Building Stone Magazine

www.buildings tonemagazine.com Spring 2017 MAGAZINE

A COLOSSAL TEAM EFFORT
UNDERSTANDING ANCHORAGE SYSTEMS
FOR NATURAL STONE CLADDING

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IN THIS ISSUE

30 54 62

8 A COLOSSAL TEAM EFFORT A five-year 62 RESTORING A CITY LANDMARK IN EVERY ISSUE
collaboration between a diverse group The Arcade, located in St. Louis, MO, had
of trade professionals required attention been abandoned for nearly 40 years before 6 PRESIDENT’S MESSAGE
to detail, creative problem solving and it was transformed to house local workers,
quality craftsmanship to restore the artists and students 96 CALENDAR OF EVENTS/
Georgia White marble exterior of the ADVERTISERS INDEX
historic Minnesota State Capitol Building 68 LAYING THE GROUNDWORK
in St. Paul, MN FOR THE CROWN ON THE 98 CHRONICLES IN STONE
NATIONAL MALL Granite provides
22 DESIGNING AN EVERLASTING HOME a high standard of elegance, subtle ON THE COVER
With distinctive marble from the security and quiet permanence for a
Italian Alps and a continuous new Washington, DC landmark Built more than a century ago, the
vein-matching plan, a mausoleum Georgia White marble exterior of the
becomes the signature addition to a 76 REINVENTING A CAMPUS Minnesota State Capitol Building was
California memorial park CORNERSTONE When restoring the in dire need of a facelift. Through the
University of Virginia’s rotunda, careful collaboration of an extensive team of
30 HISTORIC STONEWORK DEFINES attention was paid to the carving of stone experts, the exterior facade was
NEW RESIDENTIAL DESIGN Timeless Carrara marble columns, which shape the cleaned and repaired over a four-year
material and thoughtful massing unite structure’s design stretch. The restoration was broken
an upscale estate in one of Philadelphia’s down into five phases, which involved
Main Line suburbs EDUCATION : the reproduction of 3,949 custom stone
pieces — each one assigned its own shop
40 RENOVATING A 120-YEAR- 84 UNDERSTANDING ANCHORAGE ticket and unique number. To learn more
OLD CHURCH USING MODERN SYSTEMS FOR NATURAL STONE about the massive undertaking, turn to
TECHNOLOGY CLADDING Knowing how anchorage the story beginning on page 8.
Perched high above Augusta Street in systems work, their main components,
downtown Staunton, Virginia, St. Francis and the difference in system types is
of Assisi welcomes parishioners and critical for designing and engineering a
guests from this modest community of natural stone cladding system
24,000 residents

54 RESIDENTIAL REFINEMENT Calacatta
Saturnia marble was favored to reinvent
an antiquated kitchen in a Massachusetts
estate to a stunning living space that
functions for gourmet cooking and
social gathering

4 | SPRING 2017 — Building Stone Magazine

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you realize your design vision. © 2017 Coldspring. All rights reserved.

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Sustainable Production of Natural Dimension
Stone certification. Coldspring’s corporate
headquarters and primary manufacturing
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PRESIDENT’S MESSAGE

MAGAZINE

As we continue to recognize projects that utilize the greatest MIA+BSI: NATURAL STONE INSTITUTE
building material on earth, natural stone, we can also celebrate
the advent of certified sustainable natural stone options. Chief Executive Officer Executive Vice President
The most exciting recent development in our industry is that
ANSI/NSC 373: Sustainable Production of Natural Dimension Jim Hieb Jane Bennett
Stone is a standard now recognized within LEED V4 and the Living
Building Challenge. To quote Kathy Spanier, Natural Stone Council Building Stone Institute (BSI) Officers
(NSC) Sustainability Committee Chair, “these achievements come
as the result of tremendous coordination and years of cooperation Daniel Wood, Lurvey Supply, IL President
among stone industry associations, environmental experts and Greg Osterhout, Northern Stone Supply, ID Vice President
additional stakeholders to further the awareness of sustainably sourced natural stone.” Kathy Spanier, Coldspring, MN Treasurer/Secretary
Aaron Hicken, Delta Stone Products, UT Immediate Past President
ANSI/NSC 373’s national and international requirements for environmental, ecological,
human health, and social responsibility in stone quarrying and processing will help satisfy Marble Institute of America (MIA) Officers
the growing demand for transparency in the market.
Jon Lancto, Big Fish Consulting, SC President
The LEED Steering Committee approved certification to ANSI/NSC 373 Sustainable David Carnevale, Carnevale & Lohr, CA Vice President
Production of Natural Dimension Stone as a “USGBC-approved program” third-party Robert Zavagno, Cleveland Marble Mosaic, OH Treasurer/Secretary
verification (full credit) in Option 1 of LEED v4 BD+C and ID+C Material Resources credit David Castellucci, Kenneth Castellucci & Assocs., RI Immediate Past President
Building Product Disclosure and Optimization – Sourcing of Raw Materials, provided that
the facility and/or quarry operation has earned certification including either optional MIA+BSI Directors
credit 7.2.1 (Ecosystem Boundaries) or 7.2.2 (Environmental Impact Assessment), and has
made its scorecard publicly available. Robert V. Barnes, III, Dee Brown Company, TX
Kent Barnow, US Stone Industries, KS
In addition to LEED v4, the Living Building Challenge is advocating the Sustainability Michael Beckmann, Bonstone Materials, WI
Standard for Natural Dimension Stone for Living Building projects using natural stone. Bryce Bennett, Diamond Stone Technologies, IN
ANSI/NSC 373 aligns within the LBC 3.1 Material Petal, in the Responsible Industry category. Kevan Busik, Delaware Quarries, PA
Brenda Buster, Lyons Sandstone, CO
The rigorous and voluntary certification standard, including its companion Chain of Herwig Callewier, Beltrami, N.V., Belgium
Custody program, is gaining acceptance among stone industry companies. To increase Brenda Edwards, TexaStone Quarries, TX
awareness for the standard by the design community, MIA+BSI and the NSC jointly Jesus Gonzalez, IV, WBT De Mexico SA De CV, Mexico
sponsored a continuing education course that is currently available online in MIA+BSI’s Bill Halquist, Halquist Stone, WI
Natural Stone University. Visit www.naturalstoneinstitute.org/university to locate Ali Kader, Egy-Mar International, UAE
the course. For additional information about the Sustainability Standard, visit Louis Kamenka, Rundle Rock Building Stone, Canada
www.naturalstonecouncil.org. Bruce Knaphus, KEPCO+, UT
Joshua Levinson, Artistic Tile, NJ
As a combined association, MIA+BSI has also made great strides with the Natural Stone Bill Mirch, Tompkins Bluestone, NY
Promotional Campaign, which dispels myths about natural stone and informs consumers, Duane Naquin, Stone Interiors East, SC
designers, and architects about the inherent benefits of using natural stone. Please visit Tevin Norman, TexaCon Cut Stone, IN
www.usenaturalstone.com to learn more. Buddy Ontra, Ontra Stone Concepts, CT
Michael Picco, PICCO Engineering, Canada
Please continue to celebrate the greatest building material in the world, natural stone. Michael Schlough, Park Industries, MN
Robert Teel, Continental Cut Stone, TX
Daniel Wood Bernie Van Etten III, Murphy Marble Co., IL
2017 BSI President Holly Rohrer, Halbert Mill Company, TX
Lurvey Supply, IL Dacia Woodworth, Materials Marketing, CO

IN THIS ISSUE: Professional Board Members
Understanding Anchorage Systems for Natural Stone Cladding
Sponsored by MIA+BSI: The Natural Stone Institute. By Andrew A. Hunt Michael Bischoff, AIA, Pei Cobb Freed & Partners, New York, NY
Read the full article on page 84. Take the test http://bit.ly/AnchorageCEU Renae Kwon, RA, Wiss, Janney, Eltsner Assocs., Northbrook, IL

In need of more continuing education credits? Search course sponsor MIA+BSI Editorial Committee
at ce.architecturalrecord.com for additional course offerings.
Alexandra Morosco, Morosco Fine Arts, Langley, WA
Pinnacle and Tucker Design Awards - Call for Entries
Submit a project for one or both of the 2017/2018 MIA+BSI awards programs consideration. Rae Price, FASLA, Newport Beach, CA
Pinnacle Awards recognize industry achievement for exceptional craftsmanship, fabrication
and installation execution by MIA+BSI members. Tucker Design Awards celebrate design Harold Roth, FAIA, New Haven, CT
professionals whose projects exhibit excellence in the use of natural stone, while also recognizing
the contributions of the natural stone industry. See Call for Entry on page 91 and 95. Kathy Spanier, Coldspring, Cold Spring, MN

6 | SPRING 2017 — Building Stone Magazine Barry Starke, FASLA, AICP, Earth Design Associates, Casanova, VA

Michael Bischoff, AIA, Pei Cobb Freed & Partners, New York, NY

Building Stone magazine is published for
MIA+BSI: Natural Stone Institute: P.O. Box 419, Chestertown, NY 12817;
Phone: 518-803-4336; Fax 518-803-4338;
www.naturalstoneinstitute.org
www.buildingstonemagazine.com
Email: [email protected]

Published by BNP Media
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Published Spring 2017

© MIA+BSI. All rights reserved. The contents of this publication may
not be reproduced by an means, in whole or part, without the written
consent of the MIA+BSI.















During the restoration of the Minnesota State Capitol Building, master carvers were onsite to produce full-sized THE EXISTING CONDITION
models when two or more matching elements were required. Before the actual restoration began,
Photo courtesy of Mark 1
the stonework needed to be assessed —
a process that continued throughout all
five phases, according to Lackovic. “Ini-
tially, exterior work was not included in the
scope of the capitol restoration project,”
explained the architect. “Several focused
asset preservation projects were subse-
quently initiated to address water infiltra-
tion. One of these projects, focused on
mitigating water infiltration at the dome,
required extensive scaffolding. This gave
investigators the opportunity to inspect ar-
chitectural features at close range. Prelim-
inary observations confirmed that some of
the more sculptural elements, such as col-
umn capital features and window hood
bracket scrolls, were consistently unstable.
Because these features were located over
areas accessible to the visiting public, a

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14 | SPRING 2017 — Building Stone Magazine



Tremendous care was required when handling the marble pieces. Acute attention to detail and accuracy was a must when working on a stone restoration
project with such an immense amount of components.

recommendation was made to provide trials were designed to test the various exterior facade of the Minnesota State
overhead protection until a more compre- repair strategies under consideration. Capitol Building, the objective of the
hensive survey could be undertaken. In order to insure that repair strategies restoration was to preserve as much of the
were critically reviewed across a wide original stonework as possible. “Stone that
“HGA was immediately commissioned to spectrum of influences, trials were per- was good enough to keep received minor
perform hands-on surface evaluation of formed in three locations. This allowed repairs — cracks were filled, minor chips
stone using swing stages and mechanical us to review results at various times of were occasionally patched and rough
lifts,” Lackovic went on to say. “Unstable the day, in different ambient conditions. granulated surfaces were smoothed
fragments were also either removed or It also allowed investigators to evaluate to facilitate water runoff,” explained
stabilized. This was the first opportunity whether exposure to differential climate Lackovic. The color-matched epoxy for
to examine upper-story features of the factors influenced the natural weather- the bonding and anchoring during the
main building wings. A large number of ing process. The trials provided an in- Dutchman installation, as well as any re-
fragments, including several elements of valuable opportunity to explore options, attaching of broken marble, was supplied
significant size — 10 to 15 pounds — were demonstrate installation procedures, by Bonstone Materials Corporation in
found to be easily removed with light test process, inform schedule, generate Mukwonago, WI. The products included
tapping. Emergency stabilization was also unit accurate prices based on actual Bonstone® Clear Gel Epoxy and Last
required to prevent displacement of a time and materials, and judge overall PatchTM Dymond. “We also provided a
150-pound pilaster veneer panel located aesthetic impact ahead of time.” color-matched UV-stable — non-yellowing
directly above the accessible drive — patching system for the Dutchman joints
lane. The results of this survey led to the The architect went on to explain that the and for chipped corners when needed,”
recommendation that a comprehensive project was phased based on the number stated Paul Klees of Bonstone.
exterior facade survey be performed as of repairs that could be executed within
soon as possible.” a given time frame with a set amount of THE QUARRYING AND FABRICATION
scaffolding available. “Evaluation was an PROCESSES
Wiss, Janney, Elstner Associates, Inc., ongoing commitment,” she said. “Every
based in Northbrook, IL, performed this decision was tested and revisited, adjusted Once the first phase launched in 2013,
survey, sounding nearly every piece of and reconsidered at every phase, and Lackovic and her team worked closely
stone on the building. “Information gen- from phase to phase. Frequent changes with Polycor to select blocks for the
erated from this provided the founda- required flexibility on everyone’s part.” project that matched the desired physical
tion for early work-scope projections,” properties. “Blocks were hand selected,
said Lackovic. “As part of the planning While a significant number of stone ranked and set aside for specific features,”
process, extensive full-scale mock-up pieces needed to be replaced on the

16 | SPRING 2017 — Building Stone Magazine

"Replicating a single model, a pilaster capital for example, hand carved by various craftsmen Decorative stones, such as capitals, scrolls, swags and floral patterns, were carved to
110 years ago and each pilaster capital slightly differing, proved to be challenging for the entire match the original stonework on the building.
team," stated Joe Becker, vice president of Twin City Tile and Marble Company's stone division.

said the architect. “Existing stone is highly and hand drawn while on the scaffold or Monica Gawet, president of Tennessee
variegated in color, and veining patterns swing stage, and TCTM’s field engineer Marble Co., expressed pride in being a
have random orientation, for the most coordinated the offsite creation of digital part of the restoration project. “Tennessee
part. We did not have the luxury to match shop tickets and full-size templates. “After Marble has been a fabricating partner
color and veining for every piece of stone roughly 200 tickets were created, they with Georgia Marble since 2000,”
due to cost and schedule implications. were sent for approval,” explained Becker. she said. “As a domestic and historic
The compromise was to select blocks with “Approval of the shop tickets resulted in company that does restoration/
midrange color and tone as a standard the start of fabrication. This sequence of renovation and historic material, we
and then fleury-cut the blocks to help processing shop tickets was repeated until enjoy collaborating with other domestic
blend new work with existing. Where the phase was complete. Measuring took partners. We were also excited because
veining pattern was more intentional, we place through each season of Minnesota. JE Dunn is a wonderful contracting
photographed the piece and requested There was not a stoppage during the company and they chose TCTM. We have
that Dutchman be cut to match where winter months. A constant challenge our known Joe Becker for the past 10 to 12
possible.” team faced was to make no assumptions years. I even knew Sylvie at Polycor. We
in measuring, as there was no consistency had done a Georgia White job together.
Beaudoin made it her mission to keep of sizes in the same elements.” She’s a shining star — very committed
everything moving efficiently. “I went to and organized.
the quarry and selected blocks and had Becker stressed the importance of this
them cut,” she said. “I inspected every slab process. “I think the vital and crucial “This was certainly unique,” she went on
and gave the fabricators their deadlines.” success of this project was the shop to say. “It was not just fabrication. It was
tickets,” he said. “It doesn’t sound that carving and shaping. It was extremely high
Although Polycor chose to control the interesting, but they resulted in less than a profile. We were very uniquely qualified
fabrication, the responsibility of vetting 1 percent error rate. It was the heartbeat to do this. We used a Gmm Litox CNC
the companies ultimately rested on Twin of the whole job. We were all working off machine, which can accommodate large
City Tile and Marble Company, according the same thing. After the fabricators were pieces. This was certainly critical for anyone
to Joe Becker, vice president of the through with the shop tickets, they went doing this type of work. Hand carving
company’s stone division. “Relationships to Mark 1. Because of the pace of the would be great, but it’s way too slow.”
were strengthened and expectations deadline, Mark 1 had to do demo before
realized during the many visits to the the stone arrived so they relied on the shop In total, Tennessee Marble Co. cut over
fabricator facilities,” he stated. tickets. To me, they are one of my biggest 500 of the nearly 4,000 custom stone
accomplishments.” pieces. “Georgia Marble would send
According to Becker, individual stones us raw material in different thicknesses
selected by the architect were measured

Building Stone Magazine — SPRING 2017 | 17

Each piece of stone was assigned its own shop ticket and unique number. need X amount of raw material or this
Drawing courtesy of Twin City Tile and Marble Company size slab.’

— nothing was cut to size,” explained what was needed and Ryan Cole, our Sometimes, we would have to recut
Gawet. “There was a tremendous flow. production manager, would review the thicknesses. They were all over. Part of the
Sylvie would get a batch of tickets of tickets and tell Sylvie, for example, ‘We challenge was to be good stewards of the
raw material. We would utilize material
based on the batch she gave us.”

According to Gawet, the turnaround
time was fairly quick. “Maybe six weeks,”
she said. “The challenge would be that you
would get two pieces very similar in shape,
but in some cases, there was a difference
of 1/4 inch in size or shape. We would
program the CNC for minor variations and
then finish it by hand. Sometimes, we were
programming for just a couple of pieces.
Each piece was incredibly custom.”

Cutting Edge Stone was also working
diligently to complete their assigned
tickets. Over the course of the four-year
fabrication span, Polycor supplied the

18 | SPRING 2017 — Building Stone Magazine

fabricator with more than 130 full-sized The shop tickets proved crucial to the project — resulting in less than a 1 percent error rate.
slabs ranging in size from 4 inches in Drawing courtesy of Twin City Tile and Marble Company
thickness up to 16 inches.
REPLICATING THE STONE CARVINGS carved to match the original stonework
By August 2016, Cutting Edge Stone had Decorative stones, such as capitals, on the building. During the restoration
supplied 1,125 pieces of stone to the proj- project, TCTM had master carvers onsite
ect, with each piece different from the scrolls, swags and floral patterns, were
next. Sometimes two or more profiles were
necessary on an individual piece of stone.
“Our state-of-the-art lineup of 14 multi-axis
CNC cutting and milling machines, includ-
ing six profiling saws from Gmm, three from
Omag and one from Prussiani, allowed for
efficient and detailed machining of each
piece,” stated the company.

Beaudoin would schedule a shipment
of completed pieces every two weeks. “I
had all the pieces in our system and would
dispatch them,” she said. “I would call the
fabricators and ask how many they have
ready. I would create one shipment to
give Twin City, who was my customer.”

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and timeless durability of domestic granite

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Building Stone Magazine — SPRING 2017 | 19

“Stone that was good enough to keep received minor repairs — cracks were filled, minor chips were occasionally to produce full-sized models when two or
patched and rough granulated surfaces were smoothed to facilitate water runoff,” explained architect Ginny Lackovic more matching elements were required.
of HGA Architects and Engineers. Photo courtesy of Twin City Tile & Marble “Replicating a single model, a pilaster
capital for example, hand carved by
The color-matched epoxy for the bonding and anchoring during the Dutchman installation, as well as any re-attaching of various craftsmen 110 years ago and
broken marble, was supplied by Bonstone Materials Corporation in Mukwonago, WI. Photo courtesy of Bonstone Materials each pilaster capital slightly differing,
proved to be challenging for the entire
team,” stated Becker. “Communication
between the architects and master
carvers was critical, as elements from
various building profiles were copied
in the models. After models were
approved, they were air-freighted to
either Italy or Canada to be used by
their fabricators.”

According to Becker, 3D scanning and
digitizing was used to expedite a new
element that could not afford the lead
time of a carved model. “While the idea
of bringing the 21st century technology of
digital template was worth a try, the end
result was a mixed lot,” explained Becker.
“The scanned model only reflected one
element, whereas our carved models
reflected the ‘spirit’ of many elements.
Also, the scanned model reproduced
deteriorated elements and our master
carvers had to rework the scanned models
to look like a new element.”

Lackovic explained that the carved
pieces arrived at the jobsite for the most
part finished to the project standard.
“We would send models to Italy and
Canada and say, ‘Make it look like
this,’” she said. “The pieces would get
onsite and they mostly worked, but
sometimes they were different. When
bringing [a carved piece] up to be
installed, there still was the process to
make it work. Many times they could
get it in the demolition opening, but it
didn’t fit. They had to be carved in the
field to blend and match. TCTM had four
carvers onsite, and then Mark 1 had a
few that qualified, that were doing a
lot more than just blending. Some were
actually creating pieces from scratch
— without a CNC machine. The carvers

20 | SPRING 2017 — Building Stone Magazine

onsite were absolutely heroic. It was “Communication between the architects and master carvers was critical, as elements from various building profiles
very impressive.” were copied in the models. After models were approved, they were air-freighted to either Italy or Canada to be used
by their fabricators.” Photo courtesy of Italmarble Pocai
The architect went on to say that if
there was a unique “one-off” piece, time “It’s also another good way for us to The Minnesota State Capitol Building
was taken to model it. “It didn’t make get together and talk one more time,” Restoration
sense to send it offsite,” said Lackovic. Lackovic went on to explain. “We’re
“We would carve it onsite. Because of serious about documenting it — what we St. Paul, MN
schedule though, we had to make sure did right, what we did wrong and what we
not to have too many ‘one-off’ pieces. could have done differently.” Executive Architect: HGA Architects and Engineers
There were only so many people who Restoration Architects and Engineers: Wiss,
had skills to do this, and they could only The group’s meeting will also
work for so long. They could only do so provide an opportunity for them to Janney, Elstner Associates, Inc., Northbrook, IL
many pieces a month. It had to be well congratulate each other not only on General Contractor: JE Dunn Construction
choreographed.” a job well done, but for the project Stone Procurement/Facilitator: Twin City Tile and
winning the Award of Excellence in the
Master Stone Carver Margaret “Mimi” “Renovation/Restoration” category, as Marble Company, Eagan, MN
Moore of Montana, who has experience well as the Grand Pinnacle sponsored Stone Supplier: Polycor, Inc., Quebec City, Quebec
working on detailed projects such as the by Marmomacc, in the Pinnacle Award
Minnesota State Capitol restoration, was competition, which is held annually by (Georgia White marble)
also impressed by the united team effort the Marble Institute of America+Building Stone Installer/Stone Carver: Mark 1 Restoration
and efficient process. “I have had the Stone Institute (MIA+BSI). The architect Stone Fabricators: Cutting Edge Stone, Inc.,
privilege of carving stone for almost 10% firm of Wiss, Janney, Elstner Associates,
of the U.S. capitols,” she stated. “TCTM’s Inc., as well as six of the companies Alpharetta, GA; Italmarble Pocai, Massa, Italy;
attention to detail was so great. They had involved with the project — Bonstone Traditional Cut Stone, Ontario, Canada; Art
an almost null error rate.” Materials Corp., Cutting Edge Stone, Cubus International, Quebec, Canada;
Inc., Italmarble Pocai, Polycor, Tennessee Tennessee Marble Company, Friendsville, TN
SHARING THE FEELING OF SUCCESS Marble Co. and Twin City Tile and Installation/Restoration Product Manufacturer:
After years of dedication and hard Marble — are association members. n Bonstone Materials Corp., Mukwonago, WI
(Bonstone® Clear Gel Epoxy, Last PatchTM
work, the expansive team involved in Dymond and a color-matched UV-stable,
the stone restoration of the Minnesota non-yellowing, patching system)
State Capitol Building completed its
enormous task in October 2016 — a
month ahead of schedule. “No one
really knew if the best would be good
enough,” said Lackovic. “We were so
fortunate to have so many people that
are still able to perfect this craft and
produce this high-quality work. We
ended up with the dream team.”

It is obvious all those involved share
the architect’s feeling. In fact, at the
time Building Stone Magazine spoke
with Lackovic, she mentioned how the
team had plans to meet to review the
project one more time. “It is unique in a
number of ways — just the scale of it,” she
said. “We’re trying to figure out a way to
quantify it. How do we determine it is the
largest restoration?

Building Stone Magazine — SPRING 2017 | 21

Designing an
everlasting home

With distinctive marble from the Italian Alps and a continuous vein-matching plan,
a mausoleum becomes the signature addition to a California memorial park

BY IYNA BORT CARUSO

22 | SPRING 2017 — Building Stone Magazine











The search for an exceptional stone led the team to the Palissandro quarry in the western The stone dry laid before being crated and shipped from Italy to the construction site in
Italian Alps, the same quarry used for historical monuments in and around Milan. California. Photo courtesy of Green Hills Memorial Park.
Photo courtesy of Green Hills Memorial Park.

play off its darker veining. Tigrato was used When people walk into the mausoleum looking stone. “It gives a warm feeling,”
for the three private rooms where it was they first see the Tigrato stone in a private said Frew. “And that’s the expectation
bookmatched to create diamond patterns. room. Surrounding it is dark, chocolate- they’re going to have throughout the

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28 | SPRING 2017 — Building Stone Magazine

building. Then they turn the corner and ultimate goal of the project, and the ap- “When we were looking at the slabs in
there are two other colors.” pearance of the entire elevation would Italy I was thinking, ‘If we pull this off it’s
be compromised. “Every single piece going to be some really, really nice work.’
ENSURING CONTINUITY has to be perfect.” And we did.”
Selecting the stone was one thing.
The fabrication firm of Bruno Rogari Giordano said the look is “so soft and
Ensuring quantity — a total of 13,510 Srl, of Brugherio, Italy, was hired for its elegant,” like the texture of velvet, that
square feet — and quality was another familiarity with the nuances of the stone. people are tempted to touch it. Stone
thing, particularly because the job For a large accent wall consisting of professionals are equally impressed, said
required all elevations be fabricated pieces over 8 feet long, Bruno Rogari Frew. “They’re blown away by not only
in a continuous vein matching. Some backed them with a honeycomb the stone itself, but the achievement of
elevations were over 100 feet long. reinforcement to make sure they arrived the vein matching.” n
at the jobsite without damage. ASI also
“The vein matching we wanted to do had a representative at the factory to Green Hills Memorial Park
was what was going to make it spe- photograph each fabricated slab and Rancho Palos Verde, CA
cial and bring it to a higher level,” said the dry layout of each elevation before
Giordano. “Every piece had to flow being numbered, packed and shipped. General Contractor/Design: McCleskey
with the next piece. It had to be done Construction, Buford, GA
in sequence”— cut, bundled, shipped Then it was up to McCleskey Construc-
and installed. “It made it a challenge. tion to take 3 x 2-1/2-foot crypt fronts with Stone Supplier: ASI Stone Imports, Chelsea, AL
If even one piece were to break during “hundreds and hundreds of joints and (Palissandro marble, Crevoladossola, Italy
any part of the process, it would disrupt make it come together to look like one
the continuous vein flow,” which was the continuous piece of stone,” Tadlock said. Stone Fabricator: Bruno Rogari Srl, Brugherio, Italy

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30 | SPRING 2017 — Building Stone Magazine

Historic stonework
defines new
residential design

Timeless material and thoughtful massing unite an upscale estate in one of
Philadelphia's Main Line suburbs

BY HEATHER FIORE

Building Stone Magazine — SPRING 2017 | 31

32 | SPRING 2017 — Building Stone Magazine

"We looked to local material precedents as a means of finding examples that were enduring, classic and beautiful," said Michele L.W. Thackrah, principal at Archer & Buchanan
Architecture, Ltd. in West Chester, PA. Photo courtesy of Tom Crane Photography

Positioned at the southeastern in custom homes. "In looking at the context required a private backyard for children
corner of Pennsylvania is Merion, of the new building, we endeavored to and entertaining. "Timeless, lasting materials
also known as Merion Station. One understand the surrounding architecture such as limestone, slate, mica-schist
of the many suburbs of Philadelphia, and create a design that would fit [building stone] and copper, and thoughtful
this quaint, unincorporated community well and engage," said Michele L.W. massing, allow for both characteristics to be
features a range of traditionally designed Thackrah, principal at Archer & Buchanan expressed fully," said Thackrah.
homes, which have evolved over Architecture, Ltd. in West Chester, PA. "We
the years. looked to local material precedents as SOURCING LOCAL STONES
a means of finding examples that were Mica-schist, a rock composed of quartz
Many homes in the neighborhood mimic enduring, classic and beautiful. In a few
each other with similar styles and the use years, this house will be in many ways and mica, was a natural choice for the
of indigenous stones — a theme that was indistinguishable, age-wise, relative to the architectural team because of its origin and
followed for a newly constructed residence. homes in the neighborhood." composition. "Mica schist stone is plentiful,
The homeowners' request for a traditional locally obtained and has been used on
home, which highlights elements of natural With the intention of carrying the same buildings in the region for centuries," said
stone and brick, was satisfied with the help formal presence as existing homes on the Thackrah of the common metamorphic
of a local architectural firm that specializes street, the design of the two-level home also rock, which clads the exterior of the home.

For an upscale home in a suburb of Philadelphia, local mica-schist building stone clads the exterior, which is complemented by limestone and accents of granite.
Photo courtesy of Tom Crane Photography

Building Stone Magazine — SPRING 2017 | 33

Indiana limestone, which shapes the
entry, portico, paving and courtyard, was
also specified to complement areas of the
exterior facade — supplied by Vickery Stone
Co. in Havertown, PA. An ashlar pattern was
implemented for all elements except the
exterior facade. "The use of limestone was
inspired by a well-known historic residence
located nearby," Thackrah explained. "The
Barnes Foundation, a classical structure
designed in 1922 by Paul Philippe Cret for
Dr. Albert C. Barnes, was faced in limestone.
We decided that it would be ideal to use
this same material to visually lighten and
balance the design. It creates a grand,
embracing gesture as the most formal
expression of this home."

To accentuate the warmer tones of
gray in the granite and beige hues of the
limestone, 5/8- and 3/4-inch-thick semi-
weathered pieces of gray-black slate
from Camara Slate in Fair Haven, VT, were
used to create the roof. "Slate roofing is a
beautiful and lasting material that ages
well, gaining a patina in just a few years,"
said Thackrah. "We selected a relatively
dark gray Vermont slate with an interesting
grain that has some movement in it and
looks very good with the color range of the
pointed stone."

Indiana limestone was selected as a relief from the rugged building stone on the exterior. Intricate carvings were A DEMANDING INSTALLATION
constructed on different aspects such as the cornices. To complete the installation, two different

"This stone is made distinctive in the way it variation to the randomly colored pieces masons were contracted. With one's focus
is cut, set and pointed." of mica-schist on the exterior, they were set on the mica-schist and granite, and
blended with irregular-shaped pieces another's on the limestone, both ensured
Closely related to gneiss, mica-schist of granite, both of which were supplied the proper applications of materials
has a smooth, yet slightly uneven surface, locally; the mica-schist came from Media in accordance with the design. "The
which is covered in metallic or black Quarry Co., Inc. in Media, PA. architects called for a 'rough' or broken
minerals, muscovite or biotite. To add some ashlar appearance with the mica-schist
stone, which required meticulous cutting
of the stone to maintain the horizontal
overall impression of the stonework," said
Robert Baer of Baer Brothers Masonry, Inc.
in West Chester, PA, who led a team of six
masons and two laborers. "The architect's
desire with this project was not to make it
look 'brand new;' the intention was to make

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To accentuate the warmer tones of gray in the granite and beige hues of the limestone, 5/8- and 3/4-inch-thick semi-weathered pieces of gray-black slate from Camara Slate in
Fair Haven, VT, were used to create the roof.

it look weathered and older. With that, desired look with the blend of stones. "Baer according to Thackrah. "We had originally
the pointing of the stonework played an Brothers has had extensive experience designed portions of the second story
important role. The use of heavy aggregate in making projects look much older than to be a pebble-dash stucco finish," she
sand was applied to give a weathered they are by applying certain techniques to explained. "During construction, the client
texture to the joint. The joint itself was a the pointing of the projects," said Baer. requested that we research some alternate
'cut crown' that was then brushed over to materials. Since the front entry had already
knock it down a little — to get what we call When setting the limestone, which took been designed in limestone, it seemed
a 'knocked down crown' joint." about six months, many meetings between the perfect solution to extend the material
the different trades and consultants were across the remaining facades. Detailing
Baer and his team worked for more than required to assure the original design the stone to work structurally, decoratively
10 months to help create the architect's could be installed and supported properly,

36 | SPRING 2017 — Building Stone Magazine

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"In a few years, this house will be in many ways indistinguishable, age-wise, relative to the homes in the neighborhood," said Thackrah.

and seamlessly at that stage of construction through the framing. The engineering of architecture, but was detailed specifically
required a coordinated effort between the it was very unconventional, as far as how for this home," said Thackrah. "While there
builder, supplier, structural engineer and everything was held back and held onto is a material thread tying it to other homes
ourselves to meet those goals." the actual structure. It was a lot of work, in the area, its final expression is unique. We
but great work. It's a beautiful home." have received quite a positive response
Since some of the limestone is located from the community." n
directly above wood framing, additional THE FINAL PRODUCT
adjustments also needed to be made. Throughout the process, full-size mock-ups Private Residence
"Typically, with limestone or any type of stone, Merion, PA
it's supported by the foundation all the way of the mica-schist and granite blend were
up with masonry or stone," said Joe Manero, created onsite for all parties to review, which Architect: Archer & Buchanan Architecture, Ltd.,
third-generation stone mason and owner ultimately helped Thackrah and her team West Chester, PA
of Joseph Manero & Sons, Inc. in Glenside, ensure the exterior coordinated with the de-
PA. "In this case, it was a conventionally sign. "The lay, cut and pointing of the mica General Contractor: B.J. Drueding Builders, Inc.,
framed home so there had to be additional schist were a major focus for us," she said. Wayne, PA
items added to the structure of the home to "We spent a fair amount of time on site with
support the limestone. the masons [supervising the installation]." Stone Installers: Baer Brothers Masonry, Inc.,
West Chester, PA; Joseph Manero & Sons,
"There were areas of the house where Between the design and installation, the Inc., Glenside, PA; Gillespie Contracting, Inc.,
nothing was below framing but wood, so residence took about two and a half years Glenmoore, PA
we had to add all kinds of steel and some to complete. Although its style may imitate
engineered lumber to be able to hold all of neighboring homes, the combination Stone Suppliers: Media Quarry Co., Inc.,
the stresses that the limestone was putting and careful placement of different stones Media, PA (Mica-schist); Vickery Stone Co.,
on it," he went on to say. "There were a lot certainly sets it apart from the others. Havertown, PA (Indiana limestone); Camara
of angles that were bolted back to and "The stonework was inspired by local Slate, Fair Haven, VT (slate)

38 | SPRING 2017 — Building Stone Magazine

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40 | SPRING 2017 — Building Stone Magazine

Renovating a
120-year-old
church using
modern
technology

Perched high above Augusta Street in downtown Staunton, Virginia,
St. Francis of Assisi welcomes parishioners and guests from this
modest community of 24,000 residents.

BY MEGY KARYDES

Photo courtesy of Tim Hoysradt Photography

T he 120-year-old Gothic-style Roman would become an issue more than 100
Catholic church was constructed in years later when the existing serpentine
1895 by a group of Irish immigrants had deteriorated to such an extent that
to accommodate the city’s booming safety had become a concern.
Irish Catholic population. To pay tribute
to the parish’s Irish heritage, they To temporarily halt the hemorrhaging,
selected green serpentine for its exterior catch-guards were put into place in
as part of the design. That decision certain areas around the entire facade
of the church to trap the material

Building Stone Magazine — SPRING 2017 | 41

that was spalling and falling off of the
building. The parishioners knew they
had to replace the serpentine material
that was failing, but wanted to match
the pattern of the 120-year-old stones
while keeping the existing limestone
material in place.

Renovation projects where cur-
rent materials and designs must be
matched can bring a host of chal-
lenges, but thanks to technology, often
can be overcome. One of the church’s
building committee members reached
out to Coldspring, a stone supplier and
fabricator that has been serving the ar-
chitectural, memorial, residential and
industrial markets since 1898, for a con-
sult. In addition to a bronze foundry, the
company has operations across the
country, including 30 quarries.

“Coldspring arranged several visits
with the parish and project engineer
to gain a greater understanding of
the project needs and concerns,” said
Duane Krueger, regional sales manager
with Coldspring.

“The architect and the church commit-
tee’s main concern was aesthetics and
to keep the historic value of the church
by maintaining the current Gothic style,
look and feel,” added Kayla Strand,
sales coordinator with Coldspring. “They
were looking for a stone that matched
closely in color to the remaining green
serpentine material. A primary objec-
tive was to find a natural stone mate-
rial that had strong physical properties
that would last for another 100 years or
more.”

St. Francis of Assisi is a 120-year-old Gothic-
style Roman Catholic church which holds a
prominent space in downtown Staunton, Virginia,
home to a community of 24,000 residents.
Photo courtesy of Tim Hoysradt Photography

42 | SPRING 2017 — Building Stone Magazine

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5. Explain how the Chain of Custody Standard
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TRYING TO REPLICATE STONE
BUILT BY HAND

The church considered several stone
materials in their evaluation. “They
wanted to make sure they did their
due diligence to properly evaluate
suitable material options from an aes-
thetic, physical property and perfor-
mance consideration,” said Krueger.
“They wanted to assure the members
of the parish congregation that an ap-
propriate material would be selected
to best replicate the existing material,
provide lasting quality and preserve the
church’s historical value.”

Choosing the right stone wasn’t the
only thing to consider. Originally built
by hand, many of the serpentine pieces
were very irregular and joints varied
in size. Matching the existing pattern
presented another challenge.

After careful consideration, the church
narrowed their options and chose
Mountain Green granite, as it felt it to
be both a close match and an ideal
material. Coldspring also offered the
technology necessary to replicate the
existing serpentine pattern.

“With an understanding of the pres-
ervation and restoration requirements,
Coldspring was able to provide stone
material and fabrication options for the
project,” noted Krueger.

There is always a high degree of con-
cern and emphasis regarding the pres-
ervation of the stone color and aes-
thetics, he admits. “In conversations
with one of the church building com-
mittee member contacts, it was noted

The years of planning, fundraising and
execution were well worth the wait. St. Francis
remains perhaps the most beautiful structure
in downtown Staunton, Virginia, with a
heritage preserved for many years to come.
Photo courtesy of Tim Hoysradt Photography

44 | SPRING 2017 — Building Stone Magazine



that there were some early concerns
with the material color and that the
monsignor even asked that all the pa-
rishioners pray that the stone is green
enough,” he added.

To assist with fundraising efforts and
provide a visual representation of the
end result, the company provided a
mock-up of the project in Mountain
Green, a granite quarried from their
Au Sable, NY, facility, for the church to
place on display in 2013.

Ultimately, everyone was on board
and excited. “We provided them with
a product that matched what they
were looking for aesthetically with
our Mountain Green granite,” noted
Krueger. “And we came up with a
systematic approach to fabricating the
project.”

Using 3D scanning technology would
prove to be key to this project. Other
ideas were considered, included provid-
ing blanks or sticks to the jobsite, which
would then have had to be cut onsite.
Lack of space and the church being oc-
cupied made this option not viable, as
the staging area for the project was a
small parking lot.

Since a critical part of the project re-
quirements was matching the existing
serpentine stone pattern while keep-
ing all the current limestone in place,
the best way to duplicate the existing
pattern without removing every single
piece, field measuring and reproducing,
was 3D scanning.

While Coldspring had been using
3D scanning on smaller projects that

The parishioners knew they had to replace the
serpentine material that was failing, but wanted to
match the pattern of the 120-year-old stones while
keeping the existing limestone material in place.
Photo courtesy of Tim Hoysradt Photography

46 | SPRING 2017 — Building Stone Magazine

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Strand would consider more sculptural
in nature, she admitted that this project
was different in both size and scope.

“This methodology allowed us to
scan the entire building, create a shop
drawing for approval submittal process,
and fabricate and deliver material to
the site within the project schedule,”
said Strand.

PRAYERS ANSWERED: USING 3D
SCANNING TECHNOLOGY

A complete scan of the church pro-
duced a 3D model, which was then con-
verted into 2D documents used to trace
the pieces. Next, Coldspring used the
2D drawings to create a 3D Revit model.
The extensive efforts ensured that the
new façade would replicate the existing
with accuracy.

Since the limestone was to remain,
that required shoring. “Behind the stone,
there was an existing brick façade
which had to be torn out and replaced
as well,” added Strand. “The installation
process was strategically and system-
atically sequenced by the engineering
firm to ensure there was no harm to the
integrity of the building’s exterior and in-
terior. For us, it required extra detail on
our drawings.”

Each piece of stone had a specific
stone mark and piece number in an ef-
fort to keep tabs on where each stone fit
into the picture, noted Strand.

“For example, ‘A-1’ told you that the
piece belonged in bay A, and piece 1
was labeled on the drawing for ease of
installation,” she explained. “Ultimately

In total, 6,706 4-inch cubic granite pieces in
Mountain Green with a Split finish were produced
and installed at St. Francis of Assisi.
Photo courtesy of Tim Hoysradt Photography

48 | SPRING 2017 — Building Stone Magazine

Choosing the right stone wasn’t the only thing to consider. Originally built by hand, many of the serpentine pieces were very irregular and joints varied in size. Matching the
existing pattern presented another challenge. Photo courtesy of Coldspring

Building Stone Magazine — SPRING 2017 | 49

we had to fabricate to the way in which To meet this challenge, photos and THE REVEAL
the project was being installed. It was an field measurements were taken to fully Strand admits that the most exciting
extremely difficult installation job and replicate the pieces. Piece size and joint
the stone installer, Rugo Stone, did an variations were reconciled during the part of the project was watching the
amazing job.” drafting process. overall transformation of the church.

Both Strand and Krueger gave credit to It should be noted that the church “I had the opportunity to be on the
their stone installer. Krueger knows how needed to remain open during the en- jobsite multiple times,” she said. “I got to
important and integral the installation of tire construction process. There are see the scanning and the shoring pro-
the material was on the project’s success. services every weekday, from Tuesday cess. It isn’t very often that as a material
“Rugo Stone provided the required knowl- through Friday, and four services over supplier we get that involved onsite, so
edge, expertise and high-level quality each weekend. There were certain this project was special in that regard.”
needed to meet the project restoration hours that the installation crews could
and preservation requirements of this his- work and certain holidays/functions For her, the before-and-after photos
toric church,” he recognized. that they were not allowed to work. don’t look all that different. Instead, it
looks like the church was just cleaned
Despite the advanced scanning Coldspring and its teams worked really well, which was exactly the intent
technology, some details could not around the timing issues and everyone of the architect and church committee.
be detected from the outside of the kept their eye on the goal. As every “They didn’t want a drastic change,
church. For example, some areas of piece was meticulously created and they wanted it to look exactly the way it
the building were not visible from the placed, the church started to look like a did when it was first built, and I believe
ground, where the scan was performed. better version of its old self. we achieved what they were looking
for,” she added.

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50 | SPRING 2017 — Building Stone Magazine