WG Stone Table Brochure

S p e c i f i c a t i o n G u i d e

W A L L G O L D F I N G E R

F I R S T D R A F T v 0 . 1 | 2 0 0 8

S TON E TA B L E S

Design by: butler rogers baskett

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

4

Contents

4 Contents

6 Introduction

confiGurationSand MaterialS10 Rectangular

12 Ellipse

14 Boat-Shape

16 Racetrack

18 Round

Stone24 Granite

28 Marble

32 Limestone

34 Travertine

36 Quartzite

38 Slate

40 Corian®

42 ZodiaQ®

deSiGn proceSS50 Matching

52 Bases

52 Structure

53 Legs

54 Base Options

55 Custom Bases

ManufacturinG58 Quarries

59 Selection

60 Water Jet

61 Edge Profiles

62 Finishing

Design by: teD MouDis assoCiates

FIRST EDITION | WWW.WALLGOLDFINGER.COM

5

COMMUNICATION TECHNOLOGY66 Table Top Access

69 Connectivity

70 Microphones

72 Conferencing

74 Control Panels

75 Video Conferencing

76 Client List

78 Sales Representatives

Design by: CUH2A

WallGoldfinger, Inc.7 Belknap Street, Suite 3, Northfield, Vermont 05663

P (802) 485-6261 | F (802) 485-6267www.wallgoldfinger.com

SALESJohn Wall: [email protected]

John Belniak: [email protected], Curtis Ostler: [email protected]

SALES MATERIALSCarol Edwards: [email protected]

TEXTJohn Wall, John Belniak, Curtis Ostler, Tim Swartz, Thor Goodrich

DESIGNChuck Weaver: Art Director

Thor Goodrich: Layout and Graphic DesignLee Frantz, Chuck Weaver: Concept Illustrations

PHOTOGRAPHYJack Rowell, Chuck Weaver, John Belniak, John Wall, Paul Buchbinder,

Curtis Ostler, Robert Joyce, Thor Goodrich

COLOPHONThis issue was produced using Adobe InDesign CS3, Adobe Photoshop CS3, and

Adobe Acrobat 8.0 Professional on an Apple Macintosh PowerMac G5 computer. Text set in ITC Stone and ITC Officina. Booklet is printed inhouse on a Canon CLC 1180 laser printer using Mohawk Color Copy 100% Recycled FSC certified 28lb paper and

bound by Akiles WireMac 31 with USI-Laminate double loop wire combs.


6

introDuCtion

Throughout the ages, architects, designers, and

builders have chosen stone for its permanence,

strength, and beauty. Whereas selection was once

limited to locally available stone, today’s market-

place is worldwide with a growing array of options.

WallGoldfinger, Inc. has been producing cus-

tom stone furniture for 30 years, so we know our

way through the complex selection and manufac-

turing processes. Our craftsmen work in marble,

granite, limestone, travertine, and manufactured

stones, which can be combined with wood,

metal, leather, faux leather, and glass to produce

furniture.

The layout of stone on a table, desk, or cre-

denza is limited only by the designer’s conception

and the material available. We have fabricated

tables with “book-matched” slabs joined at the

center for a seamless, homogenous appearance, as

well as used different stones in opposing configu-

rations mixed with wood and stainless steel.



7

Advanced manufacturing processes, such as

waterjet cutting, allow the forming of any shape,

as well as the accurate marriage of stone to veneer

or metal components. Years ago, an elliptical

table with a wood edge, stone perimeter, stainless

steel band, and center veneer panel seemed cost-

prohibitive or technically impossible. Today such

creative work is not only practical but affordable.

Design by: aDD, inC.

Design by: swanke HayDen Connell assoCiates

Design by: gensler

Design by: ai arCHiteCture

notes

W A L L G O L D F I N G E R , I N C . | S T O N E S P E C I F I C AT I O N G U I D E


Configurations anD Materials

Design by: gensler


10

RECTANGULAR

Configurations & Materials

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

Verde granite, Nordic black marble, brushed stainless steel

Sahara Gold limestone, brushed stainless steel

Stone witH Stone

Stone witH Metal

Stone


11

CO

NF

IGU

RA

TIO

N

RECTANGULAR


Verde Luchensa marble, pomelle sapelle, solid mahogany,

¼” ebonized inlay

Crystal Olive Granite, figured and quartered cherry,

bronze inlay

Breccia Pernice Rossa marble, synthetic leather, ribbon

stripe mahogany

Stone witH leatHer

Stone witH wood

Stone riSer


12

ELLIPSE


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

Absolute Black granite, Argos marble, brushed stainless steel

Sahara Gold limestone, brushed stainless steel

Stone witH Stone

Stone witH Metal

Stone


13

CO

NF

IGU

RA

TIO

N

ELLIPSE


Emperador marble, quilted maple and walnut veneer

Verde Fondo Mare marble,synthetic leather, solid cherry,

brushed stainless steel and ¼” inlay

Classic travertine, figuredand plain sliced anigre, brushed

stainless steel ¼” inlay

Stone witH leatHer

Stone witH wood

Stone riSer


14

BOAT-ShAPE


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

French Vanilla marble, brushed stainless steel

Calacatta marble and powder coated black metal

Stone witH Stone

Stone witH Metal

Stone


15

CO

NF

IGU

RA

TIO

N

BOAT-ShAPE


Breccia Nouvelle marble,quartered cherry, Majilite® leather

Blue Pearl granite, synthetic leather, ¼” stainless steel

inlay, metal mesh

Aquamarine granite, quartered figured anigre, solid maple,

brushed stainless steel

Stone witH leatHer

Stone witH wood

Stone riSer


16

RACETRACk


Crema Savoy and Verde Michelangelo marble, walnut, stainless steel

Argos marble, Black Absolute granite, stainless steel

Emperador Costa marble, walnut veneer base, stainless steel

Stone witH Stone

Stone witH Metal

Stone


17

CO

NF

IGU

RA

TIO

N

RACETRACk


Bambarino marble, ribbon striped mahogany

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

Madura Gold granite, maple, stainless steel

Stone witH leatHer

Stone witH wood

Stone riSer


18

ROUND


Giallo and Emperador Dark marble, cherry, stainless steel

Uba Tuba and Black Absolute granite, stainless steel

Verde Michelangelo marble, ribbon striped makore, powder coated metal

Stone witH Stone

Stone witH Metal

Stone


19

CO

NF

IGU

RA

TIO

N

ROUND


Aquamarine granite, plastic laminate, walnut,

stainless steel

Macaubus marble, synthetic leather, cherry, statuary bronze

Royal Gold marble, curly maple, stainless steel

Stone witH leatHer

Stone witH wood

Stone riSer


20

VIDEO CONFERENCE


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

Peperino Rosso marble, brushed stainless steel and ¼” inlay


21

CO

NF

IGU

RA

TIO

N

VIDEO CONFERENCE


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

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

notes



stone


24

GRANITE

stone

Granite is a very hard, igneous rock, formed

from volcanic eruption. The color and size of

the spore in the granite indicates the proxim-

ity to the original eruption.

Granite is more resistant to damage,

harder and more uniform than marble or

travertine. It is relatively consistant in appear-

ance, and virtually immune to wear and dete-

rioration. It has become an economical choice

for today’s designer because of its endurance,

esthetics, and low maintenance.

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

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

african tapeStrY

BaHaMa Gold

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

Blue eYeS

Barre GreY

carMen red


25

GRANITE

stone

COLONIAL DREAM

LABRADOR SCURO

TROPICAL FANTASY PINk OLYMPIA

GhIANDONE SARDO LIMBARA

DESERT BROWN

VIARA GIALLO VENEZIANO FIORITO

GRAN BEIGE

JUPARANA COLONIA

BALTIC GREENLABRADOR ChIARO

SAN SEBASTIANAZUL ARAN

ROSA CINZIA SIERRA DORATA

BOREAL GREEN

IVORY BROWN

hIMALAYA BLUE

SAN SEBASTIAN POLIShED


26

GRANITE

stone

JUPARANA GOLD

BLUE PEARL

GALLIx

WINNEWAY MULTICOLOR RED

CALEDONIADIAMOND WhITE

PEACOCk LIGhTVERMONT GREENPALAZZO QUARTZITE

VENETIAN GOLD PURANGAW IPE

SIENA

VERDE FONTAINE ELOISA JUPARANA INDIA GOLD

MATRIx STONEBROWN ANTIQUETAN BROWN

ORO ROMANO DARk


27

GRANITE

stone

SEA FOAM

BRECCIA ROSSA

AMERICAN RED

TAILLON-BLACkUBATUBA BAhIA

ASh ROSE

kODIAC NORDIC BLACk

NEWTON BROWN

ZAPhIR BROWN

GOLDEN SEA

AQUARIUS

DARk FANTASY

YELLOW RIVER

JUPARANA ChAMPAGN

SUNNY GOLD

MADURA GOLD hONEDPURANGAW EkOS

BALTIC BROWN

CANADIAN RED


28

MARBLE

stone

Marbles are crystalline limestones which have

metamorphosed by heat and pressure beneath

the earth’s surface over a very long period of

time, ranging from 7 to 120 million years.

They vary in texture from coarse to fine.

In a pure state, marble is clear white, almost

translucent. When mixed with other ma-

terials, marble varies in color from grays to

blacks, to beautiful shades of pink, yellow,

green, red and brown.

Marbles have been classified into four groups

known as the Marble Soundness Classification

which should be taken into account when us-

ing marble, for all marbles are not suitable for all

building applications. This is particularly true of

the comparatively fragile marbles classified under

Groups C and D, which may require additional

fabrication before or during installation.

The basis of this classification is the charac-

teristics encountered in fabricating, and has

no reference whatsoever to the comparative

merits or value of each type of marble. The

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

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

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

Group BSimilar to Group A, how-ever, a little more difficult to work with due to natural flaws in the marble. Limited amount of filling is required.

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

creMa Valencia

Giallo Siena

onice Verde

Bianco carrara roSa norVeGia

Verde iSSorie fior di peSco carnico

classification indicates what method of fabrication is con-

sidered necessary and acceptable in each instance based

on standard trade practice.


29

MARBLE

stone

PAONAZZETTO

PERLATO SICILIA

VALLEY FIORITO

MISSISQUOI

PERLATO OLIMPO VENATO

CALACATTA FANTASIA ARABESCATO CARRARA

ROSA ATLANTIDEkARNIS

PIETRA DORATA BRECCIA ONICIATA

CREMA VALENCIA

ONICE VERDE GIALLO SIENA EMPERADOR ChIARO FIOR DI PESCO CLASSICO

BRECCIA DAMASCATABRECCIA AURORA CLASSICA

AMARELLO

BRECCIA ONICIATA


30

MARBLE

stone

CASCAPEDIA

OPERA FANTASTICO

ROSSO LEVANTO

GOLDEN SPIDER

NOISETTE FLEURY CLASSICO

ROSSO SEVILLAROSSO VERONA

STATUARY VEIN

LIOZ MONTEMOR

OLYMPUS GRAY

ROSSO IMPERIAL

VERDE GIADA

NAPOLEON GRAND MELANGE MONDRAGONE

ROSSO RAMELLO

PERLATO ROYALAURISINA FIORITA

BRECCIA PERNICE ROSSA DUChESSA ROSATAROSSO ALICANTE


31

MARBLE

stone

VERDE ALPI

ROSA EGEOkARIBIB

NERO MARQUINA

SAINT LAURENT

ORO ESOTICO

SILVER BEAUTY

GRIGIO CARNICO

OASIS ANTIQUED

PALISSANDRO BLUE NUVOLATO

ROYAL GREEN

VERDE LUANA

BLUE TEDESChI

PORTORO

FOSSILE MARRONE

GRIGIO FUMO

NOIR ST LAURENT

BLACk EFES

VERDE ACCEGLIO

SOLAR GREY


32

LIMESTONE

stone

Limestone is layered and formed at the bot-

tom of oceans or lakes from the skeletons and

shells of sea creatures that lived in warm seas

millions of years ago. It will often contain

seashells and fossils embedded in the surface.

If this limestone is subjected to intense heat

or pressure and a few millennia, a crystalliza-

tion will occur and the limestone will become

a “true marble”.

Limestone varies greatly in hardness,

density, and porosity from stone to stone.

Some limestones are very soft and can only be

fabricated to a honed finish. Other limestones

are very dense and hard and can be finished

to a polished or a glossy shiny surface.

Pure limestones are white or almost

white. Because of impurities, such as clay,

sand, organic remains, iron oxide and other

materials, many limestones exhibit different

colors, especially on weathered surfaces. Most

limestone is grey, but all shades of limestone

from white to black have been found. Colors

of limestone are soft and earthy, ranging from

the creamy beiges to deep browns, reds and

blacks. There are also lighter creams, ivories,

and smoky gray blues, as well as pastel shades

of yellow to pink are all possible.

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

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

portoro liMeStone

aMBrato liMeStone

caMarGue

cedar

foSSil Brown

foSSile piSceS


33

LIMESTONE

stone

AMARELLO NEGRAIS

ChARMOT

IVORY ANTICOMASSANGIS

SUNNY DESERT ANTIQUE

BUxY GRIS

CRETA

JERUSALEM GOLD

RAMON GOLD

SUNNY DESERT POLIShED

CEDAR LIMESTONE

FOSSIL GREEN hONED

JURA BEIGE

RIVIERA BEIGE

TOPAZ

CEDAR

GALALA BEIGE

LAGOS BLUE hONED

ROSA LAURENS

VILhONNEUR


34

TRAVERTINE

stone

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

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

Brown azarSHaHr

GraY traVertine

SilVer traVertine

Travertine is a form of limestone. It often

consists chiefly of calcium carbonate formed

by precipitation in hot mineral springs over

a period of 600,000 years. It comes out of the

ground relatively soft compared to marble,

but hardens with age and exposure.

Travertine has a sponge-like textured ap-

pearance as gas bubbles become trapped and

create a pitted surface on the stone. These

pitted surfaces or cavities are frequently filled

with a matching epoxy or dust resin dur-

ing the fabrication process. Filling the small

holes and pits gives the travertine a more

finished look.

The stone surface can also be left in its

natural state with the small holes and pits

unfilled. This is a warmer aged look which

will acquire a beautiful patina over time.

Leaving the stone unfilled will affect the

durability, however; it will attract dirt much

easier than a filled travertine.

Travertine colors are in warm earthy

tones, more easily from the softest ivories

and palest creams, rich shades of golden

honey, to silvery greens to deep mocha

browns. The color tones vary and veins or

bands of contrasting color run throughout

the stone.

denizli creaM

claSSic traVertine poliSHed


35

TRAVERTINE

stone

ALhAMBRA

ANTIQUE

AURORA

CLASSIC hONED

GIALLO PERSIANO

GOLD

NAVONA TRAVERTINE

NOCE TRAVERTINE

ONDULATO ONICIATO ChIARO VENATO

ONICIATO SCURO VENATO

ROSSO PERSIANO

SCABAS ROSA SCURO NOCE

SCURO STUCCATO

SILVER

ST. PETER CLASSICO

ST. PETER DARk

ST. PETER LIGhT

TIMBER


36

QUARTZITE

stone

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

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

Quartzite was transformed from grainy

quartz-rich sandstone, although it took 500

hundred million years or more to accom-

plish the process. Quartzite is a metamor-

phic rock heated under pressure deep within

the earth’s mantle where the original quartz

sand grains and quartz silica cement became

fused into one.

Quartzite has a rich crystallized appearance

and is hard, compact and very fine-grained. Most

varieties of quartzite contain at least 90 percent

quartz and are the largest and purest concentra-

tions of silica in the earth’s crust.

Quartzite breaks through, not around

the quartz grains and produces a smooth

surface rather than a rough and granular

one. Sandstone will shatter into many indi-

vidual grains of sand, while quartzite breaks

into sharp angular fragments — the crystal-

lization of the quartzite makes it harder. It is

one of nature’s most durable stones.

aMBradorata

wHite Gold

finniSH SilVer Green

Normally quartzite is white or light grey, but it may

be found in a variety of other colors including yellow,

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

or red depending on the other minerals such as mica,

tourmaline, zircon or iron oxide that may be present.


37

QUARTZITE

stone

AZUL IMPERIAL

hOLLYWOOD

RAYMONDhIMAChAL GREEN

VERDE AGRESTE

AZUL MACAUBA

NIAGRA

OCEAN GREENWhITE MOON

VERDE AQUAMARINA

BAMBOO YELLOW BLUE

ZEERA GREEN

GIALLO PIANOSA

RED FIRE

VERDE CACTUS SILVER GREY

GOLDEN QUARTZ

SAhARA YELLOW

TURQUESA DI ROSA

VERDE BAMBOO CROSSCUT


38

SLATE

stone

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

The multi color slates are rustic and more colorful. Coating slate with mineral oil will

help to protect the stone as well as deepen the natural colors.

Slate is a metamorphic fine-grained rock that

can easily be split into thin, durable sheets.

Most slate is formed below the earth’s surface

by changes in the makeup and appearance of

shale, a sedimentary rock. Heat from deep in

the earth changes some of the clay in shale

into mica and chlorite. Slate results when

pressure created chiefly by mountain-forming

movements in the earth’s crust squeezes the

mica and other minerals into parallel layers.

Depending on where they originate from, some

slates are much softer than others. Slates from the US,

Canada, and the UK are usually of a harder variety.

The soft veining and mottled colors of slate are earthy

and usually darker. They include variations of reds and

turquoise greenish blues as well as softer grays and

deep solid blacks. Green slates may change color or

fade with time.

Slate can be rustic and romantic or sleek and re-

fined. It won’t etch, it doesn’t burn, and it’s nonporous

so the maintenance is fairly simple.

Black Slate

natural pluM

pure pink


39

SLATE

stone

ATLANTIC BLACk BRAZILIAN

BLACk LACEPhYLITE

BLACk LACERUST

BLACk SPLIT FACE

BRAZILIAN BLACkBRAZILIAN GRAYBRAZILIAN GREEN hONED

GRAYSON

RAZILIAN MULTICOLOR

GARLAND CEDITED

WINChESTER BLACk

GREEN BRAZILIAN

hEAThERMOOR

MOTTLED GREEN PURPLE

RAJA MULTICOLOR

SUMMIT hONEDUNFADING GREEN UNFADING PURPLE

UNFADING RED


40

CORIAN®

stone

Corian® is a thermoformable material from

DuPont™ that has endless shape and design

options. From chairs and vases, to wall clad-

ding and countertops, the uses of Corian®

are virtually limitless in commercial environ-

ments.

Corian® sheets inspire designers and

architects to build stylish spaces with pieces

cut horizontally or vertically. Durable, easy

to maintain, and low-emitting, Corian®

solid surfaces can contribute to a sustainable

design goal and help projects achieve LEED®

credits in a variety of applications.

Suitable for both horizontal and vertical

applications, Corian® combines beauty and

performance with a range of environmen-

tal benefits that can help contribute to: MR

Credit 1.3 - Building Reuse MR Credits 3.1

and 3.2 - Materials Reuse MR Credit 5.1 and

5.2 - Regional Materials EQ Credit 4.1 - Low

Emitting Materials: Adhesives & Sealants

Corian® and the adhesives and seal-

ants used to install them are GREENGUARD

Indoor Air Quality Certified® as low emit-

ting materials. With the new Corian® Terra

Collection, you have a palette of 25 colors

to choose from that are certified by Scien-

tific Certification Systems (SCS) to contain

recycled content and can contribute to MR

Credits 4.1 and 4.2 for Recycled Content.

corian® is:

Flexible and versatile •

Available in over 130 colors •

Stain resistant •

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

Durable: Tough and long-lasting •

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

Heat-resistant •

Easy-to-clean and maintain: Smooth seamless• appearance

Non-porous surface does not promote the •growth of mold and mildew when properly cleaned

GREENGUARD Certified• ® as a low-emitting material


41

CORIAN®

stone

AZTEC GOLD

EARTh

MATTERhORNSAGEBRUSh

SONORABURLED BEACh

EGYPTIAN COPPER

PINE

SILT

SPRUCE

CINNABARLAVA ROCk

RAIN CLOUD SILVER BIRCh TUMBLEWEEDCLAM ShELL

MALAChITE

ROSETTA

SLATE

VERDE


42

ZODIAQ®

stone

Zodiaq® is an advanced composite material

made of 93% quartz. It is a long-lasting and

virtually maintenance-free material, linking

function and aesthetics to make commercial

installations stand out. There is design flexibil-

ity, versatility and a multitude of options with

Zodiaq® quartz surfaces.

The creative potential of Zodiaq® is a

perfect blend of nature and science, giving the

impression of natural stone without natural

stone’s imperfections.

Sparkling crystals within its surface give a

stunning light-play and a mesmerizing depth,

while the surface’s inherent sheen adds to this

reflective effect. Zodiaq® is ideal for your clients

who seek the ultimate in elegance and dramatic

design without compromising performance.

zodiaq® is:

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

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

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

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

Unconventionally beautiful: Dramatic veining and move• ment capture the imagination.

Durable: Made from an extremely hard mineral, quartz • crystal.

Easy to clean: When properly cleaned, Zodiaq® is mold • and mildew resistant.

GREENGUARD Certified® as a low-emitting material•

Designed with designers in mind, Zodiaq® is pro-

duced in large slabs, allowing for the creation of large

areas and minimizing the need for distracting seams.

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

vertical applications across all sorts of environments. It

can be cut to exact requirements with complete precision.


43

ZODIAQ®

stone

OREALIS BLUE

COPPER CANYON

SANDALWOODGIALLO MIChELANGELO

ChARCOALWOODLAND GREY

VERDE

SMOkEY TOPAZ

OSSO VERONA

ROYAL BROWN

GOLD ABYSSCOPPER SUNSET

CARMEL MINERA PEARL MARRONE AMBRATOBEDROCk

BLACk FOREST

METEOR GREY

AUTUMN LIGhT

MAGELLAN GREEN

notes



Design ProCess


46

Design ProCessLIGhTWEIGhT

liGHtweiGHt Stone top

in addition to producing custom stone

tables, credenzas, and reception desks,

many types of granite and marble can

be fabricated in a lightweight process

for use on reconfigurable furniture.

A five-foot-square stone table top

that would normally weigh five hun-

dred pounds or more can be made with

a thin layer of the same stone on a

lightweight aluminum core that weighs

less than 30% of the solid stone.

This customized panel can be made

with a mitered waterfall edge of the

same stone, or set into a frame of fin-

ished hardwood or fine metal.

Design by: gensler


47

Design ProCessLIGhTWEIGhT

foldinG taBle top

Designed by WallGoldfinger using

a lightweight stone panel, this

hinging method allows the 5’ x 5’

table top to fold in two pieces and

to be removeable from a room

with ease.


48

Design ProCessMATChING

SlaB cuttinG

Quarry blocks are reduced to slabs

by a gang saw consisting of steel

blades set parallel in a frame that

moves forward and backward. The

most productive and precision

gang saws are a series of diamond

tipped blades with individual

hydraulic blade tensioners. Oth-

ers are fed a cutting abrasive in a

stream of water.

Marble blocks can be sawn

either parallel or perpendicular to

the bedding plane. The perpendicular

cut is referred to as an across-the-bed or

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

or fleuri cut. Some marbles produce a

pleasing surface when sawed in either

Surface patternS

Only certain marbles lend themselves to

specific pattern arrangement, such as the

side slip and end slip patterns. This is be-

cause a constant natural marking trend

throughout the block is required.

Formal pattterns require selectivity

which often increases the installed cost

of the stone. Usually, material sawed for

a vein cut can be matched; fleuri cuts can

be blended. Any pattern other than the

“blend” must be listed in the original job

specifications prior to stone fabrication.

end Slip MatcHPanels from the same block are placed end to end in sequence

to give a repetitive pattern and blended color in the vertical

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

fleuri cut witH Bed

Vein cut acroSS Bed SAWING AND POSITION OF BLOCk IN QUARRY.

LEVEL OF BEDS VARY

direction, and are available as either vein or

fleuri, while others produce a pleasing surface

only when sawed in one direction and are

generally available only in that variety.


49

MatcHinG and BlendinG

Although the arrangements of matched panels indicate an

almost perfect match of the veining lines, it is impossible

to achieve this perfection due to that portion of the marble

block lost during the sawing process and due to the shift-

ing of the veining. Brecciated marbles, for example, are

extremely difficult to cut into matched patterns and should

be blended instead. Ideally, jointing should be planned for

grouping of four panels of equal size.

Blend patternPanels of the same variety but not nec-essarily from the same block arranged at random. This scheme is followed when no other pattern is specified.

Book MatcH patternThe adjacent faces of panels 1 & 2 are finished. Panel 2 is placed next to panel 1 as the pages of a book are opened.

end MatcH patternThe adjacent faces of panels 1 & 2 are finished. Panel 2 is inverted above panel 1.

Quarter or diaMond MatcH patternPanels 1 & 2 are book matched. Panels 3 & 4 are book matched and then in-verted over the top of panels 1 & 2.



50


When designing a table or credenza on which

there are more than one piece of stone, deciding

how to match the slabs is an important part of

the process. Some stones are even and homoge-

nous, needing little attention to orientation. Oth-

ers, particularly heavily veined marbles, should

be oriented to blend the separate slabs in the best

possible way.

The layout of the stone on the table, cre-

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

conception and the slabs of material available.

We have fabricated tables with two book-matched

END MATCh PATTERN

BOOk MATCh PATTERN


51

slabs joined at the center for a continuous, ho-

mogenous look, and we’ve produced furniture

with different stones in opposing configuration

and combined them with wood and stainless steel.

Many factors come into play, such as how the

slabs were cut from the block (book matched or


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

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

and if the selected slabs are in sequence (cut and

maintained in order from the same block). Wall-

Goldfinger and our partner stone sources have the

experience to identify the best options available.

BOOk MATCh PATTERN

REVERSE DIAMOND PATTERN


52

Design ProCessBASES

Structure

Stone is heavy. On average, a three centime-

ter (1¼”) thick slab of stone weighs twenty

pounds per square foot, so on a table five

feet wide by fourteen feet long, the top alone

weighs 1400 pounds.

WallGoldfinger takes special measures

to design the furniture to accept that extra

weight: steel frames under a rigid one-inch

plywood subtop, rabbetted case sides trans-

ferring weight directly to bottom plates, and

bolting narrow bases to the floor are all meth-

ods employed to accommodate and stabilize

the weight.


53

Design ProCessLEGS

croSS leG

A lightweight aluminum leg that incorporates wire

management — a custom WallGoldfinger proprietary extru-

sion. A clip-in plate can be added to contain wire manage-

ment. Anodized or powder coated finish available.

StainleSS Steel croSS BaSe


54

Design ProCessBASE OPTIONS

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

novation and expression. We’ve made everything

from large plastic laminate single units to veneered

pedestals to trestle-style wood bases and stainless

steel and glass cubes. We can accomodate your

aesthetic desires with the structure and support

necessary to handle the requirements of a table

made from stone.

aluMinuM pedeStalS

BruSHed StainleSS Steel druMS

Stock Veneer or cuStoM Veneer BaSe

Stock Veneer or cuStoM Veneer pedeStalS

leatHer wrapped pedeStalS


55

Design ProCessCUSTOM BASES

notes



ManufaCturing

sarDinia Marble quarry, italy

barre granite quarry, VerMont


58

ManufaCturingQUARRIES

Architectural-quality stone is

available in a tremendous vari-

ety. However, unlike hardwood,

stone does not “grow” in multiple

regions. Generally, a type of stone

is available from one mountain in

one region of one country only.

There may be similar types in

other areas, but they tend to fol-

low the mineral tendencies of the

region, with some variations.

One quarry, in fact, can pro-

duce several varieties of stone as

the masons cut deeper into the

mountain and find variations in

color. Carrarra, Italy, for example

is home to many types of Calacat-

tas – Calacatta Regina, Calacatta

D’Oro, Calacatta Bhorghini, to

name a few. But when they strike

a particularly clean and white sec-

tion of the mountain, that stone

is classified as Statuary White and

sold at a premium.

Because each mountain, and

thus each type of stone, is unique,

it can become something of a

perishable commodity. A smaller

mountain may produce a limited

quantity of a highly-prized stone;

once it hits the stone yards it may

be bought up quickly and used in

various projects. When the quarry

is tapped out, that stone no lon-

ger exists, unless you can find a

yard that has a reserved or undis-

covered stock, which is usually in

small quantities. So that beautiful

sample that’s been in your library

for a few years may actually be

obsolete; likewise, the stone table

we produced for you seven years

ago may be impossible to match

exactly.


59

While any number of stipulations

may direct selection of a particu-

lar stone for a specific applica-

tion, there are several significant

influencing factors. Among them

are aesthetics, color, strength,

durability, design, texture, fin-

ish, size, thickness, availability,

and cost. The effects any of these

factors may have on another can

influence the final choice.

Design considerations are

nearly equal among the factors of

aesthetics, strength and durability.

This is particularly true of interior

applications. The imagination

of designers is boundless, and it

is the fabricator or supplier who

must counsel the design profes-

sionals as to what is feasible and

what is not.

On a large project, take wast-

age into account to make certain

there will be enough material to

complete the project. Material

from a quarry today may be dif-

ferent from what was available six

months ago. The criteria of the

producer to select stone also vary

from quarry to quarry.

ManufaCturingSELECTION


60

ManufaCturingWATER JET

Waterjet technology is a comput-

erized cold cutting method that

can cleanly and efficiently cut

stone and most materials into any

two dimensional shape. Waterjet

allows for complex and difficult

shapes to be cut with equal ease

and a high level of accuracy and

precision.

The entire cutting assembly

travels along a track determined

by AutoCAD electronic files. A

waterjet machine has essentially

two components: the x-y-z table

which moves the cutting head

over the material and a high

intensity pump that generates

55,000 psi. The cutting head is a

nozzle with a ¼” sapphire crys-

tal orifice through which water

is forced by the high intensity

pump. A garnet abrasive is fed

into the waterjet stream for stron-

ger erosion action when cutting

harder materials.

Waterjet is an important

breakthrough in fabrication meth-

ods for both industrial and archi-

tectural applications. Depending

on the material, thickness and

intricacy of the cut, the savings

compared to traditional cutting

methods can be substantial.


61

ManufaCturingEDGE PROFILES

Bevel

Double Pencil

Triple Waterfall

Full Bullnose

Reverse Knife

Half Bullnose

Roman Ogee

Pencil

Classic Ogee

Dupont


62

ManufaCturingFINIShING

poliSHed finiSH

A polished surface finish is shiny

and reflective. This is a glossy mir-

ror like finish. The full color, depth,

and crystal structure of the stone is

visible. Your stone appears darker and

the colors seem richer. A polished

finish seals or closes more of the

pores of the stone surface, helping to

repel moisture while highlighting the

character of the natural stone and is

considered the finest and smoothest

finish available.

HiGH Honed finiSH

A high honed surface finish is a

middle of the road finish. This is

a newer surface finish which has a

light or a faint gloss. It is not as shiny

as the polished finish nor as “matte

like” as the honed granite finish. It is

in between the two.

Honed finiSH

To achieve a honed surface finish, the

finishing process ends prior to the

buffing stage. The result is a smooth

surface without reflection. The stone

will have a matte-like appearance. A

perfectly honed granite finish is one

without scratch marks. The finish re-

mains flatter than a full gloss polish.

Design by: VisniCk anD CaulfielD assoCiates

poliSHed

HiGH Honed

Honed

siMulateD to DePiCt HigH HoneD finisH

siMulateD to DePiCt HoneD finisH


63

notes

notes



CoMMuniCation teCHnology

Design by: gensler


66

There are no more limitations for accommodating

power, data, and AV in a stone table than there would

be in a table topped with veneer, leather, or any other

material we use. With the technological advances in

the process of manufacturing stone, we do not need

to compromise the details we can offer just because

the top is “set in stone.” Power/data hatches, pass-

throughs, holes for microphones, wire chases under-

neath, even monitors that lift electronically out of the

table — all are possible.

plated Steel GroMMet

Designed to fit into a 1¼” hole with flange raised

slightly above desktop. Hand-made of the highest qual-

ity steel, highly polished, then plated, it comes with a

single ½” cord slot and 1¼” diameter hole.

Solid BraSS GroMMetS

This series is ideal for fine executive desks and creden-

zas, conference tables and computer stations. Each

grommet cap is made of solid brass and is simply

beautiful. Each liner is hand-machined from solid brass

tubing, a labor-intensive operation that requires several

steps of polishing with different compounds followed

by plating and a final polishing.

Three low-profile sizes with liner going into hole

17⁄8”, 23⁄8” and 27⁄8”. The cap sits just 1⁄ 8” above the desk-

top for a trimmer, thinner appearance.

CoMMuniCation teCHnologyTABLE TOP ACCESS

AVAILABLE FINIShES: MATTE BLACk, SATIN ChROME, BLACk ChROME, POLIShED ChROME, SATIN NICkEL, ENGLISh AN-TIQUE, POLIShED BRASS.

AVAILABLE FINIShES: MATTE BLACk, ENGLISh ANTIQUE, SATIN ChROME, POLIShED BRASS, BLACk ChROME, SATIN NICkEL, POLIShED ChROME. UNFINIShED ALSO AVAILABLE.


67


SinGle doorS

WallGoldfinger’s custom metal doors

provides access to power/data man-

agement units mounted underneath

table surface.

Available in two standard sizes:

6” x 8” and 8½” x 13” with or with-

out brush strip. Custom sizes and

finishes are available when requested.


68

douBle doorS

retractaBle doorS


a Cb


69

pluG-in cordS

Communication trough with configurable power, style

and data capabilities (d), and has ability to accommo-

date multiple users at one time. It mounts flush with

the table surface to maximize work space and blend into

the environment.

pull-out cordS

Offers convenient access to A/V and network cables (e,

f). Cables are counterweighted to retract when not in

use, and can be stored out of sight while remaining con-

nected to the system, offering a discreet way to access

cables and connection points as they are needed.

pop-upS

Motorized, vertically lifting enclosure for hideaway

computer-video interface and connector access (G),

raised and lowered using a remote control or by press-

ing on the top surface. The pop-up installs at an ad-

justable height below the tabletop, allowing the top to

accommodate surface matching material. Built-in safety

features prevent closing on obstructions.

CoMMuniCation teCHnologyCONNECTIVITY

D

e

f

g


70

CoMMuniCation teCHnologyMICROPhONES

claM SHell

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

Button MicropHoneS

Low profile omnidirectional and

cardioid boundary layer condenser

microphones designed for applica-

tions such as tele/video conferenc-

ing, recording or amplification of

round table discussions and wher-

ever the microphone needs to be as

unobtrusive as possible.

The half-cardioid polar pat-

tern is aimable and assures high-

gain-before feedback. The high

sensitivity guarantees a constant

output level even from long dis-

tance sources. Elastic bearing rings

achieve mechanical isolation from

the mounting surface and therefore

offer effective sound isolation of

the microphone.

Design by: swanke HayDen Connell arCHiteCts


71

CoMMuniCation teCHnologyMICROPhONES

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

GooSe neck MicropHoneS

Specially designed for installation into tables or desks and

suitable for use in discussions and tele/video conferences.

The 85-mm long gooseneck provides a 4-pin female mini

XLR connection to connect the microphone to the power

supply which can be installed into tables or desks and pro-

vides a protection against mechanical vibration.

The microphone features: cardioid polar pattern; high

gain-before-feedback; flat, wide range frequency response;

high-quality reproduction of speech; flexible gooseneck for

optimum positioning; unobtrusive design.


72

CoMMuniCation teCHnologyCONFERENCING

rf SerieS MicropHoneS

Developed in direct response to

interference (noise) problems ef-

fecting microphones, IP phones,

hearing aids etc. by popular GSM

devices such as PDA’s, cellular

phones and mobile phones with

two way walkie-talkie capability.

With the goal of minimizing

the number of microphones on the

conference table, but also keep-

ing in mind performance, ease of

installation and aesthetics, they are

designed to be placed in the middle

of the conference table, and can be

used for either mobile or perma-

nently mounted using the hollow

bolt and nut provided.

conference pHoneS

With industry-leading full duplex for natural, simultane-

ous two-way conversation, the conference phone delivers

remarkable voice quality. Users can speak in a normal voice

and be heard clearly up to ten feet away.

Smart technology provides maximum microphone

sensitivity, while reducing distracting room and background

noise. The microphones are controlled by intelligent micro-

phone mixing technology, which activates the microphone

closest to the person doing the talking and helps reduce

background noise from the other mics. A 2.5-mm jack on the

side of the console lets you plug in a cell phone, handy if no

landline is available, as it lets you use the conference system’s

speaker and mics through a cellular connection.


73

CoMMuniCation teCHnology CONFERENCING

flip-oVer MicropHoneS

flip-oVer Speaker pHoneS

Design by: Perkins+will


74

CoMMuniCation teCHnologyCONTROL PANELS

toucHpanelS

Touchpanels offer a powerful

feature set including standard

built-in video, audio and ether-

net; bright, high-contrast, wide-

angle displays; lightning-fast

response and 24-bit color depth,

resulting in astounding perfor-

mance at a truly ground-breaking

price point.

Touchpanels offer un-

matched video capabilities and

graphical performance to support

a host of control applications.

They also offer anti-aliased 3D ob-

jects including buttons, frames,

gauges and sliders. Anti-aliased

text options include standard,

embossed, beveled and fringed,

presenting an ideal “canvas” to

create great looking designs for

any application without increas-

ing the panel’s file size or down-

load time.

Audio features include built-

in amplified speakers, volume

control, line-level stereo input

and a microphone with auto-

matic gain control and line-level

output. The speakers may be used

to amplify signals from TV and

video sources, or to support pro-

grammable intercom functional-

ity with the microphone.

Design by: teD MouDis assoCiates

Design by: Hlw


75

CoMMuniCation teCHnologyVIDEO CONFERENCING

Design by: gensler

Design by: gensler Design by: bHDP arCHiteCture

Stone table tops work equally well

in a dedicated AV/Teleconferencing

room. Most AV consultants recom-

mend a honed or high-honed finish

instead of a mirror polish to reduce

the glare and reflection from lights

and windows.

Design by: ManCini Duffy

Design by: gensler


76

Client listSELECTED

AIG, New York NY

Alex Brown & Sons Incorporated, Balitmore MD

Ambac Financial Group, New York NY

BNP Paribas, New York NY

Bricklayers Union, Washington DC

Bristol-Myers Squibb, Princton NJ

Brown, Rudnick, Freed & Gesmer, Boston MA

Bryan Cave, New York NY

Cadwalader, Wickersham & Taft, New York NY

Cleary Gottlieb, Washington DC

Covington & Burling, New York NY

Covington & Burling, Washington DC

Cypress Advisors, New York NY

Deutsche Bank, New York NY

Ernst & Young, New York NY

Epstein Becker & Green PC, Boston MA

Epstein Becker & Green PC, New York NY

FactSet, Norwalk CT

Faulding Pharmaceuticals, Paramus NJ

Fish & Richardson, Boston MA

Goodwin Procter LLP, New York NY

Hogan & Hartson, Washington DC

IAC/InteractiveCorp, New York NY

IBM Corporation, Armonk NY

Jennison Associates, Boston MA

Kohlberg Kravis Roberts & Co., New York NY

KPMG, New York NY

Laborers International Union, Washington DC

McCarter & English LLP, Boston MA

McKee Nelson LLP, Washington DC

Montgomery, McCracken, Walker & Rhoads,

Philadelphia PA

Moore and Van Allen, Charlotte NC

Penn Mutual, Philadelphia PA

PricewaterhouseCoopers, New York NY

Silver Lake, New York NY

Sullivan & Cromwell, New York NY

The Conti Group, New York NY

UBS/Warburg Dillon Read, New York NY

Vinson & Elkins LLP, New York NY

Widener Building, Philadelphia PA



NEW PUBLICATION

reconfiGuraBle arBortaBle BrocHureSpecification GuideThIRD EDITION | 2009

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

pdf | 57.3 MB www.wallgoldfinger.com/publications

WEEkDAYS

SHowrooM212-683-7272200 LExINGTON AVENUE, NEW YORk CITY

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

SaleS repreSentatiVeS

Metropolitan new YorkCasey McNamara [email protected] Villafana [email protected] Ricicki [email protected] Wenzel [email protected] Canning [email protected], Joseph, & McNamara, Ltd200 Lexington Avenue, New Yorkp 212 | 683.7272f 212 | 683.7011www.njmltd.com

Metro philadelphia, Mid-atlanticSam Lear [email protected] Kalberer [email protected] Peterson [email protected] Associates, Inc.Philadelphia, Pennsylvaniap 856 | 665.0023f 856 | 665.0369www.learassociates.com

Baltimore, Metro washington dcPaul [email protected] DCp 202 | 255.4455f 202 | 332.1110

chicagoCurtis [email protected], Inc.Northfield, Vermontp 802 | 485.6261 ext. 4982f 802 | 485.6267

Boston, all other areasJohn [email protected], Inc.Northfield, Vermontp 802 | 485.6261 ext. 4987f 802 | 485.6267

MONThLY

enewSletter2009SECOND SERIES

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

www.wallgoldfinger.com/news/subscribe

MONThLY

poStcardSCollectionThIRD SERIES | 2008–2009

Every month WallGoldfinger issues a postcard featuring a noteworthy recent project. Complete project information is included. If you would like to be added to our postcard mailing list or receive a book-let of all postcards to date, please contact a sales repre-sentative.

www.wallgoldfinger.com/news/contact

W A L L G O L D F I N G E R

7 Belknap Street, Suite 3

Northfield, Vermont 05663

P 802 | 485-6261

F 802 | 485-6267

www.wallgoldfinger.com

©2008

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