Wg Stone Table Brochure

W A L L

G O L D F I N G E R

S TON E TA B L E S S p e c i f i c at i o n G u i d e

FIRST DRAFT v0.1

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2008

Design by: Butler Rogers Baskett

Contents

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Design by: Ted Moudis Associates

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Contents

Stone

Introduction

24

Granite

28

Marble

32

Limestone

34

Travertine

36

Quartzite

38

Slate

40

Corian ®

42

ZodiaQ ®

Configurations and Materials 10

Rectangular

12

Ellipse

14

Boat-Shape

16

Racetrack

18

Round

Design Process 50

Matching

52

Bases

52

Structure

53

Legs

54

Base Options

55

Custom Bases

ManufacturING 58

Quarries

59

Selection

60

Water Jet

61

Edge Profiles

62

Finishing

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STONE SPECIFICATION GUIDE

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Design by: CUH2A

COMMUNICATION TECHNOLOGY 66

Table Top Access

69

Connectivity

70

Microphones

72

Conferencing

74

Control Panels

75

Video Conferencing

76

Client List

78

Sales Representatives

WallGoldfinger, Inc. 7 Belknap Street, Suite 3, Northfield, Vermont 05663 P (802) 485-6261 | F (802) 485-6267 www.wallgoldfinger.com SALES John Wall: [email protected] John Belniak: [email protected], Curtis Ostler: [email protected] SALES MATERIALS Carol Edwards: [email protected] TEXT John Wall, John Belniak, Curtis Ostler, Tim Swartz, Thor Goodrich DESIGN Chuck Weaver: Art Director Thor Goodrich: Layout and Graphic Design Lee Frantz, Chuck Weaver: Concept Illustrations PHOTOGRAPHY Jack Rowell, Chuck Weaver, John Belniak, John Wall, Paul Buchbinder, Curtis Ostler, Robert Joyce, Thor Goodrich COLOPHON This issue was produced using Adobe InDesign CS3, Adobe Photoshop CS3, and Adobe Acrobat 8.0 Professional on an Apple Macintosh PowerMac G5 computer. Text set in ITC Stone and ITC Officina. Booklet is printed inhouse on a Canon CLC 1180 laser printer using Mohawk Color Copy 100% Recycled FSC certified 28lb paper and bound by Akiles WireMac 31 with USI-Laminate double loop wire combs.

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Introduction

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Design by: Butler Rogers Baskett

Throughout the ages, architects, designers, and

stones, which can be combined with wood,

builders have chosen stone for its permanence,

metal, leather, faux leather, and glass to produce

strength, and beauty. Whereas selection was once

furniture.

limited to locally available stone, today’s marketplace is worldwide with a growing array of options. WallGoldfinger, Inc. has been producing cus-

The layout of stone on a table, desk, or credenza is limited only by the designer’s conception and the material available. We have fabricated

tom stone furniture for 30 years, so we know our

tables with “book-matched” slabs joined at the

way through the complex selection and manufac-

center for a seamless, homogenous appearance, as

turing processes. Our craftsmen work in marble,

well as used different stones in opposing configu-

granite, limestone, travertine, and manufactured

rations mixed with wood and stainless steel.

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STONE SPECIFICATION GUIDE

Design by: ADD, Inc.

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Design by: Swanke Hayden Connell Associates

Advanced manufacturing processes, such as

Design by: Gensler

waterjet cutting, allow the forming of any shape, as well as the accurate marriage of stone to veneer or metal components. Years ago, an elliptical table with a wood edge, stone perimeter, stainless steel band, and center veneer panel seemed costprohibitive or technically impossible. Today such creative work is not only practical but affordable.

Design by: AI Architecture

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Notes

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S T O N E S P E C I F I C AT I O N G U I D E

Design by: Gensler

Configurations and Materials

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Configurations & Materials Rectangular

Stone

Sahara Gold limestone, brushed stainless steel

10 Stone with Stone

Grigio Carnico and Crema Marfil antiqued marble, honed finish, ¼” bronze inlay

Stone with Metal

Verde granite, Nordic black marble, brushed stainless steel

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STONE SPECIFICATION GUIDE

Configurations & MAterials Rectangular

CONFIGURATION

Stone with Leather

Breccia Pernice Rossa marble, synthetic leather, ribbon stripe mahogany

11 Stone with Wood

Crystal Olive Granite, figured and quartered cherry, bronze inlay

Stone Riser

Verde Luchensa marble, pomelle sapelle, solid mahogany, ¼” ebonized inlay

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Configurations & MAterials Ellipse

Stone

Sahara Gold limestone, brushed stainless steel

12 Stone with Stone

Botticino Semi Classico limestone, Verde Uba Tuba Bahia granite, Creta Cloud marble, brushed stainless steel and ¼” inlay

Stone with Metal

Absolute Black granite, Argos marble, brushed stainless steel

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STONE SPECIFICATION GUIDE

Configurations & MAterials Ellipse

Verde Fondo Mare marble, synthetic leather, solid cherry, brushed stainless steel and ¼” inlay

Stone with Wood

Classic travertine, figured and plain sliced anigre, brushed stainless steel ¼” inlay

Stone Riser

Emperador marble, quilted maple and walnut veneer

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CONFIGURATION

Stone with Leather

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Configurations & Materials Boat-Shape

Stone

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Calacatta marble and powder coated black metal

Stone with Stone

Breccia Oniciata Classico marble, Crema Marfil marble, ¼” stainless steel inlay

Stone with Metal

French Vanilla marble, brushed stainless steel

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STONE SPECIFICATION GUIDE

Configurations & MAterials Boat-Shape

Blue Pearl granite, synthetic leather, ¼” stainless steel inlay, metal mesh

Stone with Wood

Aquamarine granite, quartered figured anigre, solid maple, brushed stainless steel

Stone Riser

Breccia Nouvelle marble, quartered cherry, Majilite® leather

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CONFIGURATION

Stone with Leather

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Configurations & Materials Racetrack

Stone

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Emperador Costa marble, walnut veneer base, stainless steel

Stone with Stone

Crema Savoy and Verde Michelangelo marble, walnut, stainless steel

Stone with Metal

Argos marble, Black Absolute granite, stainless steel

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STONE SPECIFICATION GUIDE

Configurations & MAterials Racetrack

Saint Laurent marble, solid cherry, stainless steel, synthetic leather

Stone with Wood

Madura Gold granite, maple, stainless steel

Stone Riser

Bambarino marble, ribbon striped mahogany

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CONFIGURATION

Stone with Leather

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Configurations & Materials Round

Stone

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Verde Michelangelo marble, ribbon striped makore, powder coated metal

Stone with Stone

Giallo and Emperador Dark marble, cherry, stainless steel

Stone with Metal

Uba Tuba and Black Absolute granite, stainless steel

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STONE SPECIFICATION GUIDE

Configurations & MAterials Round

Macaubus marble, synthetic leather, cherry, statuary bronze

Stone with Wood

Royal Gold marble, curly maple, stainless steel

Stone Riser

Aquamarine granite, plastic laminate, walnut, stainless steel

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CONFIGURATION

Stone with Leather

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Configurations & Materials Video Conference

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Peperino Rosso marble, brushed stainless steel and ¼” inlay

American Mahogany granite, Pine synthetic leather, brushed stainless steel and ¼” inlay

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STONE SPECIFICATION GUIDE

Configurations & MAterials Video Conference

CONFIGURATION

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Bordeaux granite, ropey and solid cherry, brushed stainless steel and ¼” inlay

Morisca Oro granite, polished and honed Spider Black marble, brushed stainless steel and ¼” inlay

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Notes

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S T O N E S P E C I F I C AT I O N G U I D E

Stone

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Stone Granite

Granite is a very hard, igneous rock, formed

African Tapestry

from volcanic eruption. The color and size of the spore in the granite indicates the proximity to the original eruption. Granite is more resistant to damage, harder and more uniform than marble or

Bahama Gold

travertine. It is relatively consistant in appearance, and virtually immune to wear and deterioration. It has become an economical choice

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for today’s designer because of its endurance, esthetics, and low maintenance.

The texture or pattern of the stone is what will most likely influence which granite you choose. Some granites are speckled or have little flecks of color here and there while others have veining running throughout similar to marble.

Barre Grey

Blue Eyes

Carmen Red

There are hundreds of colors and patterns, from simple whites to golden honey yellows, exotic reds, ocean blues, deep browns, and forest greens, to charcoal grays and jet blacks.

The closer to the original eruption, the smaller the spores; the further away from eruption, the larger the spores.

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STONE SPECIFICATION GUIDE

Stone Granite

AZUL ARAN

san sebastian

san sebastian polished

IVORY BROWN

25 COLONIAL DREAM

ROSA CINZIA

SIERRA DORATA

GRAN BEIGE

GHIANDONE SARDO LIMBARA

VIARA

JUPARANÀ COLONIA

GIALLO VENEZIANO FIORITO

TROPICAL FANTASY

PINK OLYMPIA

DESERT BROWN

HIMALAYA BLUE

LABRADOR CHIARO

BALTIC GREEN

LABRADOR SCURO

boreal green

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Stone Granite

Juparana Gold

Oro Romano Dark

Diamond White

CALEDONIA

Palazzo Quartzite

Vermont Green

Peacock Light

Siena

Venetian Gold

Purangaw IPE

winneway

MULTICOLOR RED

Verde Fontaine

Gallix

Eloisa

Juparana India Gold

Tan Brown

Brown Antique

Blue Pearl

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Matrix Stone

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STONE SPECIFICATION GUIDE

Stone Granite

Dark Fantasy

Sea Foam

Juparana Champagn

BALTIC BROWN

27 Yellow River

ash rose

Sunny Gold

ZAPHIR BROWN

Aquarius

Purangaw Ekos

Breccia Rossa

Madura Gold Honed

Golden Sea

american red

canadian red

newton brown

kodiac

Ubatuba Bahia

nordic black

Taillon-black

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Stone Marble

Marbles are crystalline limestones which have

Crema Valencia

metamorphosed by heat and pressure beneath the earth’s surface over a very long period of time, ranging from 7 to 120 million years. They vary in texture from coarse to fine. Giallo Siena

In a pure state, marble is clear white, almost translucent. When mixed with other materials, marble varies in color from grays to blacks, to beautiful shades of pink, yellow,

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green, red and brown. Onice Verde

Marbles have been classified into four groups known as the Marble Soundness Classification which should be taken into account when using marble, for all marbles are not suitable for all building applications. This is particularly true of the comparatively fragile marbles classified under Groups C and D, which may require additional

Marble colors are usually distributed in streaks, veins, and irregular cloudy blotches throughout the stone, caused by different mineral deposits.

fabrication before or during installation. The basis of this classification is the characteristics encountered in fabricating, and has

classification indicates what method of fabrication is con-

no reference whatsoever to the comparative

sidered necessary and acceptable in each instance based

merits or value of each type of marble. The

on standard trade practice.

BIANCO CARRARA

VERDE ISSORIE

Group A Marbles having uniform qualities, without streaks, dry veins, and irregular blotching.

Group C Marbles with geological flaws, voids and veins. Standard practice is to repair variations and reinforce the stone.

ROSA NORVEGIA

FIOR DI PESCO CARNICO

Group B Similar to Group A, however, a little more difficult to work with due to natural flaws in the marble. Limited amount of filling is required.

Group D Highly colored with a greater degree of variation in geological flaws, voids and veins. They are the most difficult to fabricate and require additional repair work and reinforcing.

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STONE SPECIFICATION GUIDE

Stone Marble

CALACATTA FANTASIA

ARABESCATO CARRARA

valley fiorito

PAONAZZETTO

29 PERLATO SICILIA

KARNIS

ROSA ATLANTIDE

missisquoi

PIETRA DORATA

PERLATO OLIMPO VENATO

AMARELLO

BRECCIA ONICIATA

CREMA VALENCIA

BRECCIA AURORA CLASSICA

BRECCIA DAMASCATA

Breccia Oniciata

ONICE VERDE

GIALLO SIENA

EMPERADOR CHIARO

FIOR DI PESCO CLASSICO

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Stone Marble

Statuary Vein

Golden Spider

AURISINA FIORITA

PERLATO ROYAL

LIOZ MONTEMOR

NAPOLEON GRAND MELANGE

NOISETTE FLEURY CLASSICO

MONDRAGONE

Olympus Gray

Verde Giada

ROSSO RAMELLO

Opera Fantastico

Rosso Verona

Rosso Imperial

Rosso Sevilla

Rosso Levanto

BRECCIA PERNICE ROSSA

ROSSO ALICANTE

DUCHESSA ROSATA

cascapedia

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STONE SPECIFICATION GUIDE

Stone Marble

KARIBIB

ROSA EGEO

Solar Grey

BLUE TEDESCHI

31 Verde Luana

PALISSANDRO BLUE NUVOLATO

Oasis Antiqued

Royal Green

FOSSILE MARRONE

Oro Esotico

GRIGIO FUMO

BLACK EFES

Silver Beauty

Nero Marquina

VERDE ALPI

Verde Acceglio

PORTORO

noir st laurent

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Saint Laurent

Grigio Carnico

Stone Limestone

Limestone is layered and formed at the bot-

Fossil Brown

tom of oceans or lakes from the skeletons and shells of sea creatures that lived in warm seas millions of years ago. It will often contain seashells and fossils embedded in the surface. If this limestone is subjected to intense heat

Fossile Pisces

or pressure and a few millennia, a crystallization will occur and the limestone will become a “true marble”.

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Limestone varies greatly in hardness, density, and porosity from stone to stone. Some limestones are very soft and can only be fabricated to a honed finish. Other limestones are very dense and hard and can be finished

Limestone is a unique natural stone and at times, contains visible mysteries of our past within slabs.

to a polished or a glossy shiny surface. Pure limestones are white or almost white. Because of impurities, such as clay,

Portoro Limestone

sand, organic remains, iron oxide and other materials, many limestones exhibit different colors, especially on weathered surfaces. Most

Ambrato Limestone

limestone is grey, but all shades of limestone from white to black have been found. Colors of limestone are soft and earthy, ranging from the creamy beiges to deep browns, reds and

Camargue

blacks. There are also lighter creams, ivories, and smoky gray blues, as well as pastel shades of yellow to pink are all possible.

Cedar

Limstone patterns vary from solid to variegated, and may be crystalline, clastic, granular, or dense, depending on the method of formation.

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STONE SPECIFICATION GUIDE

Stone Limestone

Topaz

Sunny Desert Polished

charmot

VILHONNEUR

33 Cedar Limestone

Creta

Ramon Gold

Galala Beige

Fossil Green Honed

Riviera Beige

MASSANGIS

Ivory Antico

Lagos Blue Honed

Jerusalem Gold

Jura Beige

Sunny Desert Antique

Amarello Negrais

buxy Gris

Rosa Laurens

Cedar

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Stone Travertine

Travertine is a form of limestone. It often

Denizli Cream

consists chiefly of calcium carbonate formed by precipitation in hot mineral springs over a period of 600,000 years. It comes out of the

Classic Travertine Polished

ground relatively soft compared to marble, but hardens with age and exposure. Travertine has a sponge-like textured appearance as gas bubbles become trapped and create a pitted surface on the stone. These pitted surfaces or cavities are frequently filled

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with a matching epoxy or dust resin during the fabrication process. Filling the small

Travertine is porous with many visible holes that can be filled, usually with a cementicous filler, or left unfilled for a more rustic appearance.

holes and pits gives the travertine a more finished look.

Brown Azarshahr

The stone surface can also be left in its natural state with the small holes and pits unfilled. This is a warmer aged look which

Gray Travertine

will acquire a beautiful patina over time. Leaving the stone unfilled will affect the durability, however; it will attract dirt much

Silver Travertine

easier than a filled travertine. Travertine colors are in warm earthy tones, more easily from the softest ivories and palest creams, rich shades of golden honey, to silvery greens to deep mocha browns. The color tones vary and veins or bands of contrasting color run throughout the stone.

Travertine can be cut on either a “vein” cut, which is against the bedding that reveals the bedding planes, or a “fleuri” cut, which is along the bedding plane and reveals a flowery, often circular pattern. This cut is also referred to as a “crosscut” pattern.

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STONE SPECIFICATION GUIDE

Stone Travertine

ONICIATO CHIARO VENATO

ONDULATO

Silver

Navona Travertine

35 ST. PETER LIGHT

ST. PETER CLASSICO

ONICIATO SCURO VENATO

Classic Honed

Antique

Gold

Timber

SCURO STUCCATO

ALHAMBRA

SCABAS ROSA

SCURO NOCE

ST. PETER DARK

GIALLO PERSIANO

Noce Travertine

ROSSO PERSIANO

Aurora

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Stone Quartzite

Quartzite was transformed from grainy

Ambradorata

quartz-rich sandstone, although it took 500 hundred million years or more to accomplish the process. Quartzite is a metamorphic rock heated under pressure deep within

White Gold

the earth’s mantle where the original quartz sand grains and quartz silica cement became fused into one.

Finnish Silver Green

Quartzite has a rich crystallized appearance and is hard, compact and very fine-grained. Most

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varieties of quartzite contain at least 90 percent quartz and are the largest and purest concentrations of silica in the earth’s crust. Quartzite breaks through, not around the quartz grains and produces a smooth

The stone’s mica content (or other silicate minerals) often shimmers with a subtle hint of sparkle, which makes the stone a perfect complement to other natural materials, as well as chrome, steel and other metal surfaces and fittings.

surface rather than a rough and granular one. Sandstone will shatter into many indi-

Normally quartzite is white or light grey, but it may

vidual grains of sand, while quartzite breaks

be found in a variety of other colors including yellow,

into sharp angular fragments — the crystal-

light brown, blue, green, purple, black, shades of pink

lization of the quartzite makes it harder. It is

or red depending on the other minerals such as mica,

one of nature’s most durable stones.

tourmaline, zircon or iron oxide that may be present.

Pure quartzite displays understated tones of whites, grays or pinks. However, when small amounts of other minerals are involved in the metamorphic process, quartzite will take on a diverse series of colors.

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STONE SPECIFICATION GUIDE

Stone Quartzite

White Moon

Azul Imperial

Azul Macauba

Ocean Green

37 Giallo Pianosa

Sahara Yellow

Niagra

Verde Aquamarina

Himachal Green

Bamboo Yellow Blue

Golden Quartz

Raymond

Verde Agreste

Verde Cactus

Turquesa Di Rosa

Silver Grey

Verde Bamboo CrossCut

Zeera Green

Red Fire

Hollywood

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Stone Slate

Black Slate

Slate is a metamorphic fine-grained rock that can easily be split into thin, durable sheets. Most slate is formed below the earth’s surface by changes in the makeup and appearance of

Natural Plum

shale, a sedimentary rock. Heat from deep in the earth changes some of the clay in shale into mica and chlorite. Slate results when pressure created chiefly by mountain-forming

Pure Pink

movements in the earth’s crust squeezes the

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mica and other minerals into parallel layers. Depending on where they originate from, some slates are much softer than others. Slates from the US, Canada, and the UK are usually of a harder variety. The soft veining and mottled colors of slate are earthy and usually darker. They include variations of reds and turquoise greenish blues as well as softer grays and

Most slate is grey to black in colour, but the rock may be red or purple depending on its mineral content.

deep solid blacks. Green slates may change color or fade with time. Slate can be rustic and romantic or sleek and refined. It won’t etch, it doesn’t burn, and it’s nonporous so the maintenance is fairly simple.

The multi color slates are rustic and more colorful. Coating slate with mineral oil will help to protect the stone as well as deepen the natural colors.

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STONE SPECIFICATION GUIDE

Stone Slate

Garland Cedited

Brazilian Green Honed

Brazilian Gray

Brazilian Black

39 Unfading Green

Green Brazilian

Summit Honed

Unfading Purple

Black Split Face

Mottled Green Purple

Grayson

Black Lacephylite

Heathermoor

Atlantic

Winchester Black

Black Brazilian

Black Lacerust

razilian Multicolor

Raja Multicolor

Unfading Red

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Stone Corian ®

Corian® is a thermoformable material from DuPont™ that has endless shape and design options. From chairs and vases, to wall cladding and countertops, the uses of Corian® are virtually limitless in commercial environments. Corian® sheets inspire designers and architects to build stylish spaces with pieces cut horizontally or vertically. Durable, easy

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to maintain, and low-emitting, Corian® solid surfaces can contribute to a sustainable design goal and help projects achieve LEED® credits in a variety of applications. Suitable for both horizontal and vertical applications, Corian® combines beauty and performance with a range of environmental benefits that can help contribute to: MR Credit 1.3 - Building Reuse MR Credits 3.1 and 3.2 - Materials Reuse MR Credit 5.1 and 5.2 - Regional Materials EQ Credit 4.1 - Low Emitting Materials: Adhesives & Sealants Corian® and the adhesives and seal-

Corian® is: • Flexible and versatile • Available in over 130 colors

ants used to install them are GREENGUARD

• Stain resistant

Indoor Air Quality Certified® as low emit-

• NSF/ANSI Standard 51 Certified for food contact and Class I(A) fire rated

ting materials. With the new Corian® Terra

• Durable: Tough and long-lasting

Collection, you have a palette of 25 colors

• Can be renewed: Color runs all the way through, making restoration easy if necessary.

to choose from that are certified by Scientific Certification Systems (SCS) to contain recycled content and can contribute to MR Credits 4.1 and 4.2 for Recycled Content.

• Heat-resistant • Easy-to-clean and maintain: Smooth seamless appearance • Non-porous surface does not promote the growth of mold and mildew when properly cleaned • GREENGUARD Certified® as a low-emitting material

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STONE SPECIFICATION GUIDE

Stone Corian ®

Rain Cloud

Silver Birch

Clam Shell

Tumbleweed

41 Sagebrush

Slate

Matterhorn

Silt

Rosetta

Burled Beach

Aztec Gold

Sonora

Verde

Spruce

Pine

Malachite

Lava Rock

Earth

Egyptian Copper

Cinnabar

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Stone ZodiaQ ®

Zodiaq® is an advanced composite material made of 93% quartz. It is a long-lasting and virtually maintenance-free material, linking

• Non-porous and carefree: No sealant, polish or reconditioning.

function and aesthetics to make commercial

• Made from 93% natural quartz crystal, one of nature’s strongest materials.

installations stand out. There is design flexibil-

• 45 colors and stain resistant, scratch resistant, heat-resistant.

ity, versatility and a multitude of options with

• NSF/ANSI Standard 51 Certified for food contact and Class I(A) fire rated

Zodiaq® quartz surfaces. The creative potential of Zodiaq® is a perfect blend of nature and science, giving the

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Zodiaq® is:

impression of natural stone without natural stone’s imperfections.

• Unconventionally beautiful: Dramatic veining and movement capture the imagination. • Durable: Made from an extremely hard mineral, quartz crystal. • Easy to clean: When properly cleaned, Zodiaq® is mold and mildew resistant. • GREENGUARD Certified® as a low-emitting material

Sparkling crystals within its surface give a

Designed with designers in mind, Zodiaq® is pro-

stunning light-play and a mesmerizing depth,

duced in large slabs, allowing for the creation of large

while the surface’s inherent sheen adds to this

areas and minimizing the need for distracting seams.

reflective effect. Zodiaq® is ideal for your clients

Zodiaq® can be used for a wide range of horizontal and

who seek the ultimate in elegance and dramatic

vertical applications across all sorts of environments. It

design without compromising performance.

can be cut to exact requirements with complete precision.

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STONE SPECIFICATION GUIDE

Stone ZodiaQ ®

Carmel

Minera Pearl

Bedrock

Marrone Ambrato

43 Giallo Michelangelo

Autumn Light

Sandalwood

osso Verona

Meteor Grey

Woodland Grey

orealis Blue

Charcoal

Magellan Green

Royal Brown

Smokey Topaz

Black Forest

Copper Sunset

Copper Canyon

Verde

Gold Abyss

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Notes

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S T O N E S P E C I F I C AT I O N G U I D E

Design Process

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Design Process Lightweight

Lightweight Stone TOP In addition to producing custom stone tables, credenzas, and reception desks, many types of granite and marble can be fabricated in a lightweight process for use on reconfigurable furniture. A five-foot-square stone table top that would normally weigh five hun-

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dred pounds or more can be made with a thin layer of the same stone on a lightweight aluminum core that weighs less than 30% of the solid stone. This customized panel can be made with a mitered waterfall edge of the same stone, or set into a frame of finished hardwood or fine metal.

Design by: Gensler

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STONE SPECIFICATION GUIDE

Design Process Lightweight

FOLDING TablE Top Designed by WallGoldfinger using a lightweight stone panel, this hinging method allows the 5’ x 5’ table top to fold in two pieces and to be removeable from a room with ease.

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FIRST EDITION

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Design Process Matching

Slab Cutting Quarry blocks are reduced to slabs by a gang saw consisting of steel

Fleuri cut with bed

blades set parallel in a frame that moves forward and backward. The most productive and precision gang saws are a series of diamond tipped blades with individual hydraulic blade tensioners. Others are fed a cutting abrasive in a

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stream of water. Marble blocks can be sawn

Sawing and position of block in quarry. Level of beds vary

Vein cut across bed

either parallel or perpendicular to the bedding plane. The perpendicular cut is referred to as an across-the-bed or

direction, and are available as either vein or

vein cut; the parallel cut is with-the-bed

fleuri, while others produce a pleasing surface

or fleuri cut. Some marbles produce a

only when sawed in one direction and are

pleasing surface when sawed in either

generally available only in that variety.

Surface Patterns Only certain marbles lend themselves to specific pattern arrangement, such as the side slip and end slip patterns. This is because a constant natural marking trend throughout the block is required. Formal pattterns require selectivity

End Slip Match Panels from the same block are placed end to end in sequence to give a repetitive pattern and blended color in the vertical

Side Slip Pattern Panels are placed side by side to give a repetive pattern and blended color in the horizontal

which often increases the installed cost of the stone. Usually, material sawed for a vein cut can be matched; fleuri cuts can be blended. Any pattern other than the “blend” must be listed in the original job specifications prior to stone fabrication.

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STONE SPECIFICATION GUIDE

Design Process Matching

Matching and Blending Although the arrangements of matched panels indicate an almost perfect match of the veining lines, it is impossible to achieve this perfection due to that portion of the marble block lost during the sawing process and due to the shifting of the veining. Brecciated marbles, for example, are extremely difficult to cut into matched patterns and should be blended instead. Ideally, jointing should be planned for grouping of four panels of equal size. book match Pattern The adjacent faces of panels 1 & 2 are finished. Panel 2 is placed next to panel 1 as the pages of a book are opened.

End MAtch Pattern The adjacent faces of panels 1 & 2 are finished. Panel 2 is inverted above panel 1.

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Quarter or diamond match pattern Panels 1 & 2 are book matched. Panels 3 & 4 are book matched and then inverted over the top of panels 1 & 2.

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blEnd Pattern Panels of the same variety but not necessarily from the same block arranged at random. This scheme is followed when no other pattern is specified.

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Design Process Matching

When designing a table or credenza on which

be oriented to blend the separate slabs in the best

there are more than one piece of stone, deciding

possible way.

how to match the slabs is an important part of

The layout of the stone on the table, cre-

the process. Some stones are even and homoge-

denza, or desk is limited only by the designer’s

nous, needing little attention to orientation. Oth-

conception and the slabs of material available.

ers, particularly heavily veined marbles, should

We have fabricated tables with two book-matched

End Match Pattern

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Book Match Pattern

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Design Process Matching

slabs joined at the center for a continuous, ho-

slip matched), how fragile the stone is, whether it

mogenous look, and we’ve produced furniture

is veined or brachiate, the initial size of the slab,

with different stones in opposing configuration

and if the selected slabs are in sequence (cut and

and combined them with wood and stainless steel.

maintained in order from the same block). Wall-

Many factors come into play, such as how the slabs were cut from the block (book matched or

Goldfinger and our partner stone sources have the experience to identify the best options available.

Book match Pattern

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Reverse Diamond Pattern

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Design Process Bases

structure Stone is heavy. On average, a three centimeter (1¼”) thick slab of stone weighs twenty pounds per square foot, so on a table five feet wide by fourteen feet long, the top alone weighs 1400 pounds. WallGoldfinger takes special measures to design the furniture to accept that extra weight: steel frames under a rigid one-inch

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plywood subtop, rabbetted case sides transferring weight directly to bottom plates, and bolting narrow bases to the floor are all methods employed to accommodate and stabilize the weight.

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Design Process Legs

Cross Leg A lightweight aluminum leg that incorporates wire management — a custom WallGoldfinger proprietary extrusion. A clip-in plate can be added to contain wire management. Anodized or powder coated finish available.

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Stainless Steel Cross Base

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Design Process Base Options

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The bases for our stone tables are also open to in-

steel and glass cubes. We can accomodate your

novation and expression. We’ve made everything

aesthetic desires with the structure and support

from large plastic laminate single units to veneered

necessary to handle the requirements of a table

pedestals to trestle-style wood bases and stainless

made from stone.

Aluminum pedestals

Brushed Stainless Steel drums

Stock veneer or custom veneer Base

Stock veneer or custom veneer Pedestals

Leather wrapped Pedestals

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STONE SPECIFICATION GUIDE

Design Process Custom Bases

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Notes

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S T O N E S P E C I F I C AT I O N G U I D E

Sardinia marble quarry, Italy

ManufacturING

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ManufacturING Quarries

Architectural-quality stone is available in a tremendous variety. However, unlike hardwood, stone does not “grow” in multiple regions. Generally, a type of stone is available from one mountain in one region of one country only. There may be similar types in other areas, but they tend to follow the mineral tendencies of the

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region, with some variations. Barre Granite quarry, Vermont

One quarry, in fact, can produce several varieties of stone as the masons cut deeper into the mountain and find variations in color. Carrarra, Italy, for example is home to many types of Calacattas – Calacatta Regina, Calacatta D’Oro, Calacatta Bhorghini, to name a few. But when they strike a particularly clean and white section of the mountain, that stone is classified as Statuary White and sold at a premium. Because each mountain, and thus each type of stone, is unique, it can become something of a perishable commodity. A smaller mountain may produce a limited quantity of a highly-prized stone;

ger exists, unless you can find a

for a few years may actually be

once it hits the stone yards it may

yard that has a reserved or undis-

obsolete; likewise, the stone table

be bought up quickly and used in

covered stock, which is usually in

we produced for you seven years

various projects. When the quarry

small quantities. So that beautiful

ago may be impossible to match

is tapped out, that stone no lon-

sample that’s been in your library

exactly.

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ManufacturING Selection

While any number of stipulations may direct selection of a particular stone for a specific application, there are several significant influencing factors. Among them are aesthetics, color, strength, durability, design, texture, finish, size, thickness, availability, and cost. The effects any of these factors may have on another can influence the final choice. Design considerations are nearly equal among the factors of aesthetics, strength and durability. This is particularly true of interior applications. The imagination of designers is boundless, and it is the fabricator or supplier who must counsel the design professionals as to what is feasible and what is not. On a large project, take wastage into account to make certain there will be enough material to complete the project. Material from a quarry today may be different from what was available six months ago. The criteria of the producer to select stone also vary from quarry to quarry.

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ManufacturING Water Jet

Waterjet technology is a computerized cold cutting method that can cleanly and efficiently cut stone and most materials into any two dimensional shape. Waterjet allows for complex and difficult shapes to be cut with equal ease and a high level of accuracy and precision.

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The entire cutting assembly travels along a track determined by AutoCAD electronic files. A waterjet machine has essentially two components: the x-y-z table which moves the cutting head over the material and a high intensity pump that generates 55,000 psi. The cutting head is a nozzle with a ¼” sapphire crystal orifice through which water is forced by the high intensity pump. A garnet abrasive is fed into the waterjet stream for stronger erosion action when cutting harder materials. Waterjet is an important breakthrough in fabrication methods for both industrial and architectural applications. Depending on the material, thickness and intricacy of the cut, the savings compared to traditional cutting methods can be substantial.

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ManufacturING Edge Profiles

Bevel

Half Bullnose

61 Double Pencil

Roman Ogee

Triple Waterfall

Pencil

Full Bullnose

Classic Ogee

Reverse Knife

Dupont

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ManufacturING Finishing

Polished Finish

Polished

A polished surface finish is shiny and reflective. This is a glossy mirror like finish. The full color, depth, and crystal structure of the stone is visible. Your stone appears darker and the colors seem richer. A polished finish seals or closes more of the pores of the stone surface, helping to repel moisture while highlighting the

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character of the natural stone and is

Design by: Visnick and Caulfield Associates

considered the finest and smoothest finish available.

High Honed

High Honed Finish A high honed surface finish is a middle of the road finish. This is a newer surface finish which has a light or a faint gloss. It is not as shiny as the polished finish nor as “matte like” as the honed granite finish. It is in between the two. SIMULATED to depict high honed finish

Honed Finish

Honed

To achieve a honed surface finish, the finishing process ends prior to the buffing stage. The result is a smooth surface without reflection. The stone will have a matte-like appearance. A perfectly honed granite finish is one without scratch marks. The finish remains flatter than a full gloss polish. SIMULATED to depict honed finish

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STONE SPECIFICATION GUIDE

NOTES

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S T O N E S P E C I F I C AT I O N G U I D E

Design by: Gensler

COMMUNICATION TECHNOLOGY

FIRST EDITION

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COMMUNICATION TECHNOLOGY Table Top Access

There are no more limitations for accommodating power, data, and AV in a stone table than there would be in a table topped with veneer, leather, or any other material we use. With the technological advances in the process of manufacturing stone, we do not need to compromise the details we can offer just because the top is “set in stone.” Power/data hatches, passthroughs, holes for microphones, wire chases underneath, even monitors that lift electronically out of the table — all are possible.

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Plated Steel Grommet Designed to fit into a 1¼” hole with flange raised slightly above desktop. Hand-made of the highest quality steel, highly polished, then plated, it comes with a single ½” cord slot and 1¼” diameter hole. Available Finishes: Matte Black, Satin Chrome, Black Chrome, Polished Chrome, Satin Nickel, English Antique, Polished Brass.

Solid Brass Grommets This series is ideal for fine executive desks and credenzas, conference tables and computer stations. Each grommet cap is made of solid brass and is simply beautiful. Each liner is hand-machined from solid brass tubing, a labor-intensive operation that requires several steps of polishing with different compounds followed by plating and a final polishing. Three low-profile sizes with liner going into hole 1 ⁄ 8”, 2 3⁄ 8” and 2 7⁄ 8”. The cap sits just 1⁄ 8” above the desk7

top for a trimmer, thinner appearance. Available Finishes: Matte Black, English Antique, Satin Chrome, Polished Brass, Black Chrome, Satin Nickel, Polished Chrome. Unfinished also available.

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COMMUNICATION TECHNOLOGY Table Top Access

Single Doors WallGoldfinger’s custom metal doors provides access to power/data management units mounted underneath table surface. Available in two standard sizes: 6” x 8” and 8½” x 13” with or without brush strip. Custom sizes and finishes are available when requested.

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COMMUNICATION TECHNOLOGY Table Top Access

Double Doors

68

A

B

C

Retractable Doors

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COMMUNICATION TECHNOLOGY Connectivity

Plug-in Cords Communication trough with configurable power, style

D

and data capabilities (D), and has ability to accommodate multiple users at one time. It mounts flush with the table surface to maximize work space and blend into the environment. Pull-out Cords Offers convenient access to A/V and network cables (E, F). Cables are counterweighted to retract when not in use, and can be stored out of sight while remaining con-

E

nected to the system, offering a discreet way to access cables and connection points as they are needed. Pop-ups Motorized, vertically lifting enclosure for hideaway computer-video interface and connector access (G), raised and lowered using a remote control or by pressing on the top surface. The pop-up installs at an adjustable height below the tabletop, allowing the top to accommodate surface matching material. Built-in safety features prevent closing on obstructions.

G

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F

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COMMUNICATION TECHNOLOGY Microphones

Button Microphones Low profile omnidirectional and cardioid boundary layer condenser microphones designed for applications such as tele/video conferencing, recording or amplification of round table discussions and wherever the microphone needs to be as unobtrusive as possible.

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The half-cardioid polar pat-

Design by: Swanke Hayden Connell Architects

tern is aimable and assures highgain-before feedback. The high sensitivity guarantees a constant output level even from long distance sources. Elastic bearing rings achieve mechanical isolation from the mounting surface and therefore offer effective sound isolation of the microphone.

CLAM SHELL Grommet top pivots to expose microphone. Push on top to both open and close cover. The top can be brushed stainless steel, brushed bronze, black powder coat, or veneered to match the surface material. Available in either single or double microphone units.

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COMMUNICATION TECHNOLOGY Microphones

Goose Neck Microphones Specially designed for installation into tables or desks and suitable for use in discussions and tele/video conferences. The 85-mm long gooseneck provides a 4-pin female mini XLR connection to connect the microphone to the power supply which can be installed into tables or desks and provides a protection against mechanical vibration. The microphone features: cardioid polar pattern; high gain-before-feedback; flat, wide range frequency response; high-quality reproduction of speech; flexible gooseneck for optimum positioning; unobtrusive design.

TABLE BOXES Easy and flexible installation, designed to fit a 2” round hole with ¾” to 2½” table thickness. Mounting hardware is supplied to allow for a variety of table thicknesses. Can be easily configured to match customer needs, and matched to nearly any décor with black, aluminum or brass top.

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COMMUNICATION TECHNOLOGY Conferencing

RF Series Microphones Developed in direct response to interference (noise) problems effecting microphones, IP phones, hearing aids etc. by popular GSM devices such as PDA’s, cellular phones and mobile phones with two way walkie-talkie capability. With the goal of minimizing

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the number of microphones on the conference table, but also keeping in mind performance, ease of installation and aesthetics, they are designed to be placed in the middle of the conference table, and can be used for either mobile or permanently mounted using the hollow bolt and nut provided.

Conference Phones With industry-leading full duplex for natural, simultaneous two-way conversation, the conference phone delivers remarkable voice quality. Users can speak in a normal voice and be heard clearly up to ten feet away. Smart technology provides maximum microphone sensitivity, while reducing distracting room and background noise. The microphones are controlled by intelligent microphone mixing technology, which activates the microphone closest to the person doing the talking and helps reduce background noise from the other mics. A 2.5-mm jack on the side of the console lets you plug in a cell phone, handy if no landline is available, as it lets you use the conference system’s speaker and mics through a cellular connection. WALLGOLDFINGER, INC.

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STONE SPECIFICATION GUIDE

COMMUNICATION TECHNOLOGY Conferencing

Flip-Over Microphones

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Flip-Over Speaker phones

Design by: Perkins+Will

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COMMUNICATION TECHNOLOGY Control Panels

Touchpanels Touchpanels offer a powerful feature set including standard built-in video, audio and ethernet; bright, high-contrast, wideangle displays; lightning-fast response and 24-bit color depth, resulting in astounding performance at a truly ground-breaking price point.

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Touchpanels offer un-

Design by: Ted Moudis Associates

matched video capabilities and graphical performance to support a host of control applications. They also offer anti-aliased 3D objects including buttons, frames, gauges and sliders. Anti-aliased

Design by: HLW

text options include standard, embossed, beveled and fringed, presenting an ideal “canvas” to create great looking designs for any application without increasing the panel’s file size or download time. Audio features include builtin amplified speakers, volume control, line-level stereo input and a microphone with automatic gain control and line-level output. The speakers may be used to amplify signals from TV and video sources, or to support programmable intercom functionality with the microphone.

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STONE SPECIFICATION GUIDE

COMMUNICATION TECHNOLOGY Video Conferencing

Stone table tops work equally well in a dedicated AV/Teleconferencing room. Most AV consultants recommend a honed or high-honed finish instead of a mirror polish to reduce the glare and reflection from lights and windows.

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Design by: Gensler

Design by: Gensler

Design by: Mancini Duffy

FIRST EDITION

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Design by: BHDP Architecture

Design by: Gensler

Client List Selected

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AIG, New York NY

Hogan & Hartson, Washington DC

Alex Brown & Sons Incorporated, Balitmore MD

IAC/InteractiveCorp, New York NY

Ambac Financial Group, New York NY

IBM Corporation, Armonk NY

BNP Paribas, New York NY

Jennison Associates, Boston MA

Bricklayers Union, Washington DC

Kohlberg Kravis Roberts & Co., New York NY

Bristol-Myers Squibb, Princton NJ

KPMG, New York NY

Brown, Rudnick, Freed & Gesmer, Boston MA

Laborers International Union, Washington DC

Bryan Cave, New York NY

McCarter & English LLP, Boston MA

Cadwalader, Wickersham & Taft, New York NY

McKee Nelson LLP, Washington DC

Cleary Gottlieb, Washington DC

Montgomery, McCracken, Walker & Rhoads,

Covington & Burling, New York NY

Philadelphia PA

Covington & Burling, Washington DC

Moore and Van Allen, Charlotte NC

Cypress Advisors, New York NY

Penn Mutual, Philadelphia PA

Deutsche Bank, New York NY

PricewaterhouseCoopers, New York NY

Ernst & Young, New York NY

Silver Lake, New York NY

Epstein Becker & Green PC, Boston MA

Sullivan & Cromwell, New York NY

Epstein Becker & Green PC, New York NY

The Conti Group, New York NY

FactSet, Norwalk CT

UBS/Warburg Dillon Read, New York NY

Faulding Pharmaceuticals, Paramus NJ

Vinson & Elkins LLP, New York NY

Fish & Richardson, Boston MA

Widener Building, Philadelphia PA

Goodwin Procter LLP, New York NY

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Design by: Butler Rogers Baskett FIRST EDITION

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NEW PUBLICATION

WEEKDAYS

Reconfigurable Arbor TABLE Brochure Specification Guide

SHOWROOM

Third Edition | 2009

On display in our New York City howroom are examples of many of WallGoldfinger’s unique offerings: monitor lifts, rotating microphones, monitor drawers, etc. The Showroom is on the 15th floor in the New York Design Center at 200 Lexington Avenue and managed by our New York Representatives, Napier, Joseph and McNamara. The hours are 9am–5pm Monday through Friday.

This informative catalogue fully describes WallGoldfinger’s unique “Arbor” line of light weight reconfigurable tables. Design considerations, finish choices and options are all covered in exhaustive detail. Download the brochure in PDF formoat directly from our website, or request a printed copy from one of our sales representatives. PDF | 57.3 MB

www.wallgoldfinger.com/publications

MONTHLY

eNEWSLETTER 2009 Second Series

Another monthly media piece is our eNewsletter, resurrected and relaunched two months ago. In the past, we found it tough to keep up with a thirty day publishing schedule but we’ve rededicated ourselves to the task, recognizing it’s important to keep our customers up-to-date. If you would like to receive our electronic newsletter, please sign up on our website. www.wallgoldfinger.com/news/subscribe

212-683-7272

200 LEXINGTON AVENUE, NEW YORK CITY

SALES REPRESENTATIVES Metropolitan New York Casey McNamara [email protected] Wilson Villafana [email protected] Kristina Ricicki [email protected] Kelly Wenzel [email protected] Gary Canning [email protected] Napier, Joseph, & McNamara, Ltd 200 Lexington Avenue, New York P 212 | 683.7272 F 212 | 683.7011

www.njmltd.com Metro Philadelphia, Mid-Atlantic Sam Lear [email protected] Tim Kalberer [email protected] Gail Peterson [email protected] Lear Associates, Inc. Philadelphia, Pennsylvania P 856 | 665.0023 F 856 | 665.0369

www.learassociates.com MONTHLY

POSTCARDS Collection THIRD SERIES | 2008–2009

Every month WallGoldfinger issues a postcard featuring a noteworthy recent project. Complete project information is included. If you would like to be added to our postcard mailing list or receive a booklet of all postcards to date, please contact a sales representative. www.wallgoldfinger.com/news/ contact

Baltimore, Metro Washington DC Paul Buchbinder

[email protected] Washington DC P 202 | 255.4455 F 202 | 332.1110 Chicago Curtis Ostler

[email protected] WallGoldfinger, Inc. Northfield, Vermont P 802 | 485.6261 ext. 4982 F 802 | 485.6267 Boston, All Other Areas John Belniak

[email protected] WallGoldfinger, Inc. Northfield, Vermont P 802 | 485.6261 ext. 4987 F 802 | 485.6267

W A L L

G O L D FINGER

7 Belknap Street, Suite 3 Northfield, Vermont 05663 P 802 | 485-6261 F

802 | 485-6267

www.wallgoldfinger.com

© 2008