the art of stone · 2020. 9. 11. · 4 building stone magazine fall 2007 fall 2007 contents...

THE ART OFSTONECARVING

THE ART OFSTONECARVING

Carved Creations

An Eye for Detail

Granite Opens a World ofPossibilities

Carved Creations

An Eye for Detail

Granite Opens a World ofPossibilities

A Publication of Building Stone Institute Fall 2007 Volume 30, Number 3A Publication of Building Stone Institute Fall 2007 Volume 30, Number 3

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www.bui ldingstonemagazine.com2 BUILD ING STONE MAGAZ INE � Fall 2007

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On the Cover:Stone: Blanco Limon.

St. Regis Hotel and Resort,Monarch Beach, Calif.

Photo courtesy of House of Stone

Features Departments

8 A Cut Above: The Art of Stone CarvingCarvers and sculptors who find the “inner being” of natural stone work their magic to add beauty and definition to homes, parks and structures. Author Mark Haverstock highlights some of the best andbrightest artisans in the United States. Read about their passions andsee photographs of some of their finest works.

22 Carved CreationsMonuments, fountains and sculptures are just some of the creations thatarise from natural stone. Here, see prime examples of art that adds atouch of class – and sometimes whimsy – to the great outdoors.

30 Frequently Asked Questions: Stone Sculpting and CarvingSit down with an expert stone carver who shares his perspectives on some of the questions we’re most often asked here at Building Stone Magazine.

6 Introduction

Historical Feature

72 Modern Icon on the Mall The East Building of the National Gallery of Art, now almost 30 years old, features public and privatespaces that are celebratedinternationally as both con-struction marvel and sculpture.

76 Industry News

80 Advertising Index

8

Photo courtesy of Harold C. Vogel

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Features40 An Eye for Detail

For photo-realistic engravings in natural stone, lasers are the way to go. The technolo-gy for laser engraving has advanced exponentially from its humble beginnings in the1980s and 1990s. Discover why laser etching through computer-controlled systems is aburgeoning market.

54 Granite Opens a World of Possibilities Considered by many to be one of the most versatile natural stones, granite featuresmany styles and colors, offering users strength and durability. In this article, exploresome of the most advanced and distinctive uses of granite.

64 Marmomacc Announces Winners: The International Architecture in Stone Award An international jury convened in early March in Verona, Italy, to review major archi-tectural projects in stone completed over the last two years. More than 40 projectswere evaluated. Take a close up look at the winners here.

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Photo courtesy of the National Gallery of Art, Washington, D.C.

40 54

Photo courtesy of Laser Imaging & Design Inc.

Photo courtesy of Carved Stone Creations Inc.

Photo courtesy of W.R. Weis

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IntroductionBBSSII

Art for the Ages

www.bui ldingstonemagazine.comBUILD ING STONE MAGAZ INE � Fall 2007

BUILDING STONE INSTITUTEMargie Lechowicz, Executive Vice President

551 TOLLGATE ROAD, SUITE C ELGIN, IL 60123

Tel: 847.695.0170Fax: 847.695.0174

Web: www.buildingstoneinstitute.orgE-mail: [email protected]

BUILDING STONE INSTITUTE 2007 OFFICERS2007 President Scott BuechelVice President Robert Barden

Immediate Past President Rick JonesTreasurer Doug BachliSecretary Robert Hicken

BOARD OF DIRECTORSBuddie Barnes Bernard BusterGeorge Bybee Duffe Elkins

John Grubb John MattkeSharad Muralidhar Thomas Schlough

Liz Serven Ron Vetter

PROFESSIONAL BOARD MEMBERRobert H. Mortensen, FASLA Barry Starke, FASLA, AICP

PUBLISHERMargie Lechowicz

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E-mail: [email protected] Feature Writers Christina B. Farnsworth

Jennie FarnsworthMark HaverstockStephanie Aurora LewisJodi PaperCory Sekine-Pettite

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Production Designer Christopher JohnE-mail: [email protected]

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

COPYRIGHT © 2007 by the Building Stone Institute. All rights reserved. Printed in U.S.A.

Brenda EdwardsTexaStone Quarries

HE OLDEST RECORDS of civi-lization and the oldest known works

of representational art come to us from stonecarvings. The carving of stone is an ancientactivity where pieces of rough natural stoneare shaped by the controlled removal of stone.Early examples of stone carving were theresult of hitting or scratching a softer stonewith a harder one or possibly the use ofantlers or any object sharp enough to use asan abrasive.Today,pneumatic hammers, saws,drills and other modern technologies areused; however, the “good ole” hammer andchisel will never be replaced.

Carving stone into sculpture is an activityolder than civilization itself. Stone is used asinspiration for some artists. Michelangeloclaimed that his job was to free the humanform trapped inside a block of stone. He cer-tainly illustrated that with his statue of David.Some artists begin with an idea or form intheir mind and find a stone to achieve theirvision. Others choose the stone first, allowingthe material to inspire them. In all cultures ofthe world, carving or sculpting has adaptedand evolved throughout the ages.

In this issue of Building Stone, we are fea-turing from across the United States just a fewof the many talented sculptors who use natur-al stone. It is obvious the creativity, the visionsand the talent that each of these artists show in

their works. I personally have had the pleasureof meeting most of the featured sculptors,andI am familiar with their works. I also havetaken the journey up the mountain to JemezSprings,N.M., to attend the carving workshopthat is conducted each September. It takescomplete dedication to “bang and clang” onstone all day long for weeks at a time.

Of course, whether you have been alongtime member or recently have joinedthe Building Stone Institute, you know thename Harold Vogel. His contribution inarchitectural, landscape, lettering andrestoration sculpturing is unsurpassed. Toshow its appreciation for his contributionsand dedication to the BSI, Harold was votedan Honorary Member in 2001. He is theonly person to ever hold this position.

Throughout most of history, the purposeof creating sculpture has been to produceworks of art that are as permanent as possi-ble. The use of stone in carving over theyears has provided many beautiful works ofart – whether in architectural buildings,landscaping, a statue for a private home or apublic monument. I can’t imagine the worldwithout sculptures.

Thanks to the talent of dedicated, mod-ern-day stone carvers, the world will be ableto marvel at and enjoy stone works for cen-turies to come. �

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Building Stone Institute (BSI), one of the country’s oldest natural stone tradeassociations, recently announced the appointment of Margie Lechowicz as execu-tive vice president.

As executive vice president, Lechowicz will serve as the BSI liaison promoting theorganization’s relationships with national, international, state and local organiza-tions, and she will serve as a member of the Natural Stone Council Board of Direc-tors. Lechowicz will oversee the execution of the goals, objectives, and priorities ofBSI, and the allocation and distribution of resources toward those outcomes. She

will have direct oversight of issues related to the membership, legislative and technical committees while man-aging the budget and ensuring the financial integrity of the organization.

A native of Pittsburgh, Pa., Lechowicz brings to BSI more than 20 years of professional experience, mostrecently as the board/executive manager of the American Association of Diabetes Educators. Previously sheserved as executive director of Financial Institutions Insurance Association. Lechowicz holds a master’s in public administration from Ohio State University, and a bachelor’s in organizational communications andbehavioral psychology from Carnegie Mellon University.

BSI NAMES EXECUTIVE VICE PRESIDENT

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O AN UNTRAINED

EYE, STONE IS

STONE. It takes a special talentto release a stone’s inner being –whether it’s an abstract of thehuman body, a fireplace mantleor a monument to those whoserved their country. Carversand sculptors work their magicon a wide variety of stone to addbeauty and definition to homes,parks and structures.

Building Stone Magazinehighlights some of the best andbrightest among these carversand sculptors in the UnitedStates. These talented artistsshare with you their passions

and creative thoughts abouttheir inspiring art forms.

Alexandra MoroscoLangley, Wash.

“Once I was exposed tosculpture, I could never get dirtyenough,” Morosco says. “I justreally fell in love with the medi-um.” She studied art and sculp-ture at California State Universi-ty, worked as a representative forTrow and Holden – a leadingmanufacturer of fine carvingtools – and continues to carveand promote stone carvingthrough symposia and venuessuch as the Seattle Stonarium.


A piece Morosco completedlast year, “The Blood, the Breadand the Bones,” incorporates sev-eral artistic outlets, including writ-ing.“I actually started with a prosepiece. The sculpture’s imageryarrived through the vehicle ofwords,” she explained. “Symbolsevoked images in my mind’s eye,then I translated that into a sculp-tural language of stone.”

The piece consists of threedifferent stones containing a fig-urative element, a symbolicabstract element and some ele-ments of bronze.

“If I could choose one piece,this one probably best reflectsthat I work in a lot of mediums,”she said.“I work in a very figura-tive, traditional style, but I alsoweave a lot of symbolism andcomplexities into my work thatseparate it from more tradition-al figurative sculpture. My workgenerally serves as a storyteller tosome broader, conceptual mean-ings behind the figure.” The pri-mary figurative element at thetop is made from southwestCatlinite (pipestone) followed bythe center element carved fromIndus limestone, which is nativeto Pakistan. The third element is

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A CUT ABOVE

The Art of Stone Carving

By Mark Haverstock

RIGHT: Ornamental desktop carved byLou Beretta for David Allen Company,Raleigh, N.C. Winner of Pinnacle Awardof Excellence for Interior Design 2003,Marble Institute of America.

OPPOSITE RIGHT: Texas Pink Granitemegalith at Lyndon Baines JohnsonMemorial Grove on the Potomac inWashington, D.C.

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carved from Texas limestone.For her projects, Morosco

usually chooses limestone andmarble because of their consis-tent nature and general ease towork with. “I also love the con-cept that limestone is virtuallyancient life.” She explained, “Idraw a lot of energy from the

fact that limestone is made up ofmillions and millions of crea-tures from ancient sea beds.”

“Sculpture parallels the workof the archaeologist,” Moroscosaid.“We dig in the dirt, and we’realways looking for the thing thatfeeds us – and stone sculpture isthat primary thing for me.”

Lou BerettaBedford, Ind.

Stone is in his blood. Carverand sculptor Lou Beretta cantrace his heritage in the craftback to the mid-19th century inCarrara, Italy. The Berettas wereoriginally a family of masterstone setters and masons whoeventually became carvers andsculptors of marble.

Beretta was raised around thestone industry in Bedford, Ind.“I had carvers living all around


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WHERE HAVE ALL THE CARVERS GONE?Carving stone is an activity older than civilization itself. Unfortunately, there

are fewer younger people filling the ranks of today’s stone carvers. “It’s still not

taught at most art schools,” says New Mexico stone carver Carl Berney. But

things have been changing, thanks to the stone carving community. Many

carvers and sculptors are involved in workshops and courses designed to

reach and educate the next generation of stone artists.

Stone carver Harold C. Vogel was concerned about the lack of artisans

today who possess the necessary skills to maintain and restore the many

buildings and monuments nationwide, especially those in our nation’s cap-

ital. Thus, he worked with Northern Virginia Community College to estab-

lish a Stone Carving and Restoration Program.

Vermont’s George Kurjanowicz has been involved in statewide educa-

tional programs, working as the carving instructor at the 2003 and 2004

Vermont Governor’s Institutes on the Arts. Currently, he sits on the faculty

at tStudio Place Arts in Barre, Vt., teaching stone carving with hand tools.

The Vermont Granite Museum of Barre has also engaged Kurjanowicz as

an instructor in its Stone Arts School, where he teaches the introductory

course in pneumatic tools.

As managing director of the Southwest Carving Association, Carl Berney

conducts an annual, week-long stone carving workshop in New Mexico’s

Jemez Mountains. The workshop focuses on instruction for beginners and

intermediate carvers, as well as promotes camaraderie and dialogue

among stone carvers worldwide.

If stone carvers continue to pass along education and instruction, the art

will continue to thrive.

RIGHT AND OPPOSITE: Morosco’s“The Blood, the Bread, and the Bones”carved from southwest Catlinite(pipestone), Indus limestone, and Texas limestone.

BELOW: Alexandra Morosco sandstonesculpture, “RHEA,” 2006.

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me,” he said.“Emery Miller hadhis home and carving shopbehind us.Vasco Marchetti, whocame from our family’s home inCarrara, Italy, lived up thestreet.” He always kept up withthe stone business, workingpart-time for several mills and aprivate shop. But it wasn’t untilthe 1990s that he actually wentinto the business full-time, hav-ing worked under the guidanceof master carver Frank Arena.

Among Beretta’s passions isdesigning and carving custom

fireplaces. “I did them in themills originally, and I’d like to domore custom projects forclients,” he said. Often, a clientwill have a specific idea in mind,but Beretta also keeps a collec-tion of old books illustratingclassic European design forinspiration. “Sometimes, I give[clients] one of the books thatgoes along with their plan andthey get ideas,” he explained,“but they usually have mechange something to make itmore personal. Other times, they

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just turn me loose to come upwith my own design.”

The pictured fireplace designwas custom-made from Indianalimestone for a residence inBloomington. It was modeledafter a design Beretta had donepreviously. “The clients lookedat it and decided they liked thatmodel, but they’d like me to addsome to the design,” Berettasaid. “I took the basic elementsfrom the originals, changing theflorals and the leaf work, to pro-duce a fireplace that wasuniquely theirs.”

Beretta’s material of choice islimestone: Alabama limestone,Texas limestone, Indiana lime-stone and French limestone. Healso works in marbles, includingGeorgia, Colorado and Vermont.He prefers to use “old-school”tools, such as chisels from Indi-ana or Europe in addition topneumatic hammers.

Harold C. VogelFront Royal, Va.

If it had not been for a twistof fate during his childhood,Harold C. Vogel may not havebecome the steinmetzmeister(master stone carver) he is today.He was born in Detroit, but hisfamily moved back to their Ger-man homeland in the early1930s. Vogel remained therethrough World War II and after-ward entered a challenging stonecarver apprenticeship at age 16.


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RIGHT: Harold Vogel (foreground) uses apneumatic hammer to carve Indiana BuffLimestone Presidential Seal at Gerald R.Ford Museum in Grand Rapids, Mich.

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Though Vogel has completeda variety of stone projects andrestorations, he’s probably bestknown for his work on publicand government projects such asthe Presidential Seal for the Ger-ald R. Ford Museum in GrandRapids. Another notable projectwas the Lyndon Baines JohnsonMemorial Grove on thePotomac in Washington, D.C.,

done in conjunction with land-scape architect Meade Palmer.Both worked closely with LadyBird Johnson on the design.

Vogel carved a wood sign atthe entrance, as well as the mon-ument that dominates the site.“Originally, Mrs. Johnson wasthinking of a small piece ofstone for the monument, maybea few feet high, but I convincedher that it needed to be taller,”Vogel said. “She also wanted touse some exposed stone fromthe LBJ Ranch, but quarriedstone would be much moredurable.” The final piece chosenfor the rough-hewn megalithstands 19 feet high and weighsin at 45 tons – fitting for a 6’ 3”Texan who had a personalitylarger than life. Cold SpringGranite Company supplied theTexas pink granite from theirMarble Falls quarry – not farfrom the LBJ Ranch.

In addition to the megalith,Vogel also carved four sets ofquotations from the late presi-dent on granite pavestones nearthe foot of the monument. Onereads, “I hope it may be said, ahundred years from now, that byworking together we helped tomake our country more just forall its People. … At least it will besaid that we tried.”

Vogel is currently retired fromstone carving and consulting, and

is the only honorary member ofthe Building Stone Institute.

T. Barny Healdsburg, Calif.

T. Barny, a graduate of theRhode Island School of Design,has been creating sculpture pro-fessionally for more than 25years in such diverse mediumsas hot glass, neon gas, bronze,wood, water, steel and stone.His goal is to create intricateworks that reflect the magic andwonder in our world – oftenprovoking the response, “Howdoes he do that?”

Barney’s sculpture,“Mistral,”was commissioned by a client inEncinitas, Calif. “I enjoy specificcommissions because I loveworking with people and wantto bring joy to their space,whether it’s on their diningroom table or in their garden,,”he said. Barney started by choos-ing a piece of Utah Rhyolite.“I’m one of the few guys I knowthat’s carving this for sculpture,”he says. This particular variety ofstone was chosen to match thehouse, which was constructed ofredwood and brick.

Western Hills, Kanab, Utah,cut the block to 2 x 2 x 8 feet,and Barny began work on thepiece during the SouthwestStone Carving Symposium.“Afterward, I brought it back to


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RIGHT: Lady Bird Johnson and HaroldVogel at dedication of Lyndon BainesJohnson Memorial Grove on the Potomacin Washington, D.C.

BELOW: Displayed on a beach inEncinitas, Calif., this sculpture was carvedby T. Barny from Utah Rhyolite.

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the studio. It took about a yearto complete,” he said. Installingthe piece was a challenge. Work-ers lifted it by crane over thehouse to its final location facingthe beach.

A Barny trademark is themobius – a design he’s created inseveral varieties of stone. “It’smore of a Celtic knot, but wecall it a mobius because it hasone edge and surface,” heexplained. The pictured exampleis one Barny started while hewas artist in residence at ArcoArte in Carrara, Italy.

From one foot-high tabletopsculpture to corporate mono-liths, examples of his workappear in numerous public, cor-porate and private collectionsinternationally.

Nicholas BensonThe John Stevens Shop,Newport, R.I.

The John Stevens Shop has along and distinguished historydating back to the early 1700s.“Welay claim to being the oldest con-tinuously operating [shop] on thesame location in America,” saysNicholas Benson, owner and cre-ative director. The Stevens familyowned the business for its first 221years, until it was sold to Benson’sgrandfather, an internationallyrenowned calligrapher, in 1926.

The shop specializes in a fewspecific areas.“We do gravestonework, which is headstones, ledgerstones and personal memorialwork, and we get into large archi-tectural inscription work that’sdone on existing structures,”Ben-son said.“A part of our architec-tural work is tablets, those areadd-ons to buildings.”

What distinguishes The JohnStevens Shop from productionmonument companies is thecompany’s classical approach tocarving lettering in stone. In thisday and age of computer fonts,

sandblasting and other forms ofmechanical means for incisingletters in stone, they producenearly all work by hand. Letter-ing is generated with a broadedge brush just as it was done inRome 2,000 years ago.

One of the company’s mostwell-know projects is the World


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War II Memorial in Washington,D.C.. Benson worked on it frombeginning to end – two years ofdesign work with the architect andthe actual execution. “It’s prettymuch the benchmark for our styleof architectural work,” he says. “Idesigned a typeface specifically forthe memorial rather than using anexisting one. It was based on mytelegraphic form rather than atypographic standard. I createdthe letter for three-dimensionaluse, to look good incised on theKershaw granite used on that par-ticular memorial.”

Benson designed all theinscriptions for the particularlocations and then made sand-blast stencils that were used to hogout the material initially. “Wedecided to go with a U-cut letterrather than a V-cut letter becausethe U-cut just grabs a little morelight and improves legibility,” hesaid. A rough cut is left from thesandblasting, then the interior isfinished by hand carving with apneumatic hammer.

Carl BerneySanta Fe, N.M.

According to Carl Berney, “Icarve what the Muse sends me,and I carve what resonates withme personally. I tend toward theenduring themes of nature andhumanity. I also look for shapesand forms that translate wellinto my medium, stone.Swirling, undulating and sensu-ous forms are what stone carversdream about.”

Berney takes differentapproaches to carving, depend-ing on the project.“When I starta figurative piece, I generally


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LEFT: George Kurjanowicz sitting on aCold Spring Diamond Pink granite carvingof his own design commissionedespecially for the second annual St.Cloud, Minnesota Granite Festival.

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know ahead of time what I’mgoing to do,” he says. “If it’s anabstract piece, I just take a pieceof stone and start carving ituntil I see something emerge.Once the basic form hasemerged, I refine it.”

“Stretch,” a domestic cat cap-tured in alabaster, is typical of thefeline forms Berney has carved.“Cats are so fluid,”he says.“Theyare natural subjects for sculpture.”Why this particular pose? “Wehave several cats here and they’realways stretching like that. Ithought it would make a neatsculpture.” Berney also had thestone sculpture cast in bronzeprior to its gallery debut.

“I love working in stone,”Berney said. “The shape and feelof it. It is so durable. It’s a demand-ing medium, both physically andmentally,but it’s exhilarating when


you enter the stone and let it guideyou to the final form.”

George KurjanowiczBarre, Vt.

George Kurjanowicz hasbeen creating uncommon stonesculpture since 1975, includingmonumental and fine art pieces.He’s also part of the sculpturalcommunity in Barre,Vt., knownfor its craftsmanship in marble –and more recently its communi-ty service.

The granite sculpture, anAztec bench, was donated to theBarre City Elementary and Mid-dle School. “We wanted to dosomething for the community,and construction of a newschool here motivated us to gettogether to think of some kindof project to do,” Kurjanowiczsaid. “I became involved in the

BELOW: Sign at entry of Lyndon BainesJohnson Memorial Grove on the Potomacin Washington, D.C., designed and carvedby Harold Vogel.

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organizational part of the pro-ject, but at the same time, beinga sculptor, I wanted to makesomething too – simple to pro-duce yet an aesthetic statement.”

There was no budget, andlocal craftsmen and businessesdonated all time and materials.Kurjanowicz secured two piecesof Barre Gray Granite fromRock of Ages (also located inBarre) for the project and tai-lored the design for ease of con-struction, so the pieces key intoeach other like a T. “It was


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CONNECTING PEOPLEWITH STONE

Do you have any questions aboutstone? If you’re near Seattle, visitthe Seattle Stonearium run by theMarenakos Rock Center.

According to Alexandra Morosco,who assisted in creating the venue,“The Stonearium was created as anexperiential design place – anyonefrom homeowners to designers,architects and builders can come inand get ‘connected’ with stone aswell as people who work withstone.”

Creators wanted a place wherepeople could come and experiencewhat it feels like to be surroundedby stone, to see fine craftsmanshipand to experience the possibilities.Visitors find just that. The buildingfeatures a library with a fireplacewhere people can relax, drink wineand browse books about stone aswell as portfolios from designers,artists, masons and landscapers.

The Stonearium has enoughroom to show off 16,000-poundColumbia River basalt columns,granite slabs and other impressivestone samples. The same goes forsculpture, which visitors can see upclose through exhibits that changeevery few months.

ABOVE: Alexandra Morosco studies thein-progress Texas Limestone element of“The Blood, the Bread, and the Bones.”

BELOW: “Stretch” carved by Carl Berneyfrom Utah Apaloosa Alabaster.

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designed so all of the work couldbe done with a large diamondsaw without any real hand workon the part of the people thatdid the sawing,” he said. “Iapplied the surface to them andused a cup chisel to remove thesawed appearance.”

Kurjanowicz was inspired byInca, Mayan, Aztec andMesoamerican designs for thechildren’s playground project.“The actual carving work tookme about a week, surfacingincluded,” he said. “It’s simplyone level, the surface, with asunk line which gives you theshadows where all the designsare located. It’s simple, yet effec-tive.” He noted that all of thesepieces were done on an athleticfield next to the school.

The finished product is sim-ple, functional and aestheticallypleasing.“I have always believedthat less is more. My choice ofmaterials has also led me in thatdirection,” Kurjanowicz said.“Stone has a way of persuadingone to be concise. I view my cre-ativity as a path to be takenrather than an assemblage ofrandom results – each pieceleads me to the next. It bothreinforces the correct designchoices I have made, as well aseliminates the directions that donot serve me well.” �


Manassas Granite & Marble is owned and operated by four veteraned Stone Carvers who work to create beautiful works including signage, sculpture, replication, ornamental details, church furnishings, and more. By combinig modern and traditional carving techniques, the team is able to tackle any project!

Our works include:MARINE CORPS MUSEUM

-Quantico, VAPRINCETON UNIVERSITY

-Princeton, NJCIA INSCRIPTION

-Langley, VA

For more information, please contact:

Manassas Granite & MarbleCarving & Restoration Team

10115 Residency RoadManassas, VA 20110

[email protected]

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LEFT: Visitors viewed sculptures byAlexandra Morosco and photos byAndreas Kunert last fall at the MarenakosStonearium Stonefest.

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ARDENS, PARKS,TOWN CENTERS

AND PLAZAS are importantto a city’s infrastructure. Theycreate an environment that issuitable – and often even inspi-rational – for social interac-tion. The imagery of naturalstone and its ability to endurein outdoor conditions for hun-dreds of years makes it an idealmaterial for these place-mak-ing features such as monu-ments, fountains, benches andsculptures. The stone carverswho create these sculptedpieces exhibit true handicraftas defined by William Morrisduring the Arts and CraftsMovement in England at theend of the 19th century.

Outdoor SculptureIn Chicago, the Millennium

Monument elegantly marks theend of tree-lined Wrigley Squarelawn space in Millennium Park.Similar to Central Park in New


York City, the lawn was designedas an inviting space for visitors torelax and to stroll along adjacentwalking paths. The beautiful, 40-foot-tall Peristyle monument iscomposed of Doric columns andincludes inscriptions by thefounders of Millennium Park inits base. Bybee Stone CompanyInc. of Bloomington, Ind., carvedthe monument out of Indianalimestone.

California features a fountainso stunning that the prince ofSaudi Arabia once asked thedesigner and carver – Baker-field’s House of Stone Inc. – ifthe fountain could be disassem-bled and shipped to his country.Amazed at this request, House ofStone’s owner Eric Dobbsadvised the prince that theweight and size of the fountain(60 feet in circumference) wouldmake air travel difficult andexpensive. Still persistent, theprince requested an actual costestimate for the fountain’s trans-

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Carved CreationsBy Stephanie Aurora Lewis

RIGHT: Stone: Lima.L'Auberge du Lac Hotel & Casino,Lake Charles, La. Ph

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port. When the figure came in atmore than $185,000, the princedecided instead to purchase thefountain’s eight-page set of plansso that he could have it replicat-ed in Saudi Arabia.

House of Stone also createsfountains for the bold Las Vegasstrip – a place well known foroutstanding outdoor sculpture.Dobbs states that a hand-carvedfountain of natural stone,accented with a water and lightshow, is so visually stunning

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BELOW: Large works, such as thedetailed Highland Warrior, can pose bigchallenges for sculptors, but they are wellworth the effort in the end.

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STONE CARVING: A THREATENED ARTSince Modernism began to take root in the early 20th century, carving

stone by hand slowly has been evolving into a lost art. Stone carvingrequires intense physical labor and dependence on apprenticeship pro-grams, which could contribute to the decline in people entering the trade,says George Bybee of Bybee Stone Company Inc. Carving takes hardwork, intelligence and a special human touch. Here are the stories of twoAmerican stone carvers who hope the handicraft won’t become extinct.

SCOTT HALVERSON, ARCHITRAVE STONE CARVINGScott Halverson of Architrave Stone Carving began his training in

1995 at a sculpture class through the Elisabet Ney Museum in Austin,Texas. He says he was like a “duck to water” as he began to carve hisfirst piece. The professor of the class walked by and asked how long hehad been carving. Much to the professor’s surprise, Halverson shared hehad only just begun that day.

Later, Halverson trained under French stone carvers in Minnesota, buthe is generally a self-taught carver. He works out of a 1,400-square-footworkshop. Because he works solo, he takes on a tremendous amount ofphysical labor above and beyond the intellectual labor it takes to design,plan and engineer the stone. The vast majority of his work is done in lime-stone. He prefers to stay away from stone with high silica content, such assandstone and granite, because those types of stone require the carver towear a cumbersome respirator during the carving and finishing processes.

One of Halverson’s impressive commissions was to replicate alimestone mantel for a mansion in St. Paul, Minn. He first took manyphotographs, and then started a series of drawings. Next, he engi-neered the pieces to attach to the wall with hidden fasteners. Thefinal mantel was composed of 20 pieces and was well received bythe client. Halverson enjoys the carving process because it requirespatience and slow, meditative concentration. He gets into the artist“zone” and works slowly to unveil the image in his mind’s eye.

JERRY WILLIAMS, BARRE SCULPTURE STUDIOSAmerican stone carvers face fierce competition from products such

as cast stone and concrete moldings, as well as from carvers in othercountries whose labor costs are often less than half those in the UnitedStates. Jerry Williams of Barre Sculpture Studios believes that his excel-lent customer service and the Internet are his two greatest tools to be aviable competitor. Williams trained under Frank Gaylord, the stone carv-er who created the Korean War Veterans Memorial in West PotomacPark in Washington, D.C. He has been carving for nearly 25 years.

Williams believes his design and carving method is one reason whyhe can maintain a high customer satisfaction rate and receive referralsfor additional work. After designing on paper, he creates the sculptureout of clay at a 1⁄4” scale or at a 1⁄2” scale of the final piece. The clay sculp-ture then is covered and cast with Plaster of Paris. This scaled modelthen is either shown in-person to the prospective owner or through pho-tographs for approval. Therefore, the client is assured of the final productbefore its completion. Furthermore, his apprentices use the plasterscaled models to guide their work. Barre Sculpture Studios takes onlyweeks to provide the final product, while imported sculptures that requireshipping can take up to six months for delivery.

Very large products provide Williams with his biggest challenges.For example, the teddy bears he carved for installation at Teddy BearPark in Stillwater, Minn., are enormous. The head of one teddy bearweighs six tons! Because of limited workshop space, these pieces aredifficult to carve.

Williams’ handicraft shows through stunningly in the Celtic Warriorshe carved for a campground. The “Contemplative Warrior” is composedof South African Impala granite (a black stone) and the “Highland War-rior” was created from South African Blue Sable granite.

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RIGHT: Man-made natural stonesculptures are often a welcome additionto the great outdoors.

that it actually competes withthe excitement of Las Vegas.House of Stone Inc. is complet-ing much of the stone carvingcurrently in progress for TheVenetian Resort Hotel Casino.

Natural Stone forOutdoor Installations

Understanding natural stoneis a science and an art. RobertRipley of Carved Stone Cre-ations from Kaukauna, Wis.,extensively researches differentqualities of natural stone andwhat happens to these naturalstones when installed outdoors.He reports that the greatestamount of carved detail can becreated with marble, a material

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that can showcase subtleties offabric and specific features, suchas hair, on a sculpture. Granite,Ripley explains, has a tendencyto chip off more easily duringthe carving process, makingsmall details more difficult tohighlight. Ripley describes thedifference between carving inmarble and granite like the dif-ference between using clay andwet beach sand for a creation.

Marble is not often highlyrecommended for outdoor loca-tions, however, because of thedamage that can occur to thestone from freeze/thaw cycles. Ifmarble is used outdoors, it needsto be sealed in the fall during thedry season so that moisture pen-

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BELOW: The stone for this fireplace isBedford Limestone with a sanded finishand no sealant.

BOTTOM: The fountain was createdfrom Galaxy Green & Bianco CatalinaGranite / polished and honed. Located atLake Sandia subdivision, Krakow, Wis.

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CRAFTED BY HAND

William Morris (1834-96)

largely originated the Arts and

Crafts movement based in Eng-

land. He believed that all details

in life should be influenced by art

and carefully designed. To him,

art was “the way in which man

expresses joy in his work.” To that

end, he was a champion of true

handicraft. Morris claimed the

machine and its manufacturing

byproducts were a means to kill

art. In today’s digital age, some

people actually find comfort in art

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The Tradition Continues...Old World Stone

Custom cut dimensional limestone and sandstone for restoration and new construction.www.oldworldstone.com 1-800-281-9615


etration does not occur duringthe winter and spring seasons.Though it seems insignificant,moisture can penetrate into mar-ble’s microscopic veins and causesignificant damage if it starts toexpand during a freezing bout.Additionally, minerals in marblefade over time from ultravioletrays breaking down their colors.When marble is used outdoors, itwill weather and consequentlyshow a patina quality – a colorsome find very beautiful.

Conversely, granite is anidyllic material for sculptureslocated outside; it will endurethe elements twice as long asmarble. Granite also is themost resistant to freeze/thawcycles because its moistureabsorption rate is between 1percent and 3 percent. Further,the colors in granite will not


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RIGHT: Some sculptors believe art piecesare already in the stone and simply needto be released. Others choose naturalstone with a specific work in mind.

BELOW: Stone sculptor AlexandraMorosco describes her work as figurativeand traditional.

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fade in ultraviolet light becauseits colors were “baked” into thestone during its formationthrough the lava process.

Jerry Williams, owner ofBarre Sculpture Studios inMontpelier, Vt., states that cer-tain considerations are necessaryto protect granite when it iscombined with elements such aselectricity, water, and fire.Williams conceived, engineeredand carved a breathtaking piecethat combines granite and fire.One of Barre’s clients requesteda table that could be used for anannual father and son campout.The table would be used near acampfire. Williams proposed asensational idea with the fireactually be located inside thetable. The project is eight feet indiameter and made of DakotaMahogany granite. The centerhas a custom-made iron fire pitwith a bronze lid. The granite isinsulated to protect the structur-al integrity of the stone from theheat of the fire.�


ABOVE: Art created from natural stone can offer something for every taste and style.

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ABOVE: Presidential Seal at Gerald R.Ford Museum in Grand Rapids, Mich.,carved from Indiana Buff Limestone.

RIGHT: Produced by Giallo FantasiaGranite, this piece was honed for aprivate residence in Delafield, Wis.

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UILDING STONE

MAGAZINE sat downwith Jerry Williams of BarreSculpture Studios to find out hisperspective on some often-askedquestions about stone sculpting.Here’s what he told us.

QUESTION: Whateverhappened to hand-carved, ornamentalfeatures in stoneexterior and interiorarchitecture?

Ornamental features have fallenout of favor with most modernarchitects, partly because, in myopinion, their buildings arethemselves considered sculptureand adding ornaments would besuperfluous. Also, there is littleregard for “old world” crafts-manship in today’s buildings.Some day, CAD will be consid-ered “old world.”

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FREQUENTLY ASKED QUESTIONS

Stone Sculpting and Carving

By Jennie Farnsworth

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Another possible reason isthat carved work must be incor-porated into the building plans,especially exterior stonework, sothat the work can be donebefore the building is construct-ed. This complicates blueprintsand may require models orother custom pattern work forduplication in stone. Making thecarving integral to the structurecannot be an afterthought.

A third reason may be the lackof skilled professionals in theUnited States who can execute thedesign work and intricate carving.Skilled carvers are becoming diffi-cult to find,as the market for theirwork is steadily disappearing.AndChina may not be the answer tothis problem, as it seems to be foreverything else.

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ABOVE: “Speranza,” an example of T.Barny’s trademark mobius sculptures.

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Telephone: (812) 876-2215 • Fax: (812) 876-6329

BYBEE STONE TOOLS6525 W. Maple Grove Road • Ellettsville, IN 47439

Phone: (812) 876-3058 • Fax: (812) 935-6180

www.bybeestone.com

Expense is always sited as aconcern, but stone is relativelycheap compared to some of thematerials modern architects use.Even with the added value ofhand-sculptured details, it’s stilla bargain per square foot com-pared to materials like titanium,stainless steel, curved glass andsome of the more exotic castcomposites.

RIGHT: Stone: Cedar Hill Creme, honedfinish. Private residence.

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Carved ornament andsculptured detailing may beout of the reach of most home-owners, but should be given asecond look in the higher endconstruction projects.

QUESTION: How do I finda competent sculptorwith experience in handcarving stone?

Some advertise in trade journals,but you’ll have better luck on theInternet. Google granite, marbleor stone sculpture and there willbe thousands of listings. Mostare “fine artists” who do workfor gallery sales and commis-sioned work and will showexamples of their work on theirwebsites.

Some deal with “hardscapes”and natural stone construction,basically masons. But there are

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RIGHT: This sculpture, ManakiNekko,was carved from Indiana limestone

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some very creative masons.There won’t be many examplesof carved work on these sites.

With a little luck, aninformed search will turn up afew likely candidates with thebreadth of knowledge andexpertise required for your pro-ject. Look at a variety of work.The styles, workmanship andprofessionalism will vary greatlyand the best will have a goodcombination of all these traits.

QUESTION: Where can Ilearn how to carvestone?

If you have a few years you canapprentice to a professional

BELOW: Stone sculptor AlexandraMorosco explains that often her work,such as this statue, serves to tell a storyof broader meanings behind the figure.

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stone carver, but if you don’tstart making him money soonyou won’t last long. An averageapprenticeship may last two tofive years depending on how fastyou pick things up, how muchnatural ability you have, andhow much experience you cangain from your mentor.

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RIGHT: T. Barny uses diamond chain sawto cut Utah Rhyolite for “Mistral.”

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CONTRIBUTOR:

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If you don’t have thatmuch time and only need aspecific skill set, many sculp-tors will do week long or twoweek workshops geared forintensive training in certainareas, like carving from themodel, enlarging, or learninghow to handle the tools of thetrade. Again, an Internet

search may provide the solu-tion. Find a sculptor whosework impresses you and givehim or her a phone call.Workshops provide somesculptors additional incomewhen things are slow, but beprepared to pay for the time ofa seasoned professional; it willbe worth every penny.�

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ABOVE/BELOW: Workshops in stonesculpting can help aspiring artists learn tocreate everything from fanciful dragonsto large-scale outdoor masterpieces.

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An Eye for DetailLASERS PROVIDE PHOTO-REALISTIC ENGRAVINGS

IN NATURAL STONE

By Cory Sekine-Pettite

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HE TECHNOLOGY

for laser engraving (orlaser etching as the process alsois commonly known) hasadvanced exponentially from itshumble beginnings in the 1980sand 1990s. No longer the under-ground tool of technologically-savvy artists and trophy makers,laser etching machinery – andthe design professionals who usethem – have come a long way.Now, laser etching in naturalstone through computer-con-trolled systems is a burgeoningmarket. From public and gov-ernment projects to residentialjobs, laser etching is a wonderfulway to install a creative and per-sonal element into your projects.This article discusses the varioustools and equipment optionsavailable, how they work, andthe amazing accomplishmentsin natural stone.

Among the leading NorthAmerican manufacturers of laseretching machines are VyTek,Universal Laser Systems Inc., andCAM Tech International. Thereare different types of lasers avail-able on the market, but the car-bon dioxide gas (CO2) lasers arethe most effective and widelyused for laser etching in stone.“The CO2 laser is a very power-ful type of laser. It has the powerto permanently mark or engravethe surface of all kinds of natur-al and synthetic stone,” saidDavid Wilhite, marketing com-munications specialist for Uni-versal Laser Systems inScottsdale, Ariz. Examplesinclude brick pavers, quarry tile,granite and slate, but black mar-ble is by far the most popularstone because of the remarkablecontrast it provides.

Generally,and for obvious rea-sons, these engraving machines

are enclosed to prevent the beamsfrom reflecting off any other sur-faces and to prevent interactionwith people. (They can burn!) Forexample, Universal’s lasers areavailable with up to 400 watts ofpower. Of course, for most jobs, adesigner wouldn’t need that much“juice.” Wilhite said that 30 to 35watts would be more typical.

The way Universal’s laser sys-tems work, Wilhite explained, isby using a flat bed,“Z-axis”heightmotorized surface; the stone isplaced on the work table. Thelaser is always in a fixed “Z-height”position, but it can moveon the X-Y axis. “The way thatworks is: it has two operations. Iteither goes left to right and dropsdown one line at a time like anold, dot matrix printer [a rasteroperation] … or it can follow acomplex path [a vector opera-tion], such as circles or stars, orwhatever the computer tells it todo,”he said, noting that his com-pany manufactures both the lasersystems and the lasers themselves– a feature unique in the industry.

The laser system’s functionsare computer-driven. Universal’slaser engraving machines run onWindows-compatible software.The advantage here, Wilhite said,is that one does not have to learnproprietary software. For exam-ple, he uses AutoCAD, a pro-gram that most clients arefamiliar with and it puts them“in a comfort zone,” he said.Another distinctive elementUniversal offers is a materials-based print driver. All you haveto do is tell the software whatyou want to engrave or “print”as well as the material thickness,and it will automatically adjustpower settings according tomaterial type.

Software preference is a usercomfort issue and can vary frommanufacturer to manufacturer,he added, saying that one soft-ware system is not necessarilybetter than another.

So,who can benefit from usingthese magnificent machines? Fab-ricators, installers, quarriers, con-tractors, architects, designers and

T

ABOVE: According to Laser Imaging &Design, the Middletown VeteransMemorial is the largest all-laser-etchedmemorial in the world. It stretches more than 56 feet wide and stands eight feet tall.

OPPOSITE LEFT: At a total of 450 squarefeet, these laser engravings onPennsylvania Black Slate were created infour sections, representing Penn State’sMineral Science and Engineeringdepartments.

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builders can incorporate laser-etched features into their work.

With some laser etching sys-tems capable of handling stoneslabs as large as six feet by 10 feetand up to 20 inches thick, a trueartistic renaissance is taking placewithin the design and buildingindustries, and a few Americancompanies are emerging as lead-ers of this movement.Laser Imag-ing & Design Inc. of Lebanon,Ohio, is one such company. JimSmith, CEO, started the designfirm after spending 10 yearsbuilding his artistic muscles at amonument company inLebanon.“I liked the idea of creat-ing artwork in stone – somethingthat is going to last much longerthan something that is printed ona paper cup or put in a magazinethat’s going to be thrown in atrash can,”he said.

Smith discovered the lasersystems a few years before start-ing Laser Imaging & Design. Hewas intrigued immediately, butsaid the early systems were veryslow and the results were notany better than what could beproduced with hand etching.But the potential of the technol-ogy captivated him, so hewatched the industry mature abit before stepping out on hisown. He even told his employerof his plans.

That company welcomed hisidea, and even offered to be hisfirst client. “I was afraid [my

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LEFT: Artistic accessories, such as wallart, are a great way to incorporate laser-engraved stone into a home. And photo-realistic images, such as thiswaterfall, will have people turning theirheads in amazement.

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boss] was going to view me as acompetitor in the beginning, buthe said ‘I’m actually willing to letyou do all of our etchings ifyou’re going to get this deep into[the technology]. If you proveyourself, we’ll give you our entireaccount,’” Smith recalled. Andalthough that monument busi-ness eventually was sold to alarger company, it is still Smith’slargest client. “The granite thatthey move is phenomenal for amonument company,” he said.

Currently, only about 10 per-cent of Smith’s business is out-side of the monument realm;Laser Imaging & Design has cuta niche for itself doing warmemorials and other civic pro-

jects. Smith said he is usually sobusy with monument work(1,300 different projects lastyear) that he hasn’t marketed hisservices much in other fields.However, his new facility –opened last December – featuresa showcase of possibilities oflaser etching for residential andother applications.“We built ournew building with a nice-sizedshowroom … that has an actualfull bathroom, full kitchen and aliving room area to give peopleideas of what could be done[with laser etching],” Smith said.“But we’ve been wholesale for solong that it has been a little bit ofa struggle to tap that market.We’re still trying to get out there

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ABOVE: This one-of-a-kind, laser-engraved and hand-painted mural is atribute to Manuel Pacheco and all hisdedicated efforts for the IntegratedLearning Center Project on theUniversity of Arizona campus.

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and meet with builders and inte-rior designers, and so forth.”

One design firm already thriv-ing in residential projects isAquarius Laser Etching andDesign of Woodland, Calif.Owner Hans Hartmann said laseretching can easily be incorporatedinto current design schemes orcan be the inspiration for a newlook. Kitchen backsplashes are acommon place to feature laser-etched stone, and a small way to

RIGHT: Laser engraving on granite foroutdoor signs will hold up in the worst ofconditions for decades to come. Thedurability is unmatched.

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incorporate this artistic work ifyou’re a little skittish. In kitchens,the granite can handle the heatand any cooking grease or otherdebris. Additionally, Hartmannsaid the etched stone doesn’trequire a special coating, and onlypure stone cleaners are neededwhen cleaning up.Hartmann rec-ommends StoneTech Revitalizer.

Another good use of laser-etched stone in home design –particularly for the more adven-turous – is floor medallions. Andartistic tile accessories, as


opposed to hanging a painting,for example, are becoming morecommon as well. Hartmannoften displays at industry tradeshows some of his work thatdepicts a waterfall scene. Theattendees’ reactions are alwaysthe same. “It’s amazing howmany people come up to us andask ‘Is that real water runningover that?’ That’s how real itlooks. … When you see it in reallife, even the splashes at the baseof the rocks, you can almosthear it.”

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BELOW: Floor medallions are a popularway for homeowners to add laser-engraved stone into their homes. Thismap motif (shown preinstalled) reflectsthe owner’s love for Italy.

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Photo-realism is the goal,after all, and the ultimate attrac-tion for owners. Another compa-ny that has tapped the residentialand commercial markets with itsimpressive laser etching is EtchedBy Design of Gilbert, Ariz. Co-owner Scott West said a largepercentage of his clients are resi-dential and commercial builders.Some of his clients already knowhim because of his 21 years as atile contractor and granite fabri-cator, but a majority of West’setching customers are new.“Ourwebsite has been our steamengine; it’s everything to us,” hesaid. Most clients find him, asopposed to other way around.“We’re starting to get goodrecognition on a global scale,” headded. Case in point: The HardDays Night Hotel, which isscheduled to open later this year.

This Beatles-themed bou-tique hotel in Liverpool, Eng-land, will feature West’s work onits exterior in the form of laser-etched granite murals depictinga timeline of the Beatles’ history.

West uses a CAM Tech laseretching system. He said themachine would etch four-footby eight-foot stone pieces in onesitting, adding that as far as heknows, this is the largest laseretching machine in use in Ari-zona. The advances the industryhas made just during the pastfive or six years have beentremendous, he said, from thequality of the machinery to thepower of the lasers to the designsoftware used. But the industryis still viewed as new, Westadded, saying that many poten-tial clients are still afraid orapprehensive of the technology

BELOW: The granite veneer inlaid panelsof this backsplash will endure all the heatand cooking grease or other debris thatresult from a well-used kitchen.

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and the laser etching process.Smith attributes some of this

apprehension to a growinggroup of inexperienced opera-tors trying to get into the laseretching business. Unsurewhether this somewhat negativetrend is the result of peoplechasing money, or because ofover-marketing of the equip-ment, Smith is sure of one thing:“It really takes a designer andsomeone who has a lot of back-ground in computers to run aproper laser etching business,” hesaid.“It also takes someone whois very knowledgeable aboutstone. There are a lot of differentblack granites that when you linethem up, they look comparableto each other, but they do notlaser etch the same in anyregard. There is a lot more to belearned than meets the eye withthese systems.”

Hartmann and Aquarius areundoubtedly doing it right. Thecompany’s slogan is:“Any image.Any size.” For commercial pro-jects, Aquarius tends to specializein lobbies and entranceways. Forexample, Hartmann currently is

A recent book from the National Geographic Society and authorRyan Coonerty celebrates the many etched stone monumentsfound throughout the United States with a particular emphasis oninscriptions and sentiments. Coonerty describes these words as“lasting testimonies to what our nation was, is, or aspires to be.”

The book, “Etched in Stone: Enduring Words from Our Nation’sMonuments,” features 50 of this country’s best known monuments,separated into four categories: In Praise of Public Lives, featuringsome of our greatest leaders and thinkers; Ordinary Heroes, featur-ing monuments to our soldiers; Bearing Witness, featuring monu-ments to our history that are meant to remind us and educate usabout tragic events; and A More Perfect Union, featuring monu-ments that extol the best ideals and aspirations of the United States.

“What is most impressive about ‘Etched in Stone’ is to see howcreative and elegiac the United States has been in memorializing itsheritage. … All the memorials … live up to our nation’s highestideals. They are lasting tributes to the very best instincts we have asa nation: proper reflection for the vicissitudes of the past,” writes his-torian Douglas Brinkley in the book’s foreword.

Of course, being a National Geographic publication, “Etched inStone” wouldn’t be complete without an impressive collection of pho-tographs. Well-known architecture photographer Carol M. Highsmithprovides the stirring and inspirational images, which are crucial toCoonerty’s tome.

For more information on the book, visit www.nationalgeographic.com.

ETCHED STONE:NATIONAL MONUMENTS

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ABOVE: Universal’s Professional Series ofCO2 lasers provide an unbeatablecombination of high power; threeplatform sizes; and an advanced,materials-based print driver.

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working on a project for thelobby of Pacific Life InsuranceCompany’s new building. Whencompleted, the project will fea-ture four curved granite panels.“As far as I know, we’re the onlyones who bend granite,” Hart-mann said. “We developed ourown system here.”

Originally, when Pacific Lifeapproached Hartmann with adesign idea for a black granitemural that included a curved wall(11-foot radius), he proposedsupplying two-foot sections ofgranite panels to give the compa-ny the curve they were after forthe 16-foot-long mural. It wasn’tuntil a few months later that anidea came to this former steel fab-ricator about how he might beable to bend the granite panels. Sohe started experimenting, includ-ing fabricating his own jigs for the

LEFT: Outdoor corporate or commercialsignage is a common yet effective way toget a business noticed along busy streets.Not only do the laser-engraved granite ormarble signs look great, but they arecompletely durable against the elements.

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RIGHT: Sea creatures are a favoritesubject matter for many home ownerslooking to add laser-engraved art intotheir homes. These black granite tilesprovide the perfect backdrop on whichto bring these whales to life.

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process. Hartmann estimates thatthe project will take 20,000pounds to 30,000 pounds of forceto bend the panels, but theprocess remains a closely guardedsecret.

Aquarius’ less complicatedwork includes many public artprojects and memorials. Forexample, the company’s ongoingwar on terrorism memorial forthe California Military Museum,which measure 20 feet long andeight feet tall.

Additionally, the companyrecently completed two projectsfor state universities. At the Uni-versity of Arizona in Tucson,Aquarius produced what Hart-mann said is the world’s largestlaser-etched mural. This tributeto past University PresidentManuel Pacheco measures 15feet tall and 20 feet wide. This


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BELOW: Photorealistic laser engravings,such as this decorative art piece on 12-inch granite tiles in the Valley WideDental office in Palmdale, Calif., make for quite a conversation piece. Theowners chose this subject matter tocommemorate an actual scuba diving experience.

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outdoor application consists ofthin slab granite panels measur-ing 7 1⁄2 feet tall each.“The colorsthat we used do not have UVinhibitors in them, so we applieda special coating – available onthe market – to the surface,”Hartmann said.

The other university projectwas produced for The Pennsyl-vania State University (PennState). This indoor, space-themed mural was installed inthe Department of Mineral Sci-ences and Engineering Museum.It features Pennsylvania BlackSlate tiles with a total measureddimension of 450 square feet(three sections at 7 1⁄2 feet tall by10 feet long, and one section at 7 1⁄2 feet by 30 feet).

It took Aquarius about twomonths to complete the job.There were some problems toovercome, including the fact

that some of the tiles were outof square and others were notuniform in size. “We had totake the bad ones and putthem on the outside. …Eventually, we got it and theywere very happy with the out-come,” Hartmann said.

Professionals in our indus-try tend to have a keen eye fordetail. Thus, the remarkabledetail and creativity possiblethrough laser-etched stoneshould appeal to your sensibil-ities. The technology behindthe equipment and the imagi-nation of the artists creatingthe designs not only is impres-sive today, but surely willprogress as the industrymatures. Contact any of thecompanies mentioned in thisarticle to find out how laser-etched stone can be added toyour repertoire. �

SERVICES:Aquarius Laser Etching and

Design

Woodland, Calif.

(530) 666-3989

www.aquarius-laser.com

Etched By Design

Gilbert, Ariz.

(480) 456-0403

www.etchedbydesign.com

Laser Imaging & Design Inc.

Lebanon, Ohio

(513) 934-1824

www.imageinstone.com

ETCHING PRODUCT

MANUFACTURERS:CAM Tech International

Calgary, Alberta, Canada

(403) 236-4464

www.camtech.ca

Universal Laser Systems Inc.

Scottsdale, Ariz.

(480) 483-1214

www.ulsinc.com

VyTek

Fitchburg, Mass.

(978) 342-9800

www.vytekdirect.com

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ABOVE: This backsplash is the focal pointof this Auburn, Calif., home, reflectingthe owner’s love for olive trees.

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ParkIndustries_Fall06 8/8/06 1:16 PM Page 1


Granite Opens aWorld of Possibilities

By Jodi Paper

Photo courtesy of Dakota Granite

BSI3003_Fall07 9/20/07 1:01 PM Page 54


are trying to accomplish.”Abate-cola knows his way around nat-ural stone, thanks to experiencein the landscaping and masonrybusinesses since 1965.

For interior applications suchas countertops, stairs, flooringand rails, as well as for exteriorapplications such as retainingwalls, building and houseveneers, steps, posts and curbing,granite is unmatched. Why?“Because of its durability andbeauty,” said Abatecola.

Peter Weis, vice presidentand project manager ofW.R.Weis Company Inc., whichspecializes in all stone-work

NNUMERABLE TYPES

OF NATURAL STONE

exist in all parts of the world.Many of these stones are wellsuited to nearly any buildingproject. Considered by many tobe one of the most versatile nat-ural stones, granite featuresmany styles and colors, offeringusers strength and durability.“Next to the diamond,” said BillRuoff, sales director of DakotaGranite Company in Milbank,S.D.,“granite is the most durablenatural material available forconstruction.”

Although the company beganin 1925 as a quarrier and manu-facturer of Dakota mahoganymonuments, Dakota GraniteCompany’s repertoire has sincegrown to include everything fromslabs to civic memorials to cus-tom countertops.“We are quarri-ers and manufacturers, so we canbuild just about anything fromlarge personal mausoleums tosmall wall plaques,” said Ruoff.“We were privileged to build thememorial for the USS Cole, andwe have done many war memori-als for communities around thecountry through our network ofmemorial retailers.” Other majorprojects include the new SouthDakota Governor’s mansion, pro-jects in Texas and Tokyo, and ahospital in Malaysia.

Arnold Abatecola, presidentof A-stone Inc., located in John-ston, R.I., sees granite as havingat least two distinctive qualities:“I think of granite as numberone, being one of the hardestmaterials on earth,” he said.“And, number two, the multi-tude of colors make it so easy tocoordinate it with any job you

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OPPOSITE LEFT: Lincoln Plaza in Texas isclad in Dakota Mahogany, a highly durablegranite with black and orange variegation.

BELOW: W.R. Weis was contracted toinstall granite throughout AON plaza(formerly Amoco Plaza) in Chicago. Theirwork included all of the water featuresincluding the main fountain and severalwater walls.

BSI3003_Fall07 9/20/07 1:01 PM Page 55

cannot choose, is what the mate-rial represents.” Weis continued.“It represents a sense of wealthand stability. These qualities willnever change.”

Choosing a Type of Granite

“Material is usually selectedby the architect. The materialtest data will be reviewed bythe engineer, and he willdetermine if the granite can beused as intended. For example,some gold granites generallyproduce lower strength valuesin testing than, say, a black,”Weis explained.

Still, “most granites workwell for both interior and exte-rior applications,” said Ruoff,

projects – from large commer-cial interiors and exteriors toplazas, parks and small tenantbuild-outs – agreed. “Granite isa very durable building materi-al,” he said.“No matter what it isused for, cladding or paving, orwhat color you choose: blue,black, white, et cetera.”

W.R. Weis Company Inc. fur-nished and installed all of thestonework for the Hyatt Centerin Chicago, a 48-story officetower.“Our work included all ofthe Virginia Mist granite, whichwas used for all of the interiorand exterior wall cladding,paving, vanities and planters,”Weis said.

“The one thing that is inher-ent about granite, that people


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ABOVE: W.R. Weis Company furnishedand installed all of the stonework for theHyatt Center in Chicago.

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“including flooring, fireplaces,curbing, stairs, steps, and, ofcourse, kitchen countertops.An added advantage is thevariety of surfaces available –polished, honed, thermal, rock,tooled, stippled – it’s prettyeasy to customize a look.”

And, this customization hascome even further with theadvent of granite switch plates.“With granite countertops andbacksplashes becoming so pop-ular in kitchens all across theUnited States, we noticed therewere white switch plates in thisbeautiful new kitchen,” said JeffOster, vice president of sales forMirart Inc. in Pompano Beach,Fla. “The contrast made themstick out like a sore thumb, sowe created matching graniteswitch plates to accent the beau-ty of the installation.”

Mirart can use the actualgranite from the client’s kitchen– from the drop from a sink orthe cooktop, for example – tocreate an exact match. Or, theswitch plates can be made fromMirart’s stone.“We start with fullthickness of granite slab and cutdown thin enough to make aswitch plate,” Oster said. “Wethen use diamond tools to makethe appropriate cut-out and fin-ish the plate to the customer’sspecification and ship. Theprocess is pretty elaborate andtakes approximately four weeks.”

“Elegance, strength and qual-ity are characteristics that manylarge corporations, financialinstitutions, and governmentshave recognized down throughthe ages,” said Ruoff.“And [gran-ite] is how they send a messageabout who and what they are.”

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One project in which themessage of strength and qualitycan’t be missed is at the Mall ofthe Emirates in Dubai. The Mallof the Emirates is more than twomiles long and accommodatesapproximately 50,000 people perday. In 2007, the mall is expectedto receive in excess of 27 millionvisitors. With so much foot traf-fic, not any flooring materialwould do.

“Our options were carpet,concrete, or something hardenough to sustain that amountof activity,” said the lead architecton the project, Andy Feola ofF+A Architects in Pasadena,Calif. But since the mall – whichmight be considered more of ashopping resort and whichhouses a number of “districts,”including high-end fashion“streets” and an indoor wintersports complex – is far from typ-ical, the flooring itself needed tobe extraordinary.

“After a lot of discussion andtesting [of various materials], wedecided on granite,” Feola said.“Softer floor materials have atendency to literally break downunder pressure. When we gotdown to it, granite was the mate-rial to use.”

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RIGHT: This residence is located inNorth Dakota. The Dakota Mahoganyused in the exterior cladding is an ashlarcut, which reveals the surface of thebroken stone.

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Twenty-six different kinds ofgranite were utilized to create theimpressive floor. The granite wasimported from all over theworld. These imports include ahoneycomb variety from Italy,Azure Blue from Brazil, andselections from North Africa andChina, to name a few. After thegranite was cut and polished inPortugal, it was shipped toDubai for installation.

With so much floor space tocover, the architects had to comeup with a plan. They decided to


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LEFT: At the Hyatt Center in Chicago,Virginia Mist granite was used for all ofthe interior and exterior wall cladding,paving, vanities and planters.

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it, that probably could not havebeen achieved without granite.

“Granite is just a fantasticmaterial, and we can use it in somany ways,” he said.“Water-cut-ting allows us to do many thingswith granite we would have beencautious about in the past. Nowthere is no limit to the type ofcut we can get. We can achievedesign goals in granite withouthaving to sacrifice hardness orstone quality. Working on thisproject really opened our eyes tothe possibilities. We couldn’thave asked for anything betterthan granite.”

Granite can easily be consid-ered the epitome of naturalstone; it is an extremely versatilematerial with a plethora of appli-cations, colors and styles. Incor-porating granite into any project,whether interior or exterior, as anaccent or primary element, in atraditional or innovative treat-ment, or for large or small pro-jects, opens up an entire world ofsolid possibilities. �


section the floors by stone block.“We took each slab and cut it intoa nine-piece pattern that we rotat-ed ninety degrees [with each sec-tion],”Feola said.“This helped usavoid distinctive changes in thecolor of the granite and created aconsistency throughout.”

The mall, home to severalhotels and an indoor ski area, issectioned into “courts,” includ-ing an entertainment, food, andfashion. “We designed a series

of colorful granite medallions ateach intersection, which changecolor from court to court,”Feola explained. “The overalldesign is closest to a Moorishstyle, which finds its roots in theMediterranean, heavily influ-enced by Moroccan, Spanishand Italian styles. The detailsand patterns are Arab influ-enced.” The result is a trulyglobal work of stone art, or“floor architecture,” as Feola put

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ABOVE: Water features such as thisfountain are part of W.R. Weis' work inChicago's AON plaza.

LOWER RIGHT: The 300,000 square feetof flooring in the Mall of the Emirates,located in Dubai, consists of 26 differentgranites from all over the world,including stone from Brazil, Italy, NorthAfrica and China.

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MortarNet USA 5/11/06 4:43 PM Page 1

N INTERNATIONAL

JURY CONVENED inearly March in Verona, Italy, toreview major architectural pro-jects in stone completed over thelast two years. More than 40projects were evaluated, and thewinning projects were recentlyannounced. Awards will be pre-sented at a ceremony on Satur-day, Oct. 6, during Marmomacc.The projects will also were fea-tured in an exhibit at the fair.

The Award was created byVeronafiere in 1987 to recognizesignificant architectural works instone, as part of the trade faircompany’s efforts to promote“stone culture.”

The winning projects forthe 10th Edition – and the rea-sons they were selected by thejury – are:

Piscinas do Atlantico(Paulo David, Madeira, Portugal,

2005; material: basalt)

David selects this volcanicstone,which has traditionally beenused as a building material on theisland of Madeira, to establish an


A

MARMOMACC ANNOUNCES WINNERS OF THE 10TH EDITION OF

Photos courtesy of Marmomacc and The Consultants International Group, Washington, D.C.

The InternationalArchitecture inStone Award

BSI3003_Fall07 9/20/07 1:02 PM Page 64


intimate connection with theintense Atlantic Ocean landscape.This material selection also createsa sense of continuity and harmonywith his previous project, la Casadas Mudas,also in basalt.

The Piscinas project consistsof a large stone open-air “room”looking out on the ocean. It cre-ates a connection between thefeatures of the local landscapeand urban spaces.

Marikloster(Cistercian Monastery) (Jensen

& Skodvin Arkitektkontor, Tautra

Island, Trondheimsfjord, Norway,

2003-2006; architects Jan Olav

Jansen and Børre Skodvin;

material: Norwegian slate slabs)

In Trondheimsfjord, archi-tects Jansen and Skodvin have

managed to create a convincingform for this monastery: it iscontemporary yet reflects uni-versal values, giving it a timelessquality. Through simple formsand basic materials (wood andslate) they reflect the CistercianOrder’s tradition, while provid-ing a modern interpretation oftimelessness. The result is a sim-ple and universal architecture,which resists trends.

Ampliación del Bancode España(Rafael Moneo, Madrid, Spain,

2006; material: granite)

Moneo’s project, coming at atime when architects often seekprotagonism through flashydesigns, provokes through thesimplicity and modesty with

ABOVE: Marikloster (CistercianMonastery) (Jensen & SkodvinArkitektkontor, Tautra Island,Trondheimsfjord, Norway, 2003-2006;architects Jan Olav Jansen and BørreSkodvin; material: Norwegian slate slabs)

OPPOSITE LEFT: Piscinas do Atlantico(Paulo David, Madeira, Portugal, 2005;material: basalt)

BSI3003_Fall07 9/20/07 1:02 PM Page 65


which it fits into Madrid’s urbanlandscape. The surreal “non-trendiness” of the project, whichcompletes the original 1800s edi-fice by subjugating itself to theoriginal structure’s main charac-teristics – particularly the moldedstone in the façade – highlightsthe intellectual vigor of Moneo’swork.His addition brings changesthat fit in with and enrich the pre-existing building without signifi-cantly altering it.

Completamento dellaMuralla Nazarí(Antonio Jiménez Torrecillas,

Granada, Spain, 2003-2006;

material: granite slabs)

A minimal and minimalistcontribution to close a 40-meterbreach, which dates from the late1800s, in the ancient wall thatconnects the Alhambra to the

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RIGHT: Ampliación del Banco de España(Rafael Moneo, Madrid, Spain, 2006;material: granite)

BSI3003_Fall07 9/20/07 1:02 PM Page 66


IN THE SUMMER 2007 FEATURE “THE HEART OF

HARDSCAPING,” WE MISTAKENLY PROVIDED THE

INCORRECT PHOTO COURTESIES FOR THE

SURROUNDING PHOTOS. THESE PHOTO WERE

GRACIOUSLY PROVIDED BY DELAWARE QUARRIES

INC. WE APOLOGIZE FOR THE MISTAKE.

Lt. Colonel Joseph Busik founded Delaware Quarries Inc. in February 1946.

He had just returned home from flying B17s over Europe in World War II and

purchased America’s oldest operating quarry,which had opened in 1758.Prince-

ton University was one of Joe’s first customers;

Delaware Quarries supplied building stone

veneer for its post-World War II buildings.

Today, Delaware Quarries is owned by J. Kevan Busik. Kevan was elected president

of the Building Stone Institute (BSI) at its annual convention in 2000.A few years later,

at the Institute’s 84th annual convention, Kevan was named “Man of the Year.” BSI

members from around the world honored him for his principles, honor and integrity.

Kevan and Joe are the only father and son BSI past presidents that were both elected

Man of the Year.

Delaware Quarries owns and operates eight facilities and is headquartered in

New Hope, Pa. The combination of these quarries has enabled the company to offer

the largest selection of building and landscape stone in the industry.

For more information about Delaware Quarries, please visit

www.delawarequarries.com

BSI3003_Fall07 9/20/07 1:02 PM Page 67


Albaicin area. Jiménez Torrecillasuses fragments of local graniteslabs to repair the hole, while suc-cessfully avoiding the impressionthat his contribution simply seeksto mimic the original wall.

Remodeling of A Two-Family Home(Beniamo Servino, Pozzovetere,

Caserta, Italy, 2001-2006;

material: local tuffaceous stone)

Servino’s work is seen as anexpression of cultural renewalthat reflects values and charac-teristics related to a specific localidentity. The simple Pozzoveterestructure is an architectural

work that highlights the impor-tance of local history seen as thedevelopment of a specificregional culture.

“AD MEMORIAM” PRIZE

Memorial for the FosseArdeatine(Ardeatine Caves) Victims (M.

Fiorentino [1918-1982], G.

Perugini, N. Aprile, C.

Calcaprina, A. Cardelli, Rome,

Italy, 1944-1951; material:

granite and Roman Tuff)

The dramatic 1944 massacreat the Ardeatine caves, along theancient Appian Way, seemed to

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ABOVE: Memorial for the Fosse Ardeatine(Ardeatine Caves) Victims (M. Fiorentino(1918-1982), G. Perugini, N. Aprile, C.Calcaprina, A. Cardelli, Rome, Italy,1944-1951; material: granite and RomanTuff)

BSI3003_Fall07 9/20/07 1:02 PM Page 68


Proud member of the Better Business Bureau and Building Stone Institute.

Acquaint yourself withIndiana Sandstone.Vibrant to calming...Rustic to Refined...Always naturally beautiful.

Other quality products:• Limestone and Granite• Thin and standard

housing veneers• Boulders, flagstone, steps

and other landscaping stone

Huron Indiana Office: 812.247.3342 Fax: 812.247.3441

Web: www.indiancreekstone.com

INDIAN CREEK STONE PRODUCTSINDIAN CREEK STONE PRODUCTS

lend itself to a traditional memo-rial approach. Instead, the groupled by Mario Fiorentino optedfor strong imagery, full of finalityand pathos: a large parallelepipedsuspended, as a single “grave-stone” for the 335 victims, sur-rounded by an imposing stonepolygonal wall. The stone – thetuff in the outer walls and inthose of the memorial, in thepavements, and in the remodeledtunnels, as well as the point-hammered granite of the graves– treated only with archaic sim-plicity, acquires an unusualexpressiveness.

VERNACULARARCHITECTURE PRIZE

Hill Region of NorthernVerona Province(Architecture in Lessinia Stone;

materials: Lessinia Stone and

Prun Stone)

The architecture of Lessinia isan exceptional collective work

TOP: Completamento della Muralla Nazarí(Antonio Jiménez Torrecillas, Granada,Spain, 2003-2006; material: granite slabs)

ABOVE: Remodeling of A Two-FamilyHome (Beniamo Servino, Pozzovetere,Caserta, Italy, 2001-2006; material: localtuffaceous stone)

BSI3003_Fall07 9/20/07 1:03 PM Page 69


created thanks to a longstandingtradition of superior construc-tion skills. It is unique and extra-ordinary in its total reliance onstone within such an ample ter-ritory. Local structures reflect aknowledgeable and creative useof lithic material, a sedimentarylimestone characterized – in itswhite to pinkish “chipped”scaglia rossa veneta and pinkishto reddish rosso ammonitico ver-sions – by the overlapping ofregular and thin stone layers thatare easy to separate thanks toeven thinner layers of clay.

Using this stone,separated into“naturally” cut slabs, unknownchiselers and humble masonsdesigned the architecture and land-scape of vast areas of the Veronahills, in what today might be con-sidered a vast collective work ofLand Art, showcasing the expres-sive power of simple materials.

Within the Lessinia area, spe-cial recognition goes to anexceptional structure:

Modesto’s Shed andIcehouse(Modesto Paggi [1843-1928],

Roverè Veronese, Verona, Italy)

The “architect” ModestoPaggi, a farmer, built thissmall rural structure, which isconnected to an icehouse,between the late 1800s andthe early 20th century. Theshed’s walls rise through theoverlaying of enormous stoneslabs in a “knife” pattern.Paggi’s approach exploits theconcept of linear constructionto connect the single stonemonoliths. The structure’sintegration into the Lassiniaarea and surrounding coun-tryside make it a poetic andmemorable work.�

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BELOW: Hill Region of Northern VeronaProvince (Architecture in Lessinia Stone;materials: Lessinia Stone and Prun Stone)

BOTTOM: Modesto’s Shed and Icehouse(Modesto Paggi (1843-1928), RoverèVeronese, Verona, Italy)

BSI3003_Fall07 9/20/07 1:03 PM Page 70


OTHING NEW IS BUILT onWashington, D.C.’s National

Mall without challenge or controversy. Crit-ics routinely complain that the Mall is full,yet praise new buildings. The East Buildingof the National Gallery of Art was no excep-tion during its erection, but its public andprivate spaces, now almost 30 years old, arecelebrated internationally as both construc-tion marvel and sculpture.

Just a year after the gallery’s June 1,1978 opening, the Building StoneInstitute was among the first to honorthe excellence of this now iconic struc-ture with its 1979 Tucker Award. (Thenow biennial Tucker Awards themselvesare 30 years old; the first award was givenin 1977.) I. M. Pei designed the EastBuilding; Leonard Jacobson was the

gallery’s lead architect from the firm nowknown as Pei Cobb Freed & PartnersArchitects LLP, New York.

Today, Pei’s clean, contemporary build-ing looks almost as startling and new as itdid when first conceived in 1968, and yet itis uniquely warm and inviting.

The East Building’s sense of comple-menting the original structure came com-pletely from Pei’s use of matching “lavenderpink” Tennessee marble from the samequarry near Knoxville chosen for the origi-nal, neo-classic 1941 National Gallerydesigned by John Russell Pope (who alsodesigned the two-time Tucker Award win-ning Jefferson Memorial). Even the cof-fered, cast-concrete interior ceilings use thedust of that marble to warm their otherwisecold color.

Historical Feature

Modern Icon on the MallBy Christina B. Farnsworth

72

NPhoto courtesy of the National Gallery of Art, Washington, D.C.

ABOVE: View of the National Gallery ofArt’s East Building, 4th Street Entranceafter dark from the West Building.

BSI3003_Fall07 9/20/07 1:05 PM Page 72


A street separates the two buildings, soPei’s firm designed an underground corri-dor to link the two structures; tetrahedralskylights light the space. The firm calls thecascading fountain that mesmerizes dinersin the below-grade dining facilities a“chadar waterwall.”

A surprising amount of the East Build-ing – 154,000 square feet – is hidden fromview underground.“The two-story, under-ground concourse connecting the old andnew structures is engineered with water-proof friction joints. This eases any stresseswhile the four-block-long complex rises andsinks by millimeters each year,” the muse-um’s audio tour tells visitors.

The visible building is two triangleslinked with a triangular atrium. The first tri-angle is public exhibit space; the other hous-es offices and research spaces. The NationalGallery program for the building specified“a museum to house large travelling exhibi-tions and to provide the infrastructure andceremonial spaces lacking in the early twen-tieth-century building, and also a separatestudy-center/office facility.”

Pei Cobb Freed & Partners’ websiteclaims, “In plan, section and elevation, theinterlocking volumes merge inseparably ina spatial dialogue of rigorous geometry,technical innovation and exacting crafts-manship.” The result is a triumph of stone

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RIGHT: Visitors line up to enter theNational Gallery of Art East Buildingduring the Georgia O'Keeffe 1887-1986exhibition.

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Historical Feature

74

design and a perpetual exhibit; visitors juststop and stare. The 19-degree fin that hasbecome the building’s famous talismanflies 107 feet from ground to roofline. Awhopping 16,000-square-foot triangularatrium, punctuated by Alexander Calder’shigh-flying mobile (one of the last com-missions completed before his death), uni-fies the whole. And just in case thespectacular triangle shape isn’t noticedright away, Pei applied lighter slabs of Ten-nessee marble to the exterior points to sub-tly bring them attention.

Exiting any of the 11 display areasbrings visitors back through the atriumbefore entering any other exhibit area.The atrium roof is a “space-frame” cov-ered in glass. A screen of aluminum rodsmodulates sunlight to prevent the brightatrium from overwhelming visitors’ eyesas they adjust to the lower light levelsneeded in galleries to protect the nation’soutstanding artworks.

Construction of the post-tensioned con-crete building began in 1971. In addition tothe atrium space, it contains 62,000 squarefeet of exhibition space and two auditori-ums. The separate Visual Arts Study Centerfeatures a five-story, sky-lit reading room, sixlevels of library stacks (three are subter-ranean), offices and support spaces. And animmense subterranean space includes bath-rooms, gift shops and multiple dining facil-ities for all tastes.

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ABOVE: Possibly the sharpest corner of any building inthe world, the East Building's signature "knife edge"cleaves the air at an angle of 19.5 degrees to a height of116 feet.

RIGHT: The East Building's unique central space with its16,000-square foot skylight, accented by the grandCalder mobile, is awe-inspiring.

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ABOVE: Another view of the East Building's impressiveCalder mobile reveals one reason why thousands ofvisitors make the trek to visit the National Gallery of Arteach year. Alexander Calder, Untitled, 1976, Gift of theCollectors Committe.

Photo courtesy of the National Gallery of Art, Washington, D.C.

Exhibit spaces vary from the 10-foot-highground floor gallery to the Tower Galleriesaccessed by spiral stairs and featuring 35-footceilings. In most rooms, curators can adjustceiling height and manipulate skylights tomix appropriate levels of natural and artifi-cial illumination. The building’s audio tourscript explains,“Any wall in the East Buildingnot clad in lavender pink stone is temporary,similar to movie or stage sets.”

The 8.8-acre trapezoidal site presentedmany construction challenges, includingexpansive soils. The existing NationalGallery’s main building, based on architec-tural cues from ancient temple architecture,was supported on pylons. According to theaudio tour, Pei’s East Building rests “on theunderlying mud of the Mall.”

Its six-foot-thick reinforced concretefoundation, according to the building tourguide,“was poured in one continuous flowso that the basement is a water-tight unitthat floats like a gigantic ship’s hull.”

Perhaps its triangles and foundation sug-gest that the building remains a nationalship of art clad in shimmering marble.�

NATIONAL GALLERY

OF ART EAST

BUILDING FACTS:

• Planning began in 1968.

• Construction began in 1971

and was completed in 1978.

• Winner of the 1979 Building

Stone Institute’s Tucker Award.

• Uses “lavender pink” marble

from Tennessee.

• 150,000 square feet of the

building is underground.

• Features 16,000-square-foot

triangular atrium highlighted

with marble slabs.

BSI3003_Fall07 9/20/07 1:05 PM Page 75


Natural StoneCouncil Forms

Advisory CouncilThe Natural Stone Council (NSC), a

collaborative organization representing thestone industry’s business and trade associa-tions, announced the formation of the Sus-tainability Advisory Council to assist theNSC Committee on Sustainability.

Based on a market survey and inputfrom the advisory council, the committeewill partner with researchers and industryexperts to substantiate the environmentalbenefits of building with natural stone.Green building is a significant developmentin the construction industry, and the NSCfeels strongly that being at the forefront ofthis movement will benefit the natural stoneindustry as a whole.

The Sustainability Advisory Council iscomprised of five top “green” architects withan intimate knowledge of natural stone andits uses in building and landscaping: MalcolmHolzman, FAIA, Holzman Moss Architecture;Mark Rodgers,AIA,AUA, University of Den-ver; Mark Kalin, FAIA, FCSI, LEED AP, KalinAssociates Specifications Consultants; ToddBronk, EDAW Inc.; and Tom Liebel, AIA,LEED AP, Mark, Thomas Architects.

The most widely used system for greenbuilding is Leadership in Energy & Environ-mental Design or LEED. The U.S GreenBuilding Council (USGBC) establishedLEED 10 years ago. The system defines stan-dards for environmentally responsible,healthier and more profitable structuresbased on a point system for new construc-tion and major renovation. Today, only nat-ural stone that is sourced locally or qualifiesas material reuse can contribute to LEEDpoints, which is why many believe moreneeds to be done to promote natural stoneas a sustainable building material. The NSChas joined the USGBC as one of more than7,000 member organizations.

The advisory council will work to assist theCommittee on Sustainability with the goal ofpositioning stone as the preferred material insustainable building. The NSC will evaluateand research the findings to support andincrease natural stone’s contribution to LEEDcertification points and other green buildingstandards. Some examples of “green” testing

opportunities include life cycle assessment, lifecycle cost and measuring best practices inquarrying, fabrication, and reclamation activ-ities in the stone industries operations.

Members of the NSC Committee onSustainability include John Mattke andKathy Spanier of Cold Spring Granite,Quade Weaver of Texastone Quarries, DanOuellette and Bill Eubank of Luck StoneCorp., Alex Bachrach of Stone World maga-zine, and Garen Distelhorst of Marble Insti-tute of America.

StoneworkSymposiumHeld

in SpainThe Stone Foundation in association

with Artifex Balear presented InternationalStonework Symposium 2007, Sept. 24-29, inMallorca, Spain.

This seventh annual gathering of thestone “tribe,” was the first one to take placeoutside the United States. The event rein-forced the internationality of this communi-ty of artisans, artists, architects, designers,contractors, suppliers and others involvedwith stonework.

Artifex Balear, a school of stonemasonryon the island of Mallorca and the co-host ofthis event, extended a warm welcome tostonework enthusiasts coming from theUnited States, Canada, Ireland and the Unit-ed Kingdom. Kindred enthusiasts fromFrance, Spain, Italy, Greece, Switzerland,Germany, Russia, Japan, Australia and otherlocations joined visitors.

As with all Stone Foundation sympo-siums, interesting and informative presenta-tions and demonstrations by experts inseveral aspects of stonework were presented.Other highlights included lively discourseand hands-on activities.

This year’s weeklong event focused heav-ily on the craft of dry stone masonry. Otherareas explored were: the vernacular architec-ture of Spain; the Basque provinces andPortugal; the stonework of the BalearicIslands, Mallorca, Minorca, Japan, India,Israel, New York City and others; plus theprinciples of Stereotomy and the evolutionof the medieval stonemasons’ guild into itspresent-day form in France, les Compagnonsdu Devoir.

Mallorca has long been a geographicalnexus of the western Mediterraneanregion. Four thousand years of history,written skillfully in stone, awaits visitors.For more information, visit

www.stoneworkfoundation.org.

VersaTac Granite Tactile Indicator

The original buildings at Newman Col-lege were built from 1916 to 1918 and weredesigned by architect Walter Burley Griffin;they are believed to be some of his bestwork. The innovative stonework includes areinforced concrete dome – one of thelargest domes of its type at the time. Thestone’s smooth surfaces and a rough baseblend to an unusual and organic form,which harmonizes with the landscape.

When architect Paul Morgan was com-missioned to design a renovation of this mas-terpiece, he could not find a suitable, tactileground surface indicator product that fit itsstyle and grandeur – until Eigen Stones’man-aging director Michael Lim was contacted.

Morgan’s architects were astounded whenLim showed them the modulized tactile indi-cator sample – VersaTac, which is made fromnatural granite.With the support of the com-pany’s overseas’granite quarries and manufac-turing factories, Eigen was able to produce atailor-made modulized granite tactile indicatorwith the right color coordination for NewmanCollege’s building and the luminance contrastas requested by the AS/NZS 1428.4 standards.The outcome of this combination pleasedboth the architect and the client.

Stone Xpression Inc. Becomes Distributor

Stone Xpression Inc. confirmed its estab-lishment as the premier distributor of theRolling Rock Building Stone Inc. family ofnatural stone brands for California and theWest Coast. Integrated in its distribution areall building stone, thin veneer and landscapevarieties of natural, genuine stone. Thisincludes the RealStone Veneer brand of thinstone veneer and all Greystone Quarries Inc.product lines.

Warehouse facilities have been secured inRipon, in Northern California. Expansion

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potential is nearly unlimited with two othermajor warehouse facilities nearby and coast-to-coast warehousing available.

All products will be sold through autho-rized dealers and sub-distributors. StoneXpression Inc.does not conduct business withthe public through direct sales to contractorsand homeowners. This will assign dealers theopportunity to comfortably pull inventoryfrom a warehouse that is exclusively for them.

Ernst & YoungEntrepreneur of the

Year Regional WinnerM S International Inc., a leading nation-

wide distributor of natural stone,announced today that its CEO, Manu Shah,received the Ernst & Young Entrepreneur ofthe Year 2007 Regional Award in the Distri-bution category. The award recognizes out-standing entrepreneurs who are buildingand leading dynamic, innovative and grow-ing businesses. An independent panel ofjudges selected Shah, and the award waspresented at an Ernst & Young Entrepreneurof the Year gala event at the Hyatt Regencyin Irvine, Calif.

In accepting the award, Shah com-mented, “I am delighted to be presentedwith this award. My wife and I startedthis company from the basement of ourhome over 30 years ago. We could neverhave imagined the growth and potentialof natural stone. This is a humblingexperience and proof that the U.S.remains the land of opportunity.”

Shah noted that “this award is truly areflection of the ingenuity, hard work andconsistent innovation of the entire MSIteam, which includes dedicated employees,our suppliers in over 33 countries anddevoted customers across the world. Wecontinue to look forward to bringinggrowth, innovation, and efficiency to thenatural stone industry.”

As an Orange County award winner,Shah is now eligible for consideration in theErnst & Young Entrepreneur of the Year2007 national program. Award winners inseveral national categories, as well as theoverall national Ernst & Young Entrepre-neur of the Year award winner, will beannounced at the annual awards gala in

Palm Springs, Calif., on Nov. 17. The overallnational Entrepreneur of the Year awardrecipient is then considered for the worldevent held in Monte Carlo.

New EducationalNewsletter for

Architects Devonian Stone of New York Inc., a

sandstone mining and fabrication companyin upstate New York, is announcing thelaunch of its new monthly e-newslettertitled “Glacier Blue Architectural Topics &News,” geared toward providing informa-tion of particular interest to architects.

The company’s president, Robert Bel-lospirito, is a Registered Provider with theAIA and is enthusiastic about sharing hisknowledge of various aspects of the stoneand construction industries. Among otherthings, each issue of the e-newsletter featuresan “architectural topic of the month,” cover-ing areas such as pedestal pavers, the differ-ences between Devonian stone andlimestone, and cleaning and sealing. A dif-ferent architectural firm is featured in eachissue, and architects are encouraged to sug-gest topics to be covered in upcoming issues.

Those interested in signing up to receivethe newsletter may do so by visiting the com-pany’s website at www.devonianstone.com.

Marmomacc: The Annual GlobalMeeting of Stone,Technology and

DesignMarmomacc 2007, held Oct. 4-7, fea-

tures 1,500 exhibitors from more than 50countries, as well as a “Marble, Architectureand Design” program.

An exhibition of new stone architecturein Spain, sponsored by the Spanish Instituteof Foreign Trade (ICEX) and the SpanishNatural Stone Federation, highlights majorstone projects of the last 10 years by leadingSpanish architects, including AlbertoCampo Baeza and Rafael Moneo.

The teaming of architect/designers andMarmomacc exhibitors,“Marmomacc MeetsDesign,”emphasizes the “lightness”of stone indecorative objects and furnishings. Prototypes

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are on display and highlighted on a map dis-tributed to Marmomacc visitors.

In addition, Marmomacc 2007 hosts theninth edition of its continuing educationcourse for architects. Thirty architects fromthe United States, Canada, the U.K., India,South Africa and Australia spend four daysstudying the importance of stone in mod-ern design.

Marmomacc is the leading internationaltrade fair for stone materials and machinery.The show attracts more than 60,000 tradevisitors from 120 countries.

“Marmomacc is the best trade show forstone in the world, bar none,” says RobertCampo from Rock of Ages (Graniteville,Vt.).“We’ve been exhibiting at Marmomaccfor seven years, and the show really allows usto reach our target and gives us good cus-tomer turnover.” It is the ideal place to see,in a few busy days, the latest stone-relatedmachinery and technologies, to directlysource stone for commercial projects, and toview the full spectrum of stone materialsavailable for residential applications.

MIA AccreditationProgram Picks Up

PaceThree more companies have joined NBC

Solid Surfaces of Springfield, Vt., as MarbleInstitute of America (MIA) Accredited Nat-ural Stone Fabricators. Radtke Tile andMarble of Carson City, N.V.; Solidtops ofEaston, Md.; and Great Lakes Granite andMarble of Redford, Mich., have all earnedthe distinction after successfully completingthe demanding three phase procedurewhich includes individual exams and on-siteinspections.

“Professional accreditation is extremelybeneficial in our industry and worth theeffort,” stated Fred Radtke, owner of RadtkeTile and Marble.“In the marketplace, differ-entiation is paramount. We understand thecompetitive edge accreditation brings to ourmarketing strategy.”

“Qualifying companies have one year topass the exam and another year to completethe site visit, although so far, everyone hasfinished everything in one year,” statedGaren Distelhorst, MIA’s accreditation pro-gram manager. He added, “Currently, over

one hundred firms are in various stages ofcompleting the process.”

The route to becoming accredited consistsof three equally-weighted phases. Phase onerequires the completion of a lengthy applica-tion, which ensures that the company is incompliance with the 10 standards of accredi-tation as laid out by the MIA AccreditationTask Force.The second phase consists of a 200question examination, testing the applicant’sknowledge and use of materials, installation,fabrication, restoration,care and maintenance,administration, legal/contracts, jobsite andshop safety. The final phase is a comprehen-sive site visit, which includes a review of thefacility, documents and one or more installa-tion inspections.

In addition to these requirements, residen-tial natural stone fabricators must first havecompleted 200 projects in the last three years.

Commercial accreditation is broken intotwo categories: Commercial A, for companiesconducting high-rise and large scale commer-cial work and Commercial B, for firms han-dling smaller-scale, commercial stone installa-tions such as hotel lobbies, bank lobbies andlow-rise interior/exterior cladding.

Natural stone companies wishing toapply for the Accredited Natural Stone Fab-ricators designation by the Marble Instituteof America can do so at www.marble-insti-tute.com/accreditation and scroll to the bot-tom of the page and click: ApplicationRequest Form.

Natural Stone Standsthe Test of Time in

National Associationof Home Builders’

StudyThe Natural Stone Council (NSC), a

collaborative organization representing thestone industry’s business and trade associ-ations, announced that stone has onceagain been recognized as one of the mostdurable materials used in home building.In a study released by the NationalAssociation of Home Builders (NAHB)and Bank of America (BOA) Home Equitytitled “Study of the Life Expectancies ofHome Components,” stone used for coun-tertops, flooring and exteriors was foundto endure as long as the house itself.

The study was conducted in the summerof 2006 and polled a wide range of expertsin the building materials industry with thegoal of determining the life expectancy ofhome components such as roofs, toilets,faucets, flooring, decks and countertops.BOA sponsored the study because homeowners want to “better understand how topreserve value in their most importantfinancial asset” – their home, according toDavid Rupp, BOA Home Equity executive.

The ancient pyramids and our nationalmonuments are a testament to the strength ofnatural stone. For homeowners, stone is abuilding choice that maximizes reliability with-out compromising style. The NAHB/BOAstudy revealed that natural stone countertops,which are “less expensive than a few years agoand gaining in popularity”, would last a life-time in a home. The study also found thatflooring in marble,granite and slate would last100 years when well taken care of.As for exte-riors, slate roofs had a 50-year life expectancyas compared with fiber cement,asphalt shingleor wood shake roofs that last 20-30 years.Nat-ural stone on the outside of a home as sidingor decorative accessories “will last as long as thehouse,”according to the results.

“Genuine stone is the true embodiment ofform and function,” said Mark Fernandes,chairman of the NSC. “In addition to itsunparalleled durability, the vast amount ofcolors and textures available makes each pieceof stone a unique work of art. Natural stone isan undeniably smart choice for homeowners.”

Park Splitters Now 30-Percent Stronger

Park Industries has updated the designof the industry-leading HYDRASPLITstone splitters.

“With the new CNC manufacturingcapabilities we’ve invested in, we wereable to make some significant improve-ments to the manufacturing and designof our HYDRASPLIT splitters,” com-ments Dean Casad, architectural divisionmanager. “We’ve taken everything we’velearned about splitting stone over the last54 years, added in new CNC manufac-turing capabilities, and are excited toannounce some significant enhance-ments to our HYDRASPLIT line.”

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Jack Rhode, saw product line managerexplains, “We’ve increased the distancebetween the uprights and top head bearings,which improves stability and provides easierstone access. In addition, the thickness of thechisel guide bar increased 50 percent, whichimproves the splitters’ rigidity and durability.”There’s more. The chisel guide bars are CNCmachined after welding to achieve smootherand more reliable chisel function and arewelded at an angle to increase rigidity andimprove stone clearance. Also, the newHYDRASPLIT models have better shockabsorption as a result of the heavy-duty steeltubing, which the replaced steel plate uprightson previous models.

“The heavy-duty construction designimprovements and use of new materials haveresulted in a 30-percent strength and rigidityimprovement over previous models,”Rhodesaid.“And, we’ve installed a new hydraulic sys-tem, which is more flexible, longer lasting andis easier to maintain.” HYDRASPLIT chiselsalso can be set to the stone without movingthe top head, resulting in faster cycle time inconsistent stone heights.

Natural StoneCouncil DevelopsPlan to Promote

Sustainable Practicesfor Industry

The Natural Stone Council (NSC), a col-laborative organization representing businessand trade associations that promote stoneunder the Genuine Stone brand, todayannounced the partnership of their Commit-tee on Sustainability with the University ofTennessee’s Center for Clean Products. Thealliance is charged with researching and pro-moting the ways that natural stone can con-tribute to the green building movement.

The NTSC’s “Green Committee,” as theyare known to many in the industry, met withJack Geibig, director of the University of Ten-nessee’s Center for Clean Products in Wash-ington, D.C., in June. Geibig and his team ofenvironmental engineers proposed a compre-hensive, multi-year sustainability plan thatincludes background research, the develop-ment of product-specific environmental factsheets and data supporting Life Cycle Assess-ment, and benchmarking of industry envi-

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ronmental practices as well as communicationof this information to both the stone industryand the design community.

Currently, the committee and researchteam are in the early phases of conducting on-site reviews of the environmental impacts ofnatural stone quarrying and fabricationprocesses. From these reviews, a data collec-tion tool will be developed to gather informa-tion from as many stone quarries and fabrica-tors as possible. This information will helpestablish the baseline environmental footprintof the stone industry and form the buildingblocks for creating life cycle data and develop-ing life cycle assessments of Genuine Stonecompared to other building materials.

“Because stone is such an important mate-rial in a number of key building product class-es, it is crucial for the natural stone industry tobe able to characterize the life cycle impacts ofits products in order to meet the evolvingdemands of the green building marketplace,”said NSC Committee on Sustainability Chair-man John Mattke.“In order to do this, we aredeveloping and pursuing a plan to promotethe identification and adoption of sustainablepractices throughout the industry.”

By the end of 2008, the NSC Committeeand the Center for Clean Products plans tohave accomplished the following:

• Completed the benchmarking process for key manufacturing and quarrying operations during the production of natural stone products

• Identified stone industry best practices

• Established effective communications and outreach efforts both to internal and external groups

• Developed and distributed life cycle inventory datasets for key materials and operations

• Created environmental specification sheets for several natural stone materials.

For more information on what the NSCCommittee on Sustainability is doing topromote Genuine Stone as a green buildingproduct or for information on the greenbuilding movement in general, visitwww.genuinestone.org.�

Adver t isersI n d e x t o

Industry News

29 Adirondack Natural Stone, LLCP.O. Box 225,Whitehall, NY 12887Phone: 518-499-0602Fax: 518-499-0602www.adirondacknaturalstone.com

39 Advanced Building ProductsP.O. Box 98Springvale, ME 04083-0098Phone: 800-252-2306 Fax: 207-490-2998www.advancedflashing.com

57 Anderson Brothers & Johnson2128 Main DriveP.O. Box 26Wausau, WI 54402Phone: 800.826.1581Fax: 715.539.3803

79 Barden Stone, Inc.1557 Cherry LaneMemphis, TN 38117Phone: 901.683.8264 Fax: 901.763.3850www.bardentstone.com

79 Buechel Stone Corp.W3639 Hwy. HChilton, WI 53014Phone: 800.236.4473Fax: 920.922.5298www.buechelstone.com

35 Building Stone Institute551 Tollgate Road, Suite CElgin, IL 60123Phone: 866.786.6313Fax: 847.695.0174www.buildingstoneinstitute.org

33 Bybee Stone Co., Inc.P.O. Box 968Bloomington, IN 47402Phone: 812.876.2215Fax: 812.876.6329www.bybeestone.com

69 Cee Jay Tool, Inc.P.O. Box 7698Loveland, CO 80537Phone: 970.962.9594Fax: 970.962.9074www.ceejaytool.com

59 Champlain Stone, LTDP.O. Box 650Warrensburg, NY 12885Phone: 518.623.2902Fax: 518.623.3088www.champlainstone.com

45 Colorado Flagstone, Inc.P.O. Box 63Masonville, CO 80541Phone: 970.203.1072Fax: [email protected]

7 Connecticut Stone Supplies, Inc.138 Woodmont RoadMilford, CT O6460Phone: 203.882.1000Fax: 203.882.1991www.ConnecticutStone.com

13 Cumberland Mountain Stone, Co.389 Flagstone Lane P.O. Box 297Crossville, TN 38557Phone: 800.334.7719Fax: 931.484.6329

19 Deleware Quarries, Inc.6603 Route 202P.O. Box 778New Hope, PA 18938Phone: 800.533.4954FAX: 215.862.1680www.delawarequarries.com

21 Delta Stone2276 South Daniels RoadHeber City, UT 84032Phone: 435.654.3336Fax: 435.654.3337www.deltastoneproducts.com

73 Featherock, Inc.20219 Bahama StreetChatsworth, CA 91311Phone: 800.423.3037Fax: 818.882.9643www.featherock.com

5 Gallegos Corp.P.O. Box 821Vail, CO 81658Phone: 970.926.3737Fax: 970.926.3727www.GallegosCorp.com

11 Global Granite & Marble10330 Page Industrial CourtSt. Louis, MO 63132Phone: [email protected]

60 GranQuartz L.P.P.O. Box 2206Tucker, GA 30085Phone: 770.621.5200Fax: 770.621.9771www.granquartz.com

71 Hanley Wood/StonExpoPO Box 618128Dallas, TX 75261-2128Phone: 866.550.6808Fax: 972.536.6404www.stonexpo.com

49 House of Stone, Inc.3528 Fruitvale AveBakersfield, CA 93308Phone: 800.304.6135Fax: 661.326.1082www.houseofstoneinc.us

69 Indian Creek StoneP.O. Box 96Huron, IN 47437Phone: 812.247.3342Fax: 812.247.3441www.indiancreekstone.com

61 Indiana Limestone301 Main StreetOolitic, IN 47451Phone: 812.275.3341Fax: 812.275.3344www.ilco.com

36 K2 Stone Quarries, Inc.930 Maughan RoadNanaimo, BC V9X1J2 CanadaPhone: 866.722.2420Fax: 250.722.2406www.k2stonequarries.com

3 Kettle Valley Stone204 Camdro RoadKelowna, BC V1X3L7 CanadaPhone: 250.491.0405Fax: 250.491.4959www.kettlevalleystone.com

16 Lompoc Quarries28092 Forbes RoadLaguna Niguel, CA 92677-1288Phone: 800.726.2292Fax: [email protected]

34 Lyons Sandstone2439 CR 37 ELyons, Colorado 80510Phone: 303.823.5659Fax: [email protected]

17 MS International, Inc.2095 N. BataviaOrange, CA 92865Phone: 714.685.7564Fax: 714.685.7569www.msistone.com

20 Manassas Granite & Marble, inc.10115 Residency RoadManassas, VA 20110Phone: 703.369.7544Fax: [email protected]

32 Meshoppen Stone, Inc.P.O. Box 127Meshoppen, PA 18630Phone: 570.833.2767Fax: 570.833.2180www.meshoppenstone.com

63 MortarNet USA541 South Lake StreetGary, IN 46403-2408Phone: 800.664.6638Fax: 219.939.3877www.MortarNet.com

27 Old World Stoneworks1151 Heritage RoadBurlington, Ontario L7L4Y1 CanadaPhone: 800.281.9615Fax: [email protected]

IFC Owen Sound Ledgerock LimitedP.O. Box 445, RR5Owen Sound, Ontario, Canada N4K 5P7Phone: 519.376.0366Fax: [email protected]

53 Park Industries, Inc.P.O.Box 188St.Cloud, MN 56302Phone: 320.251.5077Fax: 320.251.8126www. parkindustries.com

37 Robinson Brick Company1845 West Dartmouth AvenueDenver, CO 80110RobinsonBrick.comPhone: 800.477.9002Fax: [email protected]

77 Siloam Stone, Inc.315 N. 7th StreetCanon City, CO 81212Phone: 719.275.4275Fax: [email protected]

1 Silverado Masonry Design Center5250 South WattSuite 200Sacramento, CA 95862Phone: 916.381.8711Fax: 916.383.0128www.silveradodesigncenter.com

47 Sonny & Sons Stone CO.13141 State Highway 30Downsville, NY 13755Phone: 607.363.7543Fax: 607.363.2916

47 Stonehenge Slate, Inc.Phone: 732.748.0110Fax: 732.748.0157www.stonehengeslate.us

IBC TexaStone QuarriesP.O. Box 38Garden City, TX 79739-0038Phone: 432.354.2569Fax: 432.354.2669www.texastone.com

25 Tri State Stone & Building Supply, Inc.8200 Seven Locks Road P.O. Box 34300Bethesda, MD 20827Phone: 301.365.2100Fax: 301.365.5524www.carderock.com

29 Trow & Holden45 South Main StreetP.O. Box 475Barre, VT 05641Phone: 800.451.4349Fax: 802.476.7025www.trowandholden.com

15 Vinci Stone Products798 Marriottsville RoadMarriottsville, MD 21104Phone: 410.442.4000Fax: 410.442.4001www.vincistone.com

51 Vogelman West AssociatesP.O. Box 921Avon, CO 81620Phone: 970.949.4138Fax: 970.845.7605www.vogelmanwest.com

43 Vytek Industrial Laser Systems195 Industrial Rd.Fitchburg, MA 01420Phone: 978.342.9800Fax: 978.342.0606

OBC W.F. Meyers1017-14th StreetP.O. Box 426Bedford, IN 47421Phone: 812.275.4485Fax: 812.275.4488www.wfmeyers.com

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the art of stone · 2020. 9. 11. · 4 building stone magazine fall 2007 fall 2007 contents...

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