Welle) of Natural Stone Modern usage of a classic building material PV aT Lrg Benedikt Schulz Edition DETAILContents Preface ‘The Final Stone ~ Tha Future Is Set in Stone Part Production Natural Stone Dressed Stone Quarrying Processing ‘Stone Surfacos Transoort PartB Construction uloing Components of Dressed Stone “The Selection of Stone Design Methodology Structural Buicing Components Veneers ‘Wall Cladding Floor Coverings Stair Cledaing Celing Cladding Incivicual Dressed Stone Workpieces Care and Maintenance Part Computer Technologies Pretabrication and Industil Production Requirements for Systematised Design Potential PartD Sustainability Environmental Effects of Quarrying Using Natural Stone Environmental impacts of Constructions Hazardous Substances When Using Natural Stone ‘Sustainability Assessment PartE Detailed Guidelines Detaled Guidelines 1-28 Part F Example Builds Twenty-Two Example Projects Appendix ‘Authors. Project Participants Standards, Guidelines BBiofography Picture Credits Subject index Supporters / Sponsors SBSPASESRRE Er] RR88BThe Final Stone - The Future Is Set in Stone Alberto Campo Baeza “Time present and time past ‘re both perhaos present in tine futur, ‘And ume future contained in tino past. ital time is eternally present Alltime is urredeomabie. 7.8, Ee] when we speak of architecture, the material paar excellence is stone. The history of arch= tecture has been writen in stone, but the future of architecture is also writen in stone, ‘One might thin that stone isa thing ofthe past, Quite the contrary. Stone isthe material of yesterday, of tocay, of tomorrow. Or better stil inthe words T.S. Eliot: of time present, time past and time future. In my introduction to this book on stone, nat only would ke ta show my love fr the mate rial but also to demonstrate how stone is a ‘material forthe future. Stone, tke steel and {glass, is a material capable of defying the passage af time and doing it besutflly Mies van dor oho ‘Wher Mies van cer lhe designed the Barcelona Pavillon 1929, he decided, of ‘course, to bulla itin stone fig. 3). Aer al, he ‘was tho gon of a stone rmarchant. And he ‘ecided that he would make the load-bearing lemnenis disappear. Thats why he designed the steel cous to be cruciform and chrome: plated, withthe resulting reflections causing them to becemo invsile ‘And he decided thatthe stone should appear in allits splendour, The interior is derinated by a ‘macvelous vartical wall in gollen onyx ror the Atlas Mountain chosen by Mies himself. Stand- ing intont of the ancient green Verde Tinos ‘marble walls rom Greece around the pool isthe ‘bronze statue by Georg Kobe. Tha positioning of tho marble panels plays with tha symmetry of thelr pattems, accentuating the character of tho stone. Ther rfiecton in the stil water of the ‘Boal duplicates their image like a mirtor. And 104 Paronan, Aone (GR) 2 Ground plan et Stonarengs, near Aecbuty (3) ' Gycmaraie wall element the Barcelona Favion 5) 192 Lode is van der Rene 1 iain sow ‘amps the scene: the revaining walls and Foarsare in Raman tavertine. The master of odernst architecture chose to use stane, onyx fendmaroio nhs most ameitious work! The ost significant building ofthe modernist move- trent. in stone! Stonehenge OF course, 4,200 years ago, the architects who lereciod the great stones of Stonehenge ~ Thecauss they undoubtedly were architects ~ (ieatad a festrate architectural space using (only those impressive stones, They used the Sanding stones o establish spatial order in a ory beaut spaco (ig, 2} ‘The cylindrical space formed by the impressive Waitica stones served as a prelude to magni (ant sructues built many centuries later, such {8h Panthoon in Fome, built by Agrippa ant ulbsoquenty Hadrian withthe architect Apoliodaros of Damascus, The stones of Stonehenge have a force capa- ble of making us fe! the pulse of architecture ‘ndie experiance the sensation of an archi fectural space, The oldest architectural space intre worl... n stone! ‘The Parthenon Limagine that when the architects letinos and Callctatos saw the eplondia Fentoic marble Stctre ofthe completed Parthenon, they loete unable hold back their tears it was that becuiful (ig. 1}! Phiclas by their side must hbo have been deeply moved as twas a Imagnifcent backdrop for his sculptures. woul tke to know what they al thought ence the colurns and figures had been covered in oleurfl paint. think the gods, and our archi {eats co, may not have been so happy! linen we ses Images of tha Parthanon in colour foday, wo find them hard to digest. An impres: sive 1868 painting by Dutch artist LawrenceAlma-Tadema features Phidias showing his fiends the polychromatic Parthencn frieze, The famous painting Pericles’ Funeral ration (1853) by Philpo von Fotz shove us the tomplos of tne Acropolis white once again, restored to their riginal bare stone foday we see the temples of the Acropolis as, they were at that fist mamert, al ther glory, In bare stone, ust as they were batoro thay ‘were painted. The most Deauttul Building in the ‘worl... n stone! Bernini GGien Lorenzo Bernini loved stone so much that he was not content merely to create beautiful buildings in Rome out of natural stone, such as e Sant’Andrea al Quirinale church, St Peters ‘Square or the Scala Regia staircase. instead he was also active as a sculptor, enabling him to work the stone with his own hands. ‘And Bernini asked the impossible of stone, For the Ecstasy of Sant Teresa inthe Comaro ‘Chapel o Santa Maria dala Vitoria chureh, he created a stone mantle which resembles flow ing, billowing sik, And al his sculptures sug ‘mare than just the description of the sub- ct porvayed. His handling of stone is truly inimitable. | have written an many occasions that Beer's aim in creating the sculptural roup The Rape of Proserpina, was io damonstrate just how soft tha extromoly hard white Carrara marble he used can appear. With Pluto's powerful hand squeezing Proserpina’s thigh, i appears that the marble is softening, thatthe hardest of stones has becorne pliant (fg. 6). And stone was made flash, sot tech... n stone Utzon Lull never forget my meeting with Jom Utzon {tan Ls, re alif-top home in Majorca (tig. 8). The nowse s bul entirely of local Marés stone, It comprises several stone cubes, with thei ‘openings giving views of the Meditorranean, ‘nd in order to better focus on these views, the ‘maestro used a specific mechanism — he focuses the gaze through the intais and stone reveals ofthe windows, heceby increasing the Impact of tho sea, in 1992, | had the good fortune for Utzon to invite me to his home. He was very hospitable, showing us every corner of his wonderful house built rom Marés sandstone, Can Lis, ne of the ‘mest beautfl villas In the word... n stone My own work 111 detend stone here itis because Ihave bul ‘so many of my works in stone, or wath stone: from the flor of Between Cathedrals in Cadiz, made with Macael marble, tothe ofice com plex in Almeria where even the exterior shut fers are made of stone, sandstone to be pre cise. It adapts in such @ way that, when the shuttors are closed, the building resembles & large box made entirely of stone [My most recent completed work is tomb in Venice; a mausoleum built from expose« crete inthe shape ofa cube, withthe interior dominated by a floating cube of white Tasos ‘marble to contain the ashes (fig. 4) Prior o that, the BIT Centre in Inca, Majorca, ‘was, in essence, nothing more than a box of Marés stone open to the sky. And the Zamora building in front of the Cathedral, is encased in a thick stone shell open fo the sky, inthe same stone as the Cathedral (figs. 9 and 1 2888 also example project on page 1424). And the House ofthe infinite is nothing mare than a large stone box, made of Roman travertine facing the sea, The colour ofthe stone merges wit the sand on the beach (fig. 10). And in the Pibamarmi Pavilion at the Verona Fai, | ‘suspended a gigantic stone, under vinich visihaetto pass in an analogy tothe story of iyphs (19,5) unenly on my desk is my most recent pro- the Pe‘onda house in Madrid. With a two- ot baserrent, all in stone. Bult using ampaspero limestone. My laiost house... in stone Final thoughts Fay can | describe my love of stone, that | see Sone as the most important building material tnd te element of my choice? When Ice, my Wish is fora simple granite tombstone with my fame engraved upon it, ust Ike that of dott La09: the plonoer of modem architecture fig. 7). A simple stone shall be the final stone! Now: Ji} TS Ea For Quer Now Yo 101 4 coo ntova gases, ve ‘anpo Baars 5 "Siephus" Pain er bare {7 203, aboro Campo cea 6 Genovese Berne Rape! Prose (et, 7, 2018, Aber iat he Veron fr Gali Brghoss ome 7 1625/1022 7 Theeimp gante raostre ot Ada Looe 13 Huser ne wetter le Utzon cw fo Utzon Founda), Car nar Porto, Marea eS 19%, sn aan 9 Sachottra comer cto pth, aevemment Doing Zane Is) 2072 Abero Cange Basze 4 Fas of ote residence n Case ES) 204, ‘Nbera Camoo Baers 31 Govermorteutaing, Zamors (2) 2012, bene Gimp Boers