding design and the use of natural stone. We hope that you enjoy this issue of Build- ing Stone Magazine and that you consider sub- mitting an entry for the 2010 Tucker Design Genuine Stone™ logo is a registered trademark of the NSC Awards.

Bob Barden 2008 President, Building Stone Institute Barden Stone Inc. Memphis, Tenn. BSI is an AIA Registered BSI is a proud Member of Provider the U.S. Green Building Council

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PUBLISHER Margie Lechowicz

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

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Awards Reception BSI Tucker Design Awards Reception Photos courtesy Carpe Vita Photography, Grapevine, Texas

HE BUILDING STONE INSTI- TUTE (BSI) held the biennial Tucker Design Awards reception at The Fairmont in Dallas in May. BSIT members, sponsors, jurors, award winners – including BSI Bybee Prize winner Henry N. Cobb – and others attended the celebration. The Tucker Design Awards were first presented in 1977. Named in honor of the late Beverly R. Tucker Jr., a BSI past president, the awards honor firms that exhibit excellence in the concept, design and construction using natural stone. Congratulations to the 2008 winners! 1

PHOTO 1: Back row: Justin Hall, Lee Lewis Construction Company, Dallas; Quade Weaver, TexaStone Quarries, Garden City, Texas; Floyd Slavens Jr., Dee Brown Inc., Dallas; Mike Morgan, Lee Lewis Construction, Dallas; Tracy Webster, Dee Brown Inc., Dallas Middle Row: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Melton, Wiginton Hooker Jeffry, Dallas; Brenda Edwards, TexaStone Quarries, Garden City, Texas: Robert Barnes Jr., Dee Brown Inc., Dallas Front Row: Malcolm Holzman, Holzman Moss Architecture, New York; George Purefoy, City Manager's Office, George A. Purefoy Municipal Center, Dallas; Robert Barnes III, Dee Brown Inc., Dallas.

PHOTO 2: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance 2 Melton, Wiginton Hooker Jeffry, Dallas, present award to Stephen Noon, AIA, Michael Van Valkenburgh Associates Inc. Also pictured: Buzz Dolph, Ithaca Stone Setting Inc., Ithaca, N.Y.; Bill Mirth, Tompkins Bluestone; Lance and Joe Dellacroce, Connecticut Stone Supplies Inc.

PHOTO 3: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Melton, Wiginton Hooker Jeffry, Dallas, present award to Richard Maimon, KieranTimberlake Associates LLP, Philadelphia, Pa.

PHOTO 4: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Melton, Wiginton Hooker Jeffry, Dallas, present award to Martin Mosko, Marpa Design Studio, Boulder, Colo.

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TUCKER DESIGN AWARD JURORS Randall C. Gideon, FAIA Co-Chairman and CEO, Gideon Toal With more than 30 years of experience in design and project management, Randy Gideon, a founding principal of Gideon Toal, provides project oversight for architecture, master planning and interior design projects. An award-winning architect, Gideon was elected to the College of Fellows of the 5 American Institute of Architects in 1999. A graduate of the University of Texas at Arlington, Gideon is a past president of the PHOTO 5: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Texas Society of Architects as well as a Melton, Wiginton Hooker Jeffry, Dallas, present award past president of the Fort Worth Chapter of to Michael Graham and Erica Weeder, Liederbach & the American Institute of Architects. Graham Architects. Also pictured: Tom Van Etten, Galloy + Van Etten Inc.; and Lance and Joe Dellacroce, Connecticut Stone Supplies Inc. Lance Melton, AIA PHOTO 6: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Vice President, Melton, Wiginton Hooker Jeffry, Dallas, present award to Wiginton recipient Henry Tom, Line and Space LLC, Tucson, Ariz. Hooker Jeffry, Architects, PC PHOTO 7: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance Lance Melton Melton, Wiginton Hooker Jeffry, Dallas, present award has served as archi- to recipient Jeffrey Jones, Bohlin Cywinski Jackson, 6 Wilkes-Barre, Pa. tect, designer, plan- ner and project manager on project types PHOTO 8: 2008 Tucker Design Award Jurors Randy Gideon, Gideon Toal, Fort Worth, Texas; and Lance including residential, religious and com- Melton, Wiginton Hooker Jeffry, Dallas, present award mercial with a focus on municipal/govern- to Peter O’Shea, Siteworks, Charlottesville, Va. ment projects.

PHOTO 9: 2008 Tucker Design Award Jurors Randy Melton received his bachelor of archi- Gideon, Gideon Toal, Fort Worth, Texas; and Lance tecture from Texas Tech University and is a Melton, Wiginton Hooker Jeffry, Dallas, present award registered architect in the state of Texas. to Sergei Bischak, AIA, Bohlin Cywinski Jackson, Seattle, Wash. His professional affiliations include Ameri- can Institute of Architects and Texas Recre- ation and Parks Society (TRAPS). With offices in Dallas, Austin and Hous- ton, WHJ – where Melton is a vice president – has provided architectural services 7 for more than 30 years.

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Photo courtesy of Pei Cobb Freed & Partners Architects LLC HENRY N. COBB Fulfillment in Practice By Mark Haverstock

GETTING TO KNOW A LEGENDARY ARCHITECT WHOSE HISTORIC WORKS SHOW CONCERN FOR “NOT JUST HOW A BUILDING MEETS THE SKY BUT HOW IT MEETS THE GROUND.”

– HENRY N. COBB

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HENRY N. COBB'S DESIGN LEGACY

Major built works for which Henry Cobb has been principally NTERNATIONALLY it’s about the intentions of the responsible as design partner include: Royal Bank of Canada Building ACCLAIMED ARCHI- institution that’s being housed. at Place Ville Marie, Montreal (1962); Academic Campus of the State TECT HENRY N. COBB, His definition of place incor- University College at Fredonia, New York (1968); John Hancock Tower, FAIA, is the recipient of the porates the particular physical Boston (1976); World Trade Center, Baltimore (1977); Collins Place, 2008I BSI Bybee Prize. One of the context of the building. “Again, Melbourne, Australia (1978); 16th Street Transitway Mall, Denver three founding principals of Pei that includes a concern about the (1982); Johnson & Johnson World Headquarters, New Brunswick, New Jersey (1983); Mobil Research Laboratory, Farmers Branch, Cobb Freed Partners, he has precise circumstances of the con- Texas (1983); Arco Tower, Dallas (1983); Portland (Maine) Museum of actively and continuously context and the more general circum- Art (1983); Pitney-Bowes World Headquarters, Stamford, Connecticut tributed to the firm’s extraordi- stances of the place – the city and (1985); Fountain Place, Dallas (1986); Columbia Square, Washington nary design work since its the culture in which the building (1986); Commerce Square, Philadelphia (1987); U.S. Bank Tower (for- formation. During his career, is being built,” Cobb says. “So I merly Library Tower), Los Angeles (1989); Headquarters of Credit Suisse First Boston at Canary Wharf, London (1992); Anderson Grad- spanning nearly six decades, he would describe myself as being a uate School of Management at the University of California, Los Ange- has served as the principal design situationist.” les (1995); Headquarters of the American Association for the partner on more than three dozen Advancement of Science, Washington (1997); John Joseph Moakley major commissions, either com- Legacy in Stone United States Courthouse and Harborpark, Boston (1998); Head pleted or underway in the United For Cobb, the real pleasure of Office of ABN AMRO Bank, Amsterdam (1999); China Europe Inter- national Business School, Shanghai (1999); POS Plaza, Shanghai States, Europe, Asia and Australia. natural stone is derived from its (1999); and the College-Conservatory of Music at the University of At the 2008 Tucker Design solidity and thickness. “Some of Cincinnati (2000). Awards ceremony in May, architect my favorite stone buildings are Recently completed works include: Friend Center for Engineering Malcolm Holzman, the first BSI from Greece, from Ancient Greek Education at Princeton University (2001); 2099 Pennsylvania Avenue, Bybee Prize winner, introduced architecture to Romanesque to Washington (2001); Tour EDF at La Défense, Paris (2002); United States Courthouse, Hammond, Indiana (2002); World Trade Center Cobb by reading from a recent the Renaissance,”he says, pointing and Grand Marina Hotel, Barcelona (2002); National Constitution Cen- piece written by Hilary Mantel. out that these works are powerful ter, Philadelphia (2003); Center for Government and International The essay ended with Mantel ask- because they combine the extra- Studies at Harvard University (2005); Hyatt Center, Chicago (2005); ing her husband, a geologist, to ordinary richness of natural stone and the International Monetary Fund Headquarters 2, Washington identify the material of a treasured with human imagination. “Up (2005).

icon. To do so, he tasted the icon until modern times, stone was Photo courtesy of Carpe Vita Photography, Grapevine, Texas and announced that it was slate by used as a solid material – block on saying,“I can taste the clay.”Holz- block.” man drew a comparison by indi- Cobb notes there is very little cating that Cobb could taste the opportunity to do that today. clay. “In fact,” Holzman said, “he You’ll only find a very few exam- has perfect taste in a selection of ples of where he’s been able to use materials that ranges from glass stone as a solid block. “Generally and metal to natural stone.” this is not on the exterior but rather in the interior details like in Situation Architecture the Boston Federal Courthouse,” When it comes to design, Cobb he says. “Stone is a material for OPPOSITE LEFT: Fredrickstadt Passagen, Berlin, office/retail/apartment complex isn’t inclined toward theory. “My stairways and stair rails where one exterior. work is not shaped by ideology or has an opportunity to use stone as ABOVE: Shown here with Henry N. particular theoretical principles,”he a solid that can be carved.” Cobb (second from left) are (left to right) explains.“My work is more shaped During Cobb’s lifetime as an George Bybee, vice president of Bybee Stone Company and brother of James by my concern about the particu- architect, the use of stone has Daniel Bybee; Bob Barden of Barden larities of program and place.”By been substantially revolutionized Stone and 2008 BSI president; and Devin Bybee. The award is an artistic program, he means what purpose by the changes in technology of representation of one of Cobb's more a building is serving – and that stone fabrication. New methods recent works, the staircase at the U.S. Courthouse in Boston. Sculpted by Mike means more than just functional were developed that allow stone Gomez, a stone carver at St. Louis Stone program. It also means how an to be sliced into thicknesses of and Supply, the piece is carved from Indiana limestone as a tribute to the institution, be it a corporation, about two inches or less. This Bybee Stone Company, fabricators of museum or university, should rep- modern attitude toward stone is Indiana limestone. Photo courtesy of Carpe Vita Photography, Grapevine, Texas Grapevine, Vita Photography, courtesy of Carpe Photo resent itself in the world through something that he resisted early LEFT: Henry N. Cobb delighted the architecture. He interprets pro- on in his professional life. Howev- audience at the 2008 BSI Tucker Design Awards ceremony with a retrospective of gram broadly in that sense – it’s er, most of the buildings that he his work. not just about functional program, has designed in recent years utilize

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Prize incorporate a significant amount of natural stone. “It is especially gratifying to us that three of our buildings have received the IMMC/AIA Marble Architectural Award and nine have received the Building Stone Institute’s Tucker Design Award.”

BSI Bybee National

Photo courtesy of Pei Cobb Freed & Partners Architects LLC & Partners Architects courtesy of Pei Cobb Freed Photo Constitution Center One recent example of this ABOVE: Fredrickstadt Passagen, Berlin, thin stone as a surface material, stone clad construction from office/retail/apartment complex exterior at night. not a construction material – a Cobb’s portfolio is the National kind of cladding hung on a frame. Constitution Center in Philadel- 1 “Now you can even get stone a phia, which utilizes 2 ⁄2-inch 1 quarter of an inch thick that’s Indiana limestone and 1 ⁄4-inch mounted on an aluminum hon- Chelmsford granite, both handset eycomb,”he says.“That has invit- on steel frames and concrete. The ed the use of stone as a pure sur- building serves as a history muse- face material – you can see several um, standing at the northern end examples of that in my work.” of Independence Mall, opposite Cobb notes that more than Independence Hall, where the 100 of his firm’s built works Constitution was signed in 1787.

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HOW IT ALL STARTED

The structure’s open porch American flag suspended at its define the three zones of activity Cobb was born in 1926 in Boston, welcomes visitors and presents center and the flags of the 50 states along this nearly one-mile long Mass. He was educated at Phillips them with views into the muse- arranged nearby. Here, looking corridor. First is a 22-foot-wide Exeter Academy, Harvard College um and out to the modern city. back across the Mall, the National central promenade with trees that (1947) and the Harvard Graduate Transparency is key to this design. Constitution Center visually con- shade without blocking visibility School of Design (1949). He has received honorary degrees from It emphasizes the responsiveness nects with Independence Hall, or access to shopping areas. This Bowdoin College Doctor of Fine Arts and openness essential for free- continuing and celebrating our pedestrian area is flanked by 10- (1985) and the Swiss Federal Insti- dom and self-government, while country’s story, which began more foot-wide bus paths and expand- tute of Technology Doctor Honoris the building’s diagonal geometry than two centuries ago. ed 19-foot sidewalks. Specially Causa in Technical Sciences (1990). speaks dynamically of the Consti- designed lanterns light the mall Cobb served in the U.S. Navy (active tution’s capacity to shape – and be Urban Carpet for dusk, night and after-hours duty) from 1944–1946 and in the shaped – by the society it governs. One of Cobb’s favorite projects security. U.S. Naval Reserve, 1944–1961. A visit to the museum begins utilizing stone is the 16th Street This space incorporates land- in the theater in-the-round, which Transitway Mall located in the scaping and street furniture, but also serves as a national town hall center of Denver, Colo. “It’s the the main component is 7.8 acres for televised presidential debates main shopping street of the town, of rich-patterned granite – pavers and other significant events. Next, and the idea was to take this con- of charcoal gray, light gray and visitors view a series of interactive gested, unattractive street and Colorado red that articulate the exhibitions designed to present the transform it into a pedestrian zones in a rattlesnake-like pattern. Constitution to people of different street with electric shuttle busses,” “The idea of the stone paving ages and backgrounds in a way Cobb says. “I like it because it there was to create an engaging that is individually meaningful. enlivens a public space.” surface to walk on – a kind of Visitors ultimately emerge into a The 80-foot-wide mall uses urban carpet,”he says. “It’s using sky-lit ceremonial hall with the paving, lighting and planting to stone to create an ornamental

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Prize surface.”Cobb notes that this is an widely and has held the Daven- unusual application of stone in port and Bishop visiting profes- the United States – yet is found sorships at Yale University. From more commonly in Europe. 1980 to 1985 he served as studio professor of architecture and Committed to Education urban design and chairman of the Throughout his career, Cobb Department of Architecture at the has coupled his professional activ- Harvard Graduate School of Photo courtesy of Pei Cobb Freed & Partners Architects LLC & Partners Architects courtesy of Pei Cobb Freed Photo ity with teaching. He has lectured Design, where he continues to

BSI Bybee participate as a visiting lecturer. In 1992 he was Architect in Resi- dence at the American Academy in Rome, which he also served as a trustee from 1972 to 1990. “I have a commitment to education because architecture, unlike many fields, fulfills itself in practice,” Cobb explains. “The research in architecture takes place through practice; research in the sciences takes place in the laboratory. For that reason, I believe it’s important to join practice to education.” He believes that it is particularly important that practicing architects get involved in teaching, because that can help students make a connection between learning and practice in the real world.

Awards and Honors Cobb, an internationally acclaimed architect, is a Fellow of the American Institute of Architects; a Member of the American Academy of Arts and Letters; a Fellow of the American Academy of Arts and Sciences;

THE BSI BYBEE PRIZE

Named in honor of late James Daniel Bybee, a long standing BSI member and former Board president, the prize is awarded to an individual architect or landscape architect for a body of work executed over time and distinguished by outstanding design and the use of natural stone. Past BSI Bybee Prize winners include architects Cesar Pelli, FAIA; and Malcolm Holzman, FAIA; and landscape architects Paul Frieberg and Lawrence Halprin.

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Photo courtesy of Pei Cobb Freed & Partners Architects LLC and an Academician of the tectural Education, awarded joint- Halls, Princeton University. An OPPOSITE LEFT: ARCO Tower, Dallas, lobby with Herbert Bayer sculpture. National Academy of Design. ly by the Association of Collegiate office tower at 800 West Broad- He has received a number of Schools of Architecture and the way, San Diego, is scheduled to ABOVE: National Constitution Center, Philadelphia, ceremonial hall. awards recognizing his achieve- American Institute of Architects. begin construction in 2008. ments as both architect and educa- “Henry is the quintessential tor: the Arnold W. Brunner Works in Progress architect’s architect. Quiet, unas- Memorial Prize, awarded by the Cobb continues to contribute suming and brimming with tal- American Academy of Arts and to his firm’s design work. Current ent; his work is impeccable. He Letters; the Poses Creative Arts projects include Torre Espacio, represents the pinnacle of the Award Medal for Architecture, Madrid; headquarters expansion architecture profession,” says Brandeis University; the Harleston of the Organisation for Econom- Harold Roth, FAIA, partner with Parker Medal, Boston Society of ic Co-operation and Develop- Roth and Moore Architects in Architects; the Medal of Honor, ment, Paris; headquarters of the Connecticut. New York Chapter, AIA; the Chica- Federal Reserve Bank of Kansas Mark Haverstock is a freelance writer go Architecture Award, Illinois City; New Seat of the Lombardy in Boardman, Ohio. He has published Council, AIA; and the Topaz Regional Government, Milan; more than 500 magazine articles on a Medallion for Excellence in Archi- and Butler College Residence variety of topics.

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RIDGE HOUSE Artful Design Written in Stone

By Gail Snyder

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HAT DO AN a very contemporary look,” says AWARD-WIN- Jeffrey L. Jones, project manager NING RESI- for Bohlin Cywinski Jackson. DENCE in rural “The problem we ran into right WCanada and a remote Swiss vil- away, however, was that when you lage spa have in common? They use cut stones, some of them look share a material that is the very plain. But the Vals quartzite essence of their design – Valser has a very contemporary tactile quartzite, often referred to in quality. We could use variations in North America as Vals stone or size and scale to create special Vals quartzite. Quarried from moments throughout the house.” the mountains surrounding the Stretched along a narrow small village of Vals, Switzerland, ridge (hence its name), the the stone buttresses one of the Ridge House’s long dimensions town’s major industries and is and vast windows allow an mandated by law as the sole almost panoramic view of the roofing material for every build- surrounding tree-covered acres ing there. So treasured is this and the valley below. The two- mineral, that only the specialists walled Vals quartzite core of the in Vals are allowed to fabricate building offsets the functional the stone before exportation. areas such as bathrooms, closets Architect Peter Zumthor and kitchen from the more designed and constructed the leisurely living areas. Therme Vals spa in Vals (1992- “The stone is a linear bar of 1996), with this native stone as two walls that run the distance its primary material. The site has of the house, and within that since become a Mecca and inspi- zone the floors are also stone, ration for architects around the whereas the flooring is maple in world. the rest of the house,”Jones says. raphy,” the architects of Ridge “It’s the best example I can “We used the stone to define House protected the pristine PROJECT think of where a very unique flow and function.”Openings in nature of the landscape. “The design drove the success of a pro- the core walls provide access to entire structure of Ridge House TEAM ject, and frankly, the health of a the surrounding living spaces seems as though it just rises village,”says James Durham, pres- and bedrooms of this approxi- from the ground,”Durham says. Designer ident of Quarra Stone in Madi- mately 6,000-square-foot home. “The design of the house Bohlin Cywinski Jackson, Wilkes-Barre, Pa. son, Wisc. “The building, having The single-slope roof of the reflects a desire to give every Stone Installer so much stone, serves as a giant dwelling encourages inhabitants room a view of the valley. I Rob Niezen Masonry Inc., Canada showroom where architects, after toward the large glass panels and would say that the linear stone seeing just a portion of it, can the scenery beyond, a view core anchors the house to the Stone Distributor visualize their own designs.” extended by a large wooden deck ridge and clearly organizes the Quarra Stone Company LLC, Madison, Wisc. Durham’s company holds exclu- overlooking the valley below. spaces inside,”Jones adds. sive distribution rights for Vals Jone says the design called for The 300 tons of stone used in Stone Quarry stone throughout North America. wood since the construction site Ridge House include two massive Vals Quartzite, Balma, Vals/Switzerland The serene aesthetics of the was sensitive. “Being at the crest chimney stacks that accommo- spa inspired Peter Bohlin, design of a hill, we were limited as to date five fireplaces, including sev- principal with Bohlin Cywinski how far we could extend the deck eral back-to-back.“Vals quartzite Jackson in Wilkes-Barre, Pa., over the edge,” he explains. “We has fantastic tensile strength and when he envisioned the unique could float out over the crest, but the long linear construction of core of the Ridge House in rural using a material that was light Ridge House takes advantage of Canada, a residence resonating that didn’t disturb the site was the that,” Durham says. “It’s very with the subtle beauty of this cen- only solution.” strong in thin sections, but they turies-old stone that acts as a nat- Just as Zumthor designed also used some massive pieces.” ural canvas for light and shadow. Therme Vals to exist “in harmo- For example, the fireplace hearth “We wanted Ridge House to have ny with the surrounding topog- and lintel are formed of large

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Written in blocks of unreinforced Vals quartzite, an artful impact made possible by the stone’s flexible strength. Massive pieces are also used in the three monolithic stone benches strategically placed about the landscape, so large that each bench weighs up to 10 tons.“Terraces and walkways of Vals quartzite choreo- graph the entry sequence to the home and are used to sensitively stitch the building into the natural landscape,”Jones says.

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Vals stone, described as a “fine-grained, massive, slated micaceous quartzite,”typically presents in thin slabs with bandings of color ranging from green, to blue gray, to whites. This is not a temperamental stone. It is stoically resistant to a range of temperatures and applications such as staircases, flooring, walls, roofing tiles, artisan bowls and artwork. “Even though we used a cut stone, you can actually see some of the blade marks from the machining, so there is a lot of variation in the stone that is just the right amount both from a distance as well as up close,” Jones says. “Much of our work explores the nature of materials, and of how things are built – whether it’s wood, steel or stone. The character of this particular stone reveals a rich story of the forces that formed it.” “The architects ensured that every single detail of that house was perfect. The stone in Ridge House is the result of painstaking perfection. It is used so simply, but simplicity is the most difficult thing to achieve,”Durham says. The combination of wood, glass and – as Durham says – “stone being stone” without the additional artifices of manmade decoration has resulted in a striking profile with elegant lines. Ulti- mately, Ridge House demon- strates the magnificence that can be achieved through restraint. Gail Snyder is an Atlanta-based freelance writer and editor.

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USING STONE TO BLEND OLD AND NEW Timeless in Tucson

By Nancy Moreland

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ITH THE SAN- laborers were designated to min- TA CATALINA imize disturbance to the site. MOUNTAINS as The careful placement of the a dramatic back- home in its surroundings takes dropW and bustling Tucson, Ariz., advantage of the stunning land- in the valley below, the house scape. Situated in bedrock below a known as Campbell Cliffs strikes shear south mountain face, a balance between the ancient Campbell Cliffs “grew out of the and modern worlds. In its time- site . . . it is only about eight feet less desert setting, the remark- above the highest part of the site,” able residence blends the time notes Tom, adding, “We could honored beauty of natural stone have worked differently, but that with contemporary design. Cre- would have destroyed the setting.” ated for a client who desired expansive entertaining areas and Indigenous Inspiration personal privacy, this striking The client’s desire to integrate home received a 2008 Tucker the house into its environs made Design Award. stone the perfect material for this “We ran stone from the exteri- project. Campbell Cliffs incorpo- or to interior to blur the distinc- PROJECT Evolving Over Time rated 14,000 square feet of tion between those spaces,” Tom Designed and built by the Coconino sandstone from Dun- says. The entry space is a case in TEAM Tucson architectural firm, Line bar Stone Company’s Ash Fork, point. It is divided from the exte- and Space LLC, the 31,000- Ariz., quarry. Dunbar Stone also rior by glass, but the walls “soar Designer square-foot Campbell Cliffs was maintains a stone yard in Tuc- from the inside and outside.” Line and Space LLC, Tucson, Ariz. seven years in the making. Les son. This facilitated the steady Stone Installers Wallach, AIA, served as lead pro- supply of sandstone required for Crafting a Masterpiece Line and Space Construction, LLC ject designer. Bob Clements, AIA, the job. Once the stone was Although Tom describes Cuong Tuong, Mason was project architect and con- delivered, it was hand carried to Campbell Cliffs as a very complex Tellez Masonry, Tucson, Ariz. struction superintendent. Line specific construction areas to project, the home’s stonework Stone Suppliers and Space Principal Henry Tom, protect the fragile desert land- didn’t present major obstacles. Dunbar Stone Company, Ash Fork, Ariz. AIA, served on the design team. scape. The indigenous sandstone “We use stone whenever appro- According to Tom, the design “works with the site visually and priate on our projects, so our and construction time frames blends in with the red stone cliffs masons are very familiar with the were influenced by the client’s above the house,”Tom says. The material,” he says. An additional wish to preserve the existing home’s use of reddish-brown advantage was that Coconino landscape of the 20-acre proper- Coconino sandstone echoes the sandstone is relatively easy to ty, which abuts on Coronado cliff’s coloration. work with. Dunbar Stone Com- National Forest. Clements noted Essentially, the home is a steel pany cut, processed and palletized that Line and Space ordered a and masonry structure. The three- the sandstone to the architect’s detailed survey on six of the 20 inch thick sandstone veneer interi- specifications, but a great deal of acres. The survey indicated every or and exterior walls are reinforced onsite fitting was a necessary part cactus, any major vegetation and with ties. Ties are flat galvanized of the masonry process. rock outcroppings. strips of metal that help hold the Bob Clements, AIA, “We worked within tight stone to the masonry. explains one challenge of construction limits, building Aside from its beauty, warmth working with sandstone and its from the middle out to the dri- and permanence, Coconino sand- resolution. “We had difficulty veways. The house was designed stone was a winner from a design getting the pattern we wanted, around major stone outcrop- standpoint. What most people so we took a trip to Dunbar pings and hardly any (post-con- first notice about Campbell Cliffs quarries. The interesting thing struction) re-vegetation was is how naturally it fits into its sur- we learned was the way they required. The landscape you see roundings, as if it had occupied quarry this stone – they go into now is what was there when we this space for generations. Natural the forest and pick it up off the started,” Tom explains. During stone was of paramount impor- forest floor. The larger stones construction, specific trails for tance in achieving this effect. were weathered and lichen-

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covered. We ended up flipping between the clean lines of the them over because the bottom contemporary work that we do surface was flatter and cleaner. and the stone, which some peo- Also, we had Dunbar revise the ple view as a rustic material. way they were breaking the This approach allowed us to stone so that the horizontal integrate stone into a contem- pieces were flat-faced breaks porary design in a way that was rather than rounded edges.” complementary.” Line and Space master mason For Line and Space, working Cuong Tuong collaborated with with stone has been a good Tellez Masonry on the stone experience. The company con- veneer walls, decks and benches. tinues to investigate new ways to The seamless appearance of the use stone in its designs.“Stone is craftsmanship is the result of sev- a beautiful material that adds eral factors. At the project’s onset, warmth and character to a facil- the architects evaluated different ity and blends the structure into sandstone shapes and patterns. the site,” Tom says. While he They then built a sample wall at conceded that working with the Line and Space office. The stone isn’t always easy, “It’s cer- masons used that model as a tainly worth it, once you see guide during installation, always what stone can do.” mindful of balancing Coconino The timeless splendor of sandstone’s color variations. Campbell Cliffs stands as an Clements, who oversaw the enduring example of what can masons’ work, recalls that “keep- be accomplished with natural ing track of the pattern and stone, good design and skilled maintaining a consistent pattern craftsmen. required ongoing attention.” Nancy Moreland of ConveyMore “The masons selected and Communications writes on a variety fitted the stone within our tol- of topics. She has long appreciated erances,” Tom adds. “Keeping the Southwest’s unique beauty and the joints within strict toler- the enduring quality of natural stone. ances was key to the stone’s Nancy may be reached at monolithic appearance. Uni- [email protected]. form joints created a balance

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SHOWCASING STONE’S GRANDEUR AT GLENCOE To the Manor Born

By Nancy Moreland

PROJECT TEAM

Designer Liederbach & Graham, Architects Chicago, Ill. Stone Installers Jacks Masonry, Crystal Lake, Ill. Masonry by Fernando, Rondout, Ill. Stone Suppliers Connecticut Stone Supplies, Milford, Conn. Cleveland Quarries, Amherst, Ohio Evergreen Slate Company Inc., Granville, N.Y. Galloy and Van Etten, Chicago, Ill. Jay Sackett Associates, Skokie, Ill.

ITH HAND CUT tects, of Chicago, its story unfold- designers’ vision to create a high LIMESTONE ed as gradually as a Victorian level of craftsmanship and detail. AND GRANITE novel. During three years of con- Stone played an integral role in WALLS, a slate struction, its creators – including defining that vision. Wroof and five different chimneys, Dennis Smalley, Builders and Project architect Erica Weeder the Glencoe residence could be superintendent Stephanie Ruder with Liederbach and Graham, mistaken for a venerable English – experienced the rewards and Architects, supervised the daily manor. It stands regally, however, challenges of using stone in ways construction details. “Stone was 20 miles north of Chicago in the that will inspire for generations. used for its quality and character,” lakeside suburb of Glencoe. The result blends Old World she says. The homeowners, Although Heathcliff would feel craftsmanship with 21st century according to Weeder, valued comfortable among the English technology. stone’s permanence and tactile Arts and Crafts inspired architec- quality, but their interest was ture, the house was built just four The Vision grounded in an appreciation of years ago in an elegant neighbor- Like most love stories, this one stone’s aesthetics. hood of established homes. began with an attraction. The Recipient of a 2008 Tucker homeowners’ passion for Arts Overcoming Challenges Design Award, the Glencoe resi- and Crafts architecture took them The structure utilized stone in dence is an anomaly among to England. Along with their so many architectural elements, it modern production-style homes. design team, they toured houses is a testament to what can be Designed by Michael Graham, around the Midlands and Surrey accomplished with exceptional Liederbach and Graham, Archi- regions. The experience fueled the materials and craftsmanship. For

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the home’s exterior, the architects inating from a single Connecti- combined coursed pitched-faced cut quarry. Williamson explains granite walls with cut Silverdale the exacting requirements: “The limestone trim and window sur- granite had to be sawn on all rounds. Chosen for their resem- four sides, to approximately 52 blance to Cotswold stone and different heights and couldn’t Cumbrian granite, the materials exceed five inches in bed depth. withstand harsh winters. It was then hand chiseled to a The exterior walls were rock face. We couldn’t use pro- arguably the most labor intensive duction methods, so we worked facet of the project. To create a in sequence and built from the pitched appearance, stone work- bottom up.” Job specifications ers cut each piece of granite into a made it necessary for Connecti- regular shape before rendering the cut Stone to purchase a Python stone face into a convex form. Saw with a 78-inch saw blade. Done by hand, the work took Connecticut Stone Supplies nine months and presented prob- did the work in-house to stay on lems.“Sometimes stone splits out schedule. “Our main concerns with a concave face or edges that were time frame and supplying are too sharp,”Weeder says. Quar- material,”Williamson says. Gran- ried in Kansas, the limestone was ite takes longer to quarry in win- cut, then carved and scraped ter, another time waster. Despite smooth to form precise window pressures, Williamson says the surrounds, trim and “shoulder” result was worth it: “I’ve been in transition areas for the chimneys. the industry 22 years and I’ve The architects utilized AutoCAD never seen anything like this.” mock-ups and endeavored to From a business standpoint, control all elements – from mor- the project was successful. “We Stone & Rock Supply, Inc. tar color to hand pitching. A heat- knew what we were getting into, ed Quonset hut was erected onsite we priced it accordingly, and the Providing a large selection of 2818 Lombardy Lane to help mortar bond properly and architect had great drawings,” all natural stone, gravel, and Dallas, TX 75220 to protect stone from freezing Williamson says. Teamwork soils for your building and Phone: 214.350.6781 temperatures. helped, too. “The end users real- Project administrator Jim ized the time involved to saw and landscape needs. Fax: 214.350.6818 Williamson of Connecticut rock-face stone.”This understand- Stone Supplies, concurs with ing extended to the homeowner Weeder’s assessment of the as well. “He was interested in process. His company supplied knowing about stone and the Hampton Blend granite – a mix processes involved, and he visited of several granite colors, all orig- the stone yard.” www.chesshirstone.com

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In addition to exterior walls, the flooring appears again in wine from areas outside Illinois, which Connecticut Stone furnished cellar pavers and staircase treads. sometimes slowed the stonework- Hampton Blend granite for pool French limestone also graces the ers’ progress. And hoisting huge area walls, columns and the chim- dining room’s nine-foot dueling pieces of stone 70 feet in the air to neys. The chimney bases are fireplaces and mantels. install chimneys required extreme Hampton Blend; upper portions care. Such obstacles were over- are Cushwa Brick with Silverdale An Old World come because of teamwork and limestone caps; and the transi- Approach to New the architects’ involvement.“If we tions are also made of Silverdale. Home Construction had questions, the architects were The Glencoe home would not always there. They’re the best Showcasing Stone exist were it not for the Midwest’s architects I’ve ever worked with – Silverdale limestone was select- vibrant craftsman tradition. Talent- they have vision and they know ed for the trim and window sured masons, stone cutters, carvers what they’re doing,”Sit says. rounds because it resembles Eng- and setters brought the architects’ A project of this scope lish Bath Stone. Vermont slate was vision to life. This artisanal demanded the cooperation of used on the roof and Ohio Berea approach to construction is appar- many professionals from varied Sandstone slabs were chosen for ent – from iconography carved backgrounds. Their shared vision exterior pavers, pool deck and into fireplaces, to graceful granite was an appreciation for stone’s coping. Sandstone was chosen for columns, to the rooftop gargoyle enduring beauty and a willingness its resistance to mold growth and statues watching over the premises. to bring that beauty forth into a warm “sandy beach” appearance, Jacek Sit, owner of Jack’s functional, finely crafted home. Weeder says. Masonry, and his team of six Nancy Moreland developed an Natural stone is also evident men, installed the interior and admiration for stone architecture throughout the home’s grand exterior stone. From an installer’s while touring Scottish castles. Nancy interiors. The French Poiseul perspective, the project presented may be reached at Jaune limestone used in much of challenges. Stone was transported [email protected].

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RISING FROM THE GROUND Opus 22

By Martha Barksdale

T TAKES MORE WORK, time the home was under con- stone weighed in at 47 tons and NOT LESS, to create a struction, requiring coordina- another 43 tons. He says he landscape that seems to tion with the builder. believes them to be the largest have naturally evolved Pennsylvania bluestone, gran- single stones ever shipped in one Iover time. That was the goal for ite and Colorado moss rock were piece in Colorado. Opus 22, Marpa Design Group’s used in the landscape of Opus 22, Installing them was a true award-winning plan for the Mosko says. The homeowner has challenge, Striggow and Mosko landscape at this Genesse, Colo., a special affinity for moss rock, recollect. “The main road to the estate. The owner of the spectac- and it was utilized at his request. site is very curvy, and then the ular Colorado mountain home Colorado moss rock is sandstone drive up to the property is quite wanted a landscape that made it covered in lichen – hence the narrow,”Mosko relates.“We had seem as though both the garden name, says Jim Striggow, owner to back lowboys up in there and and the house arose naturally of Stone Wholesale Corp. in Fort use large cranes.” from the environment, as Collins, Colo., and the supplier of Striggow remembers the though they had always existed – stone for this project. Striggow installation with relish.“We had a crafted by nature out of stone. says the stone has been weathered good time with those huge cranes “As the landscape architects, – “carved by the elements” – and and rigging crews,”he says. our firm worked with the archi- lends a “designed by nature” look Special permits had to be tects to find stone available both to any landscape. The seven col- obtained by the trucking com- as boulders and as veneer for the ors of lichen combine to make pany to move the wide load. house walls, pillars and retaining gorgeous combinations of colors, Chase cars with flashing lights wall facings,”says Marpa owner he says. led the way up the mountain, Martin Mosko. “This coordina- The importance of stone to Striggow says, noting it took PROJECT tion enabled us to achieve the this landscape is established at about four hours to get the organic connection between the entrance to the drive, where boulders from the original site to TEAM house, garden and environ- gigantic boulders were set as the property. Designer ment.” Mosko named the pro- sentinels, giving a feeling of The true majesty of the stone Marpa Design Studio, Boulder, Colo. ject Opus 22 since it is his 22nd grandeur upon entering the is realized in the landscape on the work of landscape composition. property. Mosko says the Col- west side of the home: The house Stone Supplier: The rugged terrain was the orado moss rock boulders set looks out over a 16-foot deep Marpa Design Studio, Boulder, Colo. biggest challenge, Mosko says, the mood for the rest of the swimming pool which appears to noting how difficult it is to move entry garden, which is based on be a natural mountain lake Stone Installers and set rock on steep slopes. a mountain woodland. formed at the base of a river and Stone Wholesale, Fort Collins, Colo. Another challenge: the landscap- Striggow calls the entryway large waterfall. The pool’s disap- Albert Frei, Henderson, Colo. ing was taking place at the same boulders “two monsters.” One pearing edge leads the eye out to

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the view of the Continental Divide in the distance, connecting the built landscape with the natural environment, Mosko notes. The stone work in this area begins at the south side, where a bluestone patio is surrounded with the sight and sound of water in a stone-laced watercourse. The river flows from a pond near the drive, makes several falls and turns, and embraces the patio. Below the patio, giant moss rock boulders dominate, channel- ing the waterfall and creating their own inspiring view. Setting the stone for this dramatic waterfall had to be done twice. “We set each boulder the way it should sit in the final design; carefully mea- sured, labeled and photographed it; then disassembled the entire mass of stones to be stored at another area on site. Then the pool was made, the 20-foot west- ern retaining wall built, and the mountain on the south end begun. Only after that portion of the landscape was completed

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could we pour the concrete tainment space and to comple- under-structure and return the ment the stone of the waterfall. boulders to their proper places in The 10-foot stone wall and stairs the landscape,” Mosko says, not- leading to the pool are built to ing this took a month during the match the granite on the house year-long project. and pillars, making the house Pennsylvania bluestone pro- appear to grow out of the vides a natural touch around the ground. “The rock used on the pool. To support the sense of a house was chosen by Sears Bar- naturally occurring mountain rett, the architect,” Mosko says. lake, the landscapers set stones at “We used the same masons and the edges and even in the pool same stone resources to build itself. These soften the edges of the the masonry parts of the swim- poured concrete pool and provide ming pool.” ledges and seating for those who This design pulls off the diffi- just want to sun themselves. cult reconciliation between func- “The waterfall begins outside tionality and beauty, largely the kitchen window,”Mosko says. through the use of natural stone, “It is made of local moss rock. As Mosko adds. The landscape has the river descends, the boulders received awards from associations become larger and gradually mix of both contractors and of land- with granite boulders. These same scape architects; it has been fea- granite boulders surround the tured in several national maga- entire swimming pool. Inside the zines and been called one of the pool we used rounded, glaciated, best modern pools in America. boulders.” Martha Barksdale has written articles The northern end of the pool for numerous publications. She is a is edged with a Pennsylvania graduate of the University of Georgia bluestone patio to provide enter- and lives in the Atlanta area.

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BAILEY PLAZA MODELS THE VERSATILITY OF BLUESTONE Bailey Plaza, Cornell University

By Gail Snyder

UTTING GARDENS In 2004, the university con- hues ranging from lilac, purple, AND GRAZING tacted Michael Van Valkenburgh blue gray, blue green, even dark lands for livestock of Michael Van Valkenburgh chocolate, and some bluestone once surrounded Associates Inc., a landscape takes on a rust color due to CBailey Hall, the central build- architecture firm based in New ancient reeds oxidized within it. ing of Cornell University’s York City with 20 years of presti- “For this project, we weren’t Agriculture Quadrangle, but gious experience in designing, looking for the pristine or as the years rolled by the auto- building and restoring land- monotone colors which are typ- mobile arrived, causing much scapes. A Cornell alumnus, Van ically used,” Noone says. “We of the agrarian scenery to be Valkenburgh is also a native of specifically wanted every color consumed by concrete parking the region’s Catskill Mountains that was available.” spaces. From classrooms over- where he became fascinated by That requirement meant looking the one-acre lot, pro- and familiar with Ithaca’s multiple trips to Tompkins Blue- fessors and students of the breathtaking gorges punctuated stone in Hancock, N.Y., which landscape architecture depart- by stone outcroppings. supplied all of the stone for the ment peered out on the “We won the project with a project – approximately 7,000 asphalt sea that lapped almost design based on using natural square feet of thermal finish and to the grand entrance of the local stone, which is New York 15,000 square feet of natural building they viewed as a cul- bluestone, for the plaza pave- cleft. “The architect wanted a tural focus of the campus. ment and the stone outcrop very distinct difference between They envisioned a better set- water feature,”Noone says. “The the thermal and the natural ting. Yet, for decades the Bailey fountain’s outcrop certainly was- cleft,”says Bill Mirch, a vice pres- Plaza project remained mired n’t meant to imitate nature, but ident of Tompkins Bluestone. in the planning stage. it was a designer’s interpretation “Sometimes natural cleft can be “Each year the landscape of the stone formations in and very smooth, and they wanted a architecture students were asked around the area.” rougher texture.” to do a design for the plaza, so it Bluestone, a primary region- Working with drawings fur- was on the minds of students, al stone, was selected to comple- nished by Connecticut Stone Sup- faculty and administrators for a ment the same stone used in plies in Milford, Conn., the long time to do something,” many of the university’s build- Tompkins Bluestone team cut explains Stephen Noone, project ings, as well as for its durability every stone for the complicated manager for the plaza. And they and beauty. Despite its name, patchwork pattern, while Buzz finally did. bluestone is found in a variety of Dolph, president of Ithaca Stone

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Setting Inc., in Ithaca, N.Y., trans- the stone pattern to guide pedes- ferred detailed information to his trian movement,” Noone says. PROJECT stone setters. The rough, bed- “We have inroads through the grained cleft bluestone was plaza, clear directional swaths TEAM squared off at the sides to make it that we call ‘brushstrokes’ of usable for paving while the ther- bluestone pavement with the Designer mal-finish bluestone was cut on patchwork stone as infill. Both Michael Van Valkenbrugh Associates Inc., Landscape Architects PC all six surfaces, moistened and the thermal and natural cleft is flamed to provide a consistent, used in the pavement with the Stone Installers somewhat gritty finish. “We did solid, monotone thermal finish Ithaca Stone Setting, Ithaca, N.Y. the entire layout for the jointing,” bluestone contrasted by the nat- Syrstone Inc., North Syracuse, N.Y. Mirch explains. “There were as ural cleft stone in all of its differ- Stone Suppliers many as 34 shop drawings for ent colors.” Connecticut Stone Supplies, Milford, Conn. each section. It was very difficult, In architectural landscaping, New York Quarries Inc., Alcove, N.Y. but it worked out great.” artistic design must rest on a Tompkins Bluestone, Hancock, N.Y. Recognizing the plaza loca- lasting foundation. The plaza’s 3- tion as a central campus con- inch-thick thermal stones and 3- 1 necting route, the architects to 4 ⁄2-inch-thick cleft stones are created intentional, but subtle, set in a dry pack for expedited pathways. “We consciously used water drainage. Tompkins Blue-

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stone factored in tight joints by are missed,” he says. “But the Surrounded by carefully placed cutting 24-inch stone specifica- guys in our yard did a stand-up trees that provide an ever-chang- 7 15 tions to 23 ⁄8 inches to 23 ⁄16 job, looked over every piece, and ing canvas of color and shade, inches. it turned out 100 percent.” pedestrians can rest on Douglas “That way when we butted As did the finished project. fir benches. The benches, set on the stone together, there was Bailey Plaza has been transformed concrete slabs, are raised slightly room for a little play, but on from a parking lot to an academ- off the pavement to allow for air average 1/8-inch tight joints are ic oasis reflecting a sea of change and water movement, as the throughout the plaza,” Mirch in form and function. Now the calming sound of falling water explains. The perfectionism paid inviting walkways of the plaza flows through the plaza from the off.“Normally on a job with that provide a soothing, nature-filled stone outcrop water feature that many square feet, some things journey across central campus. anchors the southern point of the

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plaza and balances the grand Plaza stairway entry of Bailey Hall. Produced by Bruce O’Brien of New York Quarries Inc., in Alcove, N.Y., each piece of the fountain was numbered, palletized and shipped like a puzzle to installers. Bailey According to O’Brien, the Hamil- ton bluestone type used in the fountain is a low-yield stone, yet makes for an excellent building material. “It’s square, looks very natural and is a dense, water resistant stone,” he says. O’Brien and his sons are second and third gen- eration stonemasons giving them the expertise for specialty projects such as the Bailey Plaza fountain. With 30 acres of stone from which to select, New York quarries can work directly with the architect and problem solve on site. First building a plywood mock-up of the fountain, followed by actual fabrication and assembly, the O’Briens and the architects resolved complex water-flow issues in the cantilevered fountain design. Eventually, lines were applied around each piece of stone, and the shop drawing per- fectly matched the numbered pieces in the fountain wall. “When this was shipped to the job, it was nothing more than an erector set for the installers,”says O’Brien of the fountain that required approximately 80 tons of stone.“This process, to my knowl- edge is unique, and I think holds worldwide potential.” All involved in the project can now share with friends and fami- lies their lasting tribute to Cornell University and the citizens of Itha- ca.“The design is simple yet complex,”Noone states.“We basically used four materials – stone, wood, water and vegetation – to accom- plish the effect. I think that simplicity is what makes Bailey Plaza so successful.” Gail Snyder is an Atlanta-based freelance writer and editor.

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THE COMMUNITY CHALKBOARD A Monument to Free Expression

By K.K. Snyder

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ASKED WITH CRE- the company maintains its fam- ATING A LIVING, ily owned and operated status. PROJECT interactive monument Today, the Rose’s son also works to the First Amend- in the business. TEAM Tment and the right to free “There were many quarries expression, Pete O’Shea of Site- in Virginia at one time…but it’s Designer works and Robert Winstead of very expensive to mine slate, and Pete O'Shea, Siteworks Robert Winstead, VMDO VMDO Architects, both of eventually the other quarries Charlottesville, Va. Charlottesville, Va., knew from died out,”explains Julia Rose. the beginning that natural stone The project is believed to be Stone Installer would play a large role in the the first of its kind created for Empire Granite Company, Richmond, Va. final tribute. the general public. The idea was Stone Supply/Fabrication The result is the award-win- born more than nine years ago Buckingham Virginia Slate Company, ning Community Chalkboard: A and came to fruition through Buckingham, Va. Monument to Free Expression. collaboration with residents and An extension of the bricked officials of Charlottesville, plus located just 50 miles down the pedestrian mall that skirts the seven years of public presenta- road. The quarry enabled archi- Charlottesville City Hall, The tions, fundraising, gallery instal- tects to easily use local materials, Community Chalkboard con- lations and workshops. O’Shea says. And the slate com- sists of two vertical slate The Charlottesville location plemented that used on a num- veneered walls, each seven feet for the Chalkboard project was ber of buildings in the tall. The walls – one 40 feet long, made even more ideal thanks to immediate area and throughout the other 12 feet long, bearing the Buckingham slate quarry the city. the inscription of the First Amendment – are a huge draw for area residents as well as visitors to the city. Here, people use the giant chalkboards to express anything and everything in writing. “The most important goal of the project was to be really interactive as well as timeless and not too high-tech,” says O’Shea, a landscape architect. Designers chose the chalkboard format because nearly everyone shares collective childhood memories of writing on the blackboard at school. It occurred to the Chalk- board architects that visitors might feel more comfortable expressing themselves in a way they were already so familiar with. Buckingham-Virginia Slate Corporation in Arvonia, Va., supplied and fabricated the cleft stone for the project. The only remaining slate quarry in the state, Buckingham has been in operation since 1878. Owned for more than 100 years by the Lesueur family and purchased in 1994 by Richard and Julia Rose,

Fall 2008 BUILDING STONE MAGAZINE 39 BSI3103_Fall08 9/11/08 4:31 PM Page 40 Chalkboard Community O’Shea appreciates the fact Empire Granite Company of that Buckingham Virginia Slate Richmond, Va., was the stone Company still extracts stone the installer for the project. While “old school” way, pulling it out the installation itself wasn’t of the ground with a backhoe unique compared to stone they and using relatively low-tech have been installing for projects methods for processing it. The since the 1930s, national recog- stone’s accessibility is also a ben- nition of a job well done is efit for replacing any damaged always a plus, says Cary Broocks, pieces of the chalkboard in the project manager for Empire. future, he adds. The Communi- “It’s not unusual for us to do ty Chalkboard was constructed an installation like that; we’ve without mortar joints, which come across everything,”he says. also allows for easy replacement “But we were glad to be involved of any damaged sections. The in a project such as The Chalk- pieces were fabricated on a regu- board for Charlottesville, and lar module and attached with the architects were great to work custom-made steel anchors. with.” Traditionally used for slate Today, visitors young and old shingles, Virginia slate’s best alike, enjoy making their mark on qualities include color consisten- the chalkboard, using chalk cy and durability. The stone stored in the integrated stainless holds up especially well to steel chalk storage tray that weathering. Shingles even 80 includes a fiber optic lighting sys- years old still look as good as tem. The boards are cleaned they did the day they were twice a week and within hours installed, O’Shea says. are filled again with messages Buckingham slate, Julia Rose from Bible verses to love notes. explains, is a non-fading blue- Some messages are even objec- black slate. “When they erected tions to the board. It seems some this wall they wanted a slate that visitors are offended because peo- wouldn’t change color. As they ple can write absolutely anything write on the chalkboard and it’s they want to. But isn’t that what washed off or rained on, noth- free expression is all about? ing will affect it,” she says. “The K.K. Snyder is a freelance writer and slate wasn’t sealed and shouldn’t editor based in Albany, Ga. She can be be sealed.” reached at [email protected].

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DISTINCTLY NEW ENGLAND Atwater Commons

By K.K. Snyder

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S PART OF A PLAN the landscape. Unlike traditional and lobby entries, as well as the to develop a residen- dining halls, which tend to be seminar room and library. PROJECT tial commons, Kieran- inwardly focused, we maximized Tom Stobbe, president of Timberlake Associates the light and views,”he says. Owen Sound Ledgerock, says TEAM ALLP, of Philadelphia, designed For the sides of the residence the very dense, hard stone is two stone-clad residential build- halls that face the new greenspace, unique to the Manitoulin Island Designer ings and a 225-seat dining hall, KieranTimberlake selected a area of Canada. “Its ability to KieranTimberlake Associates LLP, Philadelphia, Pa. collectively known as Atwater coursed dolomitic limestone weather will be a strong point. In Commons. Each residence pro- called Monkton, supplied by longevity, it holds its color well Stone Installer vides intimate living-learning Owen Sound Ledgerock of Owen whereas others fade out. Though JB Stone, St. Albans, Vt. environments for about 450 stu- Sound, Ontario, Canada, and it does fade some, it does so very Stone Suppliers dents at Middlebury College in brokered by Vermont Structural lightly,”Stobbe says. “The archi- Vermont Structural Slate, Fair Haven, Vt. Middlebury, Vt. Slate. In a warm gray tone, the tects really liked the color and Owen Sound Ledgerock, Owen Sound, The two residence halls face limestone blocks were cut in lin- the appearance of the stone Ontario, Canada one another in a staggered fash- ear pieces with tight joints. The when they came up to see it.” Granit Aurelien Tremblay, Alma, Quebec, Canada ion, creating a new mall or green- masonry openings are “tied” with For the sides facing the forest, space, framing distant views to the granite lintels, which provide the design employed local, north and back to Le Chateau, a additional shading for the deeply uncoursed granite – actually a campus icon. Each is placed par- set windows. Granite lintels and waste material from Vermont allel to and slightly engaged with columns, with a deeper set glass military gravestone fabrication – the two ridges forming Atwater’s and wood wall, provide larger cut and dressed on-site by the landscape. The halls bend slightly openings at the base for the stair masons, Maimon says. “The with the landscape contours, sub- tly breaking the sides of the halls into smaller increments. The design of the residence hall facades was the result of a detailed and careful study of options. Designers were mindful of the existing classic design of the campus and used several types of natural stone to complement buildings that have stood on the grounds for as long as two centuries. Most of the campus architecture features stone as a major building element, says Richard Maimon, principal with Kieran- Timberlake. “The residence halls were located to frame the views of distant landscapes. The new dining hall is an elliptical, set into the woods and described as a pavilion that maximizes views of

Fall 2008 BUILDING STONE MAGAZINE 43 BSI3103_Fall08 9/15/08 4:08 PM Page 44 Commons original buildings tended to have within the college’s environmental a more finished or tailored goals and budgetary guidelines. coursed stone facing primary Dimensional stone,”spring green” spaces on campus and a more granite, was supplied by Granit rustic use of stone on some of Aurelien Tremblay (quarry owner the buildings facing secondary and stone fabricator) of Alma,

Atwater spaces,” he explains. “So we Quebec, Canada. Stone installa- picked up that tradition.” tion was conducted by J. B. Stone, Lead-coated copper roofs and of St. Albans, Vt. trim finish the buildings, while Articulated as a glazed pavilion brick chimneys punctuate the nestled in the woods, the dining roof and eave lines. The chimneys hall provides tree-level views out refer visually to the college’s earli- to the town of Middlebury and er buildings, but serve here as ven- the mountains beyond. The base tilation stacks, assisting the natur- of the dining hall is faced in lead- al ventilation of the buildings. coated copper shingles. KieranTimberlake selected Largely glass set in a wood stone suppliers within a 500-mile frame, the dining hall picks up the radius of the campus to keep stone from the residence halls as an identifying icon, namely in the stairway/fireplace chimney tower at its entrance. The limestone and brick tower forms a visual land- mark for the dining hall, while sharing a common element with the residence halls. Locating the buildings on a former parking lot allowed designers to create beautiful, more environmentally friendly landscapes and facilities on an otherwise underutilized space, Maimon says. The project was able to implement, for subgrade purposes, all the native stone blasted from foundations on site. This reclaimed stone was used in landscaping at the edge of buildings and within metal gabions to form site walls and sound walls at the dining hall. Atwater Commons “feels distinctly New England, feels like an extension of the Middlebury campus, yet is modern at the same time,”Maimon concludes. K.K. Snyder is a freelance writer and editor based in Albany, Ga. She can be reached at [email protected]

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SACRED AND HISTORIC Park East Synagogue

By Martha Barksdale

ITH RESPECT for the sake of economy, its mate- panel mosaic of copper cladding. FOR THE PAST, rials and special elements make it Three large organic shapes burst but with an eye a sacred place,” Simon notes. from the box. “The sanctuary is on the future, the “Though modern in design, it is clad in gold Jerusalem stone with Wbuilders of Park East Synagogue bound to the history of Judaism.” a flamed finish. Two great cop- in Pepper Pike, Ohio, faced the Maintaining costs within the per-covered canopies leading to a challenge of creating a structure congregation’s budget led to cre- two-story lobby,”says Simon. At that will stand the test of time. ative thinking on the part of the the entry, seats of Jerusalem The 63,500-square-foot build- architects. “To keep stone in the stone provide a place of rest and ing encompasses a sanctuary, budget, we worked with the quiet security, and also create a school and community center and stone supplier and contractor to physical barrier between the peo- serves as a new East Campus for design a thin stone veneer that ple and the vehicles in the drive the expanding congregation of the would keep the appearance of and parking lot.“Jerusalem stone renowned Park Synagogue in the stone that we sought,”Simon piers of different heights support Cleveland Heights, designed by says. The sanctuary is surround- the copper entrance canopies, Eric Mendelsohn in 1950. Like its ed inside and out by gently curv- reminiscent of age-old ruins,” older sibling, the new synagogue is ing, monumental stone walls – Simon says. Light bounces off of intended to offer welcome, shelter at the entrance from the lobby the piers and leaks in, around and blessing to its congregation, and behind the Bimah (altar). and through the canopies. says Mark Simon, FAIA, of Cen- The stone is coursed in large “Once you come into the terbrook Architects and Planners horizontal bands reminiscent of entry hall, you face this incredible in Centerbrook, Conn., who the primordial construction of wall, not unlike the Wailing Wall, designed the synagogue with early Jerusalem temples. which has deep portals in it lead- Edward J. Keagle, AIA. “While this The building is a simple steel ing to the sanctuary,”Simon says. building is a straightforward plan frame box clad in a stick and The passage to the core of the

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PROJECT TEAM

Designer Mark Simon, FAIA, with Edward J. Keagle, AIA Centerbrook Architects and Planners, Centerbrook, Conn. Stone Supplier Jerusalem Gardens Stone Works Ltd., Beit-Shemesh, Israel Stone Installer SPS & Associates, Hudson, Ohio

Fall 2008 BUILDING STONE MAGAZINE 47 BSI3103_Fall08 9/11/08 4:31 PM Page 48 Synagogue

sanctuary is marked by several layers of shadow and light that offer a sense of security, explo- ration and a step-by-step journey Park East “out of this world into a sacred world,”he continues. The sanctuary is divided into three spaces by acoustically pan- eled operable walls. The chapel at its center holds 190 people in fixed seats. A large meeting room and a community hall open from either side for large gatherings. Both spaces have arched wood ceilings facing the chapel. At the west end of the building’s central spine is the library. Near it, off the lobby, are offices and meeting rooms that house directors of the school and the rabbis. The school offices are strategically placed at the entrance to provide natural security, enabling staffers to monitor com- ings and goings with ease, says Simon. The school wing is a two- story box. Classrooms line the edges with a play area in the center of the first floor and art and music rooms sit above. Inside the sanctuary, the curved walls of gold Jerusalem stone help make the congregants feel protected.“Light in the sanctuary comes indirectly from four edges, giving it a soft glow and a feeling of quietude and solace,” Simon says. The floor is also of gold Jerusalem stone, this time honed for a matte finish. In order to maintain a connection to the past, all stone for the synagogue came from Israel, supplied by Jerusalem Garden

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Stone Works Ltd. “Jerusalem stone is a hard dolomite limestone, quarried only in Israel and used for sacred buildings since ancient times,”says Ilan ben-Ezri, the marketing and sales director for Jerusalem Gardens Stone Works.“The gold Jerusalem stone has purple and red veins running through its yellow/gold surface,” ben-Ezri notes. The synagogue’s exterior and interior walls have a flamed finish. “This exposure to fire accents and highlights the red veins, giving the stone a rosy tint,” ben-Ezri says. In addition to the flaming, the interior walls were also slightly brushed, which opens the veins, ben-Ezri says, adding to the effect of antiquity. “It makes the stone look like it has been used for a long time,”he notes. Paul Shand, owner of SPS & Associates, the Ohio firm that installed the stone, says he visited quarries in Israel to personally oversee the stone acquisition for the project. Top quality stone was necessary because of the com- plexity of the work and the thin veneer that was used. “We had to fit 3,600 individual stone pieces into a special repeating pattern that is common to Jewish religious buildings,”Shand says. “We began with more than 11 containers of stone.” The repeating pattern and the curved walls made this a challenging, but ultimately satisfying job. Martha Barksdale has written articles for numerous publications. She is a graduate of the University of Georgia and lives in the Atlanta area.

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SHOWCASING STONE’S GRANDEUR AT GLENCOE To the Manor Born

By Nancy Moreland

PROJECT TEAM

Fall 2008 BUILDING STONE MAGAZINE 25 BSI3103_Fall08 9/12/08 4:06 PM Page 26 Manor Born To the

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RISING FROM THE GROUND Opus 22

By Martha Barksdale

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BAILEY PLAZA MODELS THE VERSATILITY OF BLUESTONE Bailey Plaza, Cornell University

By Gail Snyder

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Fall 2008 BUILDING STONE MAGAZINE 33 BSI3103_Fall08 9/18/08 11:00 AM Page 34 Plaza Bailey

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