WG Stone Table Brochure

W A L L G O L D F I N G E R
S TON E TA B L E S
S p e c i f i c at i o n G u i d e
FIRST DRAFT v0.1 | 2008

Design by: Butler Rogers Baskett
Contents
Design by: Ted Moudis Associates
4 Contents Stone 52 Structure

6 Introduction 24 Granite 53 Legs
28 Marble 54 Base Options
Configurations 55 Custom Bases
32 Limestone
and Materials 34 Travertine
10 Rectangular ManufacturING
36 Quartzite
12 Ellipse 58 Quarries
38 Slate
14 Boat-Shape 59 Selection
40 Corian ®
16 Racetrack 60 Water Jet
42 ZodiaQ ®
18 Round 61 Edge Profiles
Design Process 62 Finishing
50 Matching
52 Bases
WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

5
Design by: CUH2A
WallGoldfinger, Inc.
COMMUNICATION TECHNOLOGY 7 Belknap Street, Suite 3, Northfield, Vermont 05663
P (802) 485-6261 | F (802) 485-6267
66 Table Top Access www.wallgoldfinger.com
69 Connectivity SALES
John Wall: johnw@wallgoldfinger.com
70 Microphones John Belniak: johnb@wallgoldfinger.com, Curtis Ostler: curtiso@wallgoldfinger.com
SALES MATERIALS
72 Conferencing Carol Edwards: carole@wallgoldfinger.com
74 Control Panels TEXT
John Wall, John Belniak, Curtis Ostler, Tim Swartz, Thor Goodrich
75 Video Conferencing
DESIGN
Chuck Weaver: Art Director
Thor Goodrich: Layout and Graphic Design
76 Client List Lee Frantz, Chuck Weaver: Concept Illustrations
PHOTOGRAPHY
78 Sales Representatives Jack Rowell, Chuck Weaver, John Belniak, John Wall, Paul Buchbinder,
Curtis Ostler, Robert Joyce, Thor Goodrich
COLOPHON
This issue was produced using Adobe InDesign CS3, Adobe Photoshop CS3, and
Adobe Acrobat 8.0 Professional on an Apple Macintosh PowerMac G5 computer. Text
set in ITC Stone and ITC Officina. Booklet is printed inhouse on a Canon CLC 1180
laser printer using Mohawk Color Copy 100% Recycled FSC certified 28lb paper and
bound by Akiles WireMac 31 with USI-Laminate double loop wire combs.
FIRST EDITION | WWW.WALLGOLDFINGER.COM

Introduction
Throughout the ages, architects, designers, and stones, which can be combined with wood,
builders have chosen stone for its permanence, metal, leather, faux leather, and glass to produce
strength, and beauty. Whereas selection was once furniture.
limited to locally available stone, today’s market- The layout of stone on a table, desk, or cre-
place is worldwide with a growing array of options. denza is limited only by the designer’s conception
WallGoldfinger, Inc. has been producing cus- and the material available. We have fabricated
tom stone furniture for 30 years, so we know our tables with “book-matched” slabs joined at the
way through the complex selection and manufac- center for a seamless, homogenous appearance, as
turing processes. Our craftsmen work in marble, well as used different stones in opposing configu-
granite, limestone, travertine, and manufactured rations mixed with wood and stainless steel.

Design by: ADD, Inc.
Design by: Swanke Hayden Connell Associates
Design by: Gensler

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: AI Architecture

Notes
WALLGOLDFINGER, INC. | S T O N E S P E C I F I C AT I O N G U I D E
Design by: Gensler
Configurations and Materials

Configurations & Materials
Rectangular
Stone
Sahara Gold limestone,

brushed stainless steel
10
Stone with Stone
Grigio Carnico and Crema

Marfil antiqued marble,
honed finish, ¼” bronze inlay
Stone with Metal
Verde granite, Nordic black marble,


Configurations & MAterials
Rectangular
CONFIGURATION
Stone with Leather
Breccia Pernice Rossa marble,

synthetic leather, ribbon
stripe mahogany
11
Stone with Wood
Crystal Olive Granite, figured

and quartered cherry,
bronze inlay
Stone Riser
Verde Luchensa marble, pomelle

sapelle, solid mahogany,
¼” ebonized inlay

Ellipse
Stone
Sahara Gold limestone,

12
Stone with Stone
Botticino Semi Classico

limestone, Verde Uba Tuba Bahia
granite, Creta Cloud marble,
brushed stainless steel and ¼” inlay
Stone with Metal
Absolute Black granite, Argos

marble, brushed stainless steel

Ellipse
CONFIGURATION
Stone with Leather
Verde Fondo Mare marble,

synthetic leather, solid cherry,
brushed stainless steel and ¼” inlay
13
Stone with Wood
Classic travertine, figured

and plain sliced anigre, brushed
stainless steel ¼” inlay
Stone Riser
Emperador marble, quilted

maple and walnut veneer

Boat-Shape
Stone
Calacatta marble and powder

coated black metal
14
Stone with Stone
Breccia Oniciata Classico

marble, Crema Marfil marble,
¼” stainless steel inlay
Stone with Metal
French Vanilla marble,


Boat-Shape
CONFIGURATION
Stone with Leather
Blue Pearl granite, synthetic

leather, ¼” stainless steel
inlay, metal mesh
15
Stone with Wood
Aquamarine granite, quartered

figured anigre, solid maple,
Stone Riser
Breccia Nouvelle marble,

quartered cherry, Majilite® leather

Racetrack
Stone
Emperador Costa marble, walnut

veneer base, stainless steel
16
Stone with Stone
Crema Savoy and Verde Michelangelo

marble, walnut, stainless steel
Stone with Metal
Argos marble, Black Absolute

granite, stainless steel

Racetrack
CONFIGURATION
Stone with Leather
Saint Laurent marble, solid cherry,

stainless steel, synthetic leather
17
Stone with Wood
Madura Gold granite, maple, stainless steel
Stone Riser
Bambarino marble, ribbon striped mahogany

Round
Stone
Verde Michelangelo
marble, ribbon striped
makore, powder
coated metal
18
Stone with Stone
Giallo and Emperador

Dark marble, cherry,
stainless steel
Stone with Metal
Uba Tuba and Black

Absolute granite,
stainless steel

Round
CONFIGURATION
Stone with Leather
Macaubus marble, synthetic

leather, cherry, statuary bronze
19
Stone with Wood
Royal Gold marble, curly

maple, stainless steel
Stone Riser
Aquamarine granite,
plastic laminate, walnut,
stainless steel

Video Conference
20
Peperino Rosso marble, brushed stainless steel and ¼” inlay
American Mahogany granite, Pine synthetic leather, brushed stainless steel and ¼” inlay

Video Conference
CONFIGURATION
21
Bordeaux granite, ropey and solid cherry, brushed stainless steel and ¼” inlay
Morisca Oro granite, polished and honed Spider Black marble, brushed stainless steel and ¼” inlay

Notes
Stone

Stone
Granite
Granite is a very hard, igneous rock, formed African Tapestry
from volcanic eruption. The color and size of

the spore in the granite indicates the proxim-
ity to the original eruption.
Granite is more resistant to damage,

harder and more uniform than marble or Bahama Gold
travertine. It is relatively consistant in appear-

ance, and virtually immune to wear and dete-
rioration. It has become an economical choice
for today’s designer because of its endurance,
24 esthetics, and low maintenance.
The texture or pattern of the stone is what will

most likely influence which granite you choose.
Some granites are speckled or have little flecks
of color here and there while others have veining
running throughout similar to marble.
Barre Grey
Blue Eyes
Carmen Red
The closer to the original eruption, the smaller

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

Stone
Granite
AZUL ARAN san sebastian san sebastian polished IVORY BROWN
25
COLONIAL DREAM ROSA CINZIA SIERRA DORATA GRAN BEIGE
GHIANDONE SARDO LIMBARA VIARA JUPARANÀ COLONIA GIALLO VENEZIANO FIORITO
TROPICAL FANTASY PINK OLYMPIA DESERT BROWN HIMALAYA BLUE
LABRADOR CHIARO BALTIC GREEN LABRADOR SCURO boreal green

Stone
Granite
Juparana Gold Oro Romano Dark Diamond White CALEDONIA
26
Palazzo Quartzite Vermont Green Peacock Light Siena
Venetian Gold Purangaw IPE winneway MULTICOLOR RED
Verde Fontaine Gallix Eloisa Juparana India Gold
Tan Brown Brown Antique Blue Pearl Matrix Stone

Stone
Granite
Dark Fantasy Sea Foam Juparana Champagn BALTIC BROWN
27
Yellow River ash rose Sunny Gold ZAPHIR BROWN
Aquarius Purangaw Ekos Breccia Rossa Madura Gold Honed
Golden Sea american red canadian red newton brown
kodiac Ubatuba Bahia nordic black Taillon-black

Stone
Marble
Marbles are crystalline limestones which have Crema Valencia
metamorphosed by heat and pressure beneath

the earth’s surface over a very long period of
time, ranging from 7 to 120 million years.
They vary in texture from coarse to fine.

Giallo Siena
In a pure state, marble is clear white, almost
translucent. When mixed with other ma-
terials, marble varies in color from grays to
blacks, to beautiful shades of pink, yellow,
green, red and brown.
28 Marbles have been classified into four groups
Onice Verde
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
Marble colors are usually distributed in streaks,
fabrication before or during installation. veins, and irregular cloudy blotches throughout
the stone, caused by different mineral deposits.
The basis of this classification is the charac-
teristics encountered in fabricating, and has classification indicates what method of fabrication is con-
no reference whatsoever to the comparative sidered necessary and acceptable in each instance based
merits or value of each type of marble. The on standard trade practice.
BIANCO CARRARA Group A ROSA NORVEGIA Group B

Marbles having uniform Similar to Group A, how-
qualities, without streaks, ever, a little more difficult
dry veins, and irregular to work with due to natural
blotching. flaws in the marble. Limited
amount of filling is required.
VERDE ISSORIE Group C FIOR DI PESCO CARNICO Group D

Marbles with geological Highly colored with a
flaws, voids and veins. greater degree of variation
Standard practice is to in geological flaws, voids
repair variations and and veins. They are the
reinforce the stone. most difficult to fabricate
and require additional
repair work and reinforcing.

Stone
Marble
CALACATTA FANTASIA ARABESCATO CARRARA valley fiorito PAONAZZETTO
29
PERLATO SICILIA KARNIS ROSA ATLANTIDE missisquoi
PIETRA DORATA PERLATO OLIMPO VENATO AMARELLO BRECCIA ONICIATA
CREMA VALENCIA BRECCIA AURORA CLASSICA BRECCIA DAMASCATA Breccia Oniciata
ONICE VERDE GIALLO SIENA EMPERADOR CHIARO FIOR DI PESCO CLASSICO

Stone
Marble
Statuary Vein Golden Spider AURISINA FIORITA PERLATO ROYAL
30
LIOZ MONTEMOR NAPOLEON GRAND MELANGE NOISETTE FLEURY CLASSICO MONDRAGONE
Olympus Gray Verde Giada ROSSO RAMELLO Opera Fantastico
Rosso Verona Rosso Imperial Rosso Sevilla Rosso Levanto
BRECCIA PERNICE ROSSA ROSSO ALICANTE DUCHESSA ROSATA cascapedia

Stone
Marble
KARIBIB ROSA EGEO Solar Grey BLUE TEDESCHI
31
Verde Luana PALISSANDRO BLUE NUVOLATO Saint Laurent Grigio Carnico
Oasis Antiqued Royal Green FOSSILE MARRONE Oro Esotico
GRIGIO FUMO BLACK EFES Silver Beauty Nero Marquina
VERDE ALPI Verde Acceglio PORTORO noir st laurent

Stone
Limestone
Limestone is layered and formed at the bot- Fossil Brown
tom of oceans or lakes from the skeletons and

shells of sea creatures that lived in warm seas
millions of years ago. It will often contain
seashells and fossils embedded in the surface.
If this limestone is subjected to intense heat
Fossile Pisces
or pressure and a few millennia, a crystalliza-

tion will occur and the limestone will become
a “true marble”.
Limestone varies greatly in hardness,
32 density, and porosity from stone to stone.

Some limestones are very soft and can only be
fabricated to a honed finish. Other limestones
Limestone is a unique natural stone and at times,
are very dense and hard and can be finished contains visible mysteries of our past within slabs.
to a polished or a glossy shiny surface.
Pure limestones are white or almost

Portoro Limestone
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 Ambrato Limestone
limestone is grey, but all shades of limestone

from white to black have been found. Colors
of limestone are soft and earthy, ranging from
Camargue
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.
Cedar
Limstone patterns vary from solid to variegated,

and may be crystalline, clastic, granular, or dense,
depending on the method of formation.

Stone
Limestone
Topaz Sunny Desert Polished charmot VILHONNEUR
33
Cedar Limestone Creta Ramon Gold Galala Beige
Fossil Green Honed Riviera Beige MASSANGIS Ivory Antico
Lagos Blue Honed Jerusalem Gold Jura Beige Sunny Desert Antique
Amarello Negrais buxy Gris Rosa Laurens Cedar

Stone
Travertine
Travertine is a form of limestone. It often Denizli Cream
consists chiefly of calcium carbonate formed

by precipitation in hot mineral springs over
a period of 600,000 years. It comes out of the
Classic Travertine Polished
ground relatively soft compared to marble,
but hardens with age and exposure.
Travertine has a sponge-like textured ap-

pearance as gas bubbles become trapped and
create a pitted surface on the stone. These
pitted surfaces or cavities are frequently filled
34 with a matching epoxy or dust resin dur- Travertine is porous with many visible holes that
can be filled, usually with a cementicous filler, or left
ing the fabrication process. Filling the small unfilled for a more rustic appearance.
holes and pits gives the travertine a more
finished look. Brown Azarshahr
The stone surface can also be left in its

natural state with the small holes and pits
unfilled. This is a warmer aged look which Gray Travertine
will acquire a beautiful patina over time.

Leaving the stone unfilled will affect the
durability, however; it will attract dirt much Silver Travertine
easier than a filled travertine.
Travertine colors are in warm earthy

tones, more easily from the softest ivories
and palest creams, rich shades of golden
honey, to silvery greens to deep mocha
Travertine can be cut on either a “vein” cut, which is
browns. The color tones vary and veins or against the bedding that reveals the bedding planes,
or a “fleuri” cut, which is along the bedding plane and
bands of contrasting color run throughout reveals a flowery, often circular pattern. This cut is also
referred to as a “crosscut” pattern.
the stone.

Stone
Travertine
ONDULATO ONICIATO CHIARO VENATO Silver Navona Travertine
35
ST. PETER LIGHT ST. PETER CLASSICO ONICIATO SCURO VENATO Classic Honed
Antique Gold Timber SCURO STUCCATO
ALHAMBRA SCABAS ROSA SCURO NOCE ST. PETER DARK
GIALLO PERSIANO Noce Travertine ROSSO PERSIANO Aurora

Stone
Quartzite
Quartzite was transformed from grainy Ambradorata
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 White Gold
the earth’s mantle where the original quartz

sand grains and quartz silica cement became
fused into one.
Finnish Silver Green
Quartzite has a rich crystallized appearance

and is hard, compact and very fine-grained. Most
36 varieties of quartzite contain at least 90 percent

quartz and are the largest and purest concentra-
tions of silica in the earth’s crust.
The stone’s mica content (or other silicate minerals) often
Quartzite breaks through, not around shimmers with a subtle hint of sparkle, which makes the
stone a perfect complement to other natural materials, as
the quartz grains and produces a smooth well as chrome, steel and other metal surfaces and fittings.
surface rather than a rough and granular
one. Sandstone will shatter into many indi- Normally quartzite is white or light grey, but it may
vidual grains of sand, while quartzite breaks be found in a variety of other colors including yellow,
into sharp angular fragments — the crystal- light brown, blue, green, purple, black, shades of pink
lization of the quartzite makes it harder. It is or red depending on the other minerals such as mica,
one of nature’s most durable stones. tourmaline, zircon or iron oxide that may be present.
Pure quartzite displays understated tones of whites, grays or pinks. However, when small amounts of other
minerals are involved in the metamorphic process, quartzite will take on a diverse series of colors.

Stone
Quartzite
White Moon Azul Imperial Azul Macauba Ocean Green
37
Giallo Pianosa Sahara Yellow Niagra Verde Aquamarina
Himachal Green Bamboo Yellow Blue Golden Quartz Raymond
Verde Agreste Verde Cactus Turquesa Di Rosa Silver Grey
Verde Bamboo CrossCut Zeera Green Red Fire Hollywood

Stone
Slate
Black Slate
Slate is a metamorphic fine-grained rock that
can easily be split into thin, durable sheets.
Most slate is formed below the earth’s surface
by changes in the makeup and appearance of Natural Plum
shale, a sedimentary rock. Heat from deep in

the earth changes some of the clay in shale
into mica and chlorite. Slate results when
pressure created chiefly by mountain-forming Pure Pink
movements in the earth’s crust squeezes the

mica and other minerals into parallel layers.
38 Depending on where they originate from, some
slates are much softer than others. Slates from the US,
Canada, and the UK are usually of a harder variety.
The soft veining and mottled colors of slate are earthy
and usually darker. They include variations of reds and
turquoise greenish blues as well as softer grays and Most slate is grey to black in colour, but the rock may
be red or purple depending on its mineral content.
deep solid blacks. Green slates may change color or
fade with time.
Slate can be rustic and romantic or sleek and re-

fined. It won’t etch, it doesn’t burn, and it’s nonporous
so the maintenance is fairly simple.
The multi color slates are rustic and

more colorful. Coating slate with mineral oil will
help to protect the stone as well as deepen the natural colors.

Stone
Slate
Garland Cedited Brazilian Green Honed Brazilian Gray Brazilian Black
39
Unfading Green Green Brazilian Summit Honed Unfading Purple
Black Split Face Mottled Green Purple Grayson Black Lacephylite
Heathermoor Atlantic Winchester Black Black Brazilian
Black Lacerust razilian Multicolor Raja Multicolor Unfading Red

Stone
Corian ®
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®
40 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
Corian® is:
Emitting Materials: Adhesives & Sealants
• Flexible and versatile
Corian® and the adhesives and seal- • Available in over 130 colors
ants used to install them are GREENGUARD • Stain resistant
• NSF/ANSI Standard 51 Certified for food con-
Indoor Air Quality Certified® as low emit- tact and Class I(A) fire rated
ting materials. With the new Corian® Terra • Durable: Tough and long-lasting
Collection, you have a palette of 25 colors • Can be renewed: Color runs all the way
through, making restoration easy if necessary.
to choose from that are certified by Scien-
• Heat-resistant
tific Certification Systems (SCS) to contain
• Easy-to-clean and maintain: Smooth seamless
recycled content and can contribute to MR appearance
Credits 4.1 and 4.2 for Recycled Content. • Non-porous surface does not promote the
growth of mold and mildew when properly
cleaned
• GREENGUARD Certified® as a low-emitting
material

Stone
Corian ®
Rain Cloud Silver Birch Clam Shell Tumbleweed
41
Sagebrush Slate Matterhorn Silt
Rosetta Burled Beach Aztec Gold Sonora
Verde Spruce Pine Malachite
Lava Rock Earth Egyptian Copper Cinnabar

Stone
ZodiaQ ®
Zodiaq® is an advanced composite material

Zodiaq® is:
made of 93% quartz. It is a long-lasting and
• Non-porous and carefree: No sealant, polish or reconditioning.
virtually maintenance-free material, linking
• Made from 93% natural quartz crystal, one of nature’s stron-
function and aesthetics to make commercial gest materials.
installations stand out. There is design flexibil- • 45 colors and stain resistant, scratch resistant, heat-resistant.
• NSF/ANSI Standard 51 Certified for food contact and Class I(A)
ity, versatility and a multitude of options with fire rated
Zodiaq® quartz surfaces. • Unconventionally beautiful: Dramatic veining and movement
capture the imagination.
The creative potential of Zodiaq® is a • Durable: Made from an extremely hard mineral, quartz crystal.
perfect blend of nature and science, giving the • Easy to clean: When properly cleaned, Zodiaq® is mold and
mildew resistant.
impression of natural stone without natural
• GREENGUARD Certified® as a low-emitting material
42 stone’s imperfections.
Sparkling crystals within its surface give a Designed with designers in mind, Zodiaq® is pro-
stunning light-play and a mesmerizing depth, duced in large slabs, allowing for the creation of large
while the surface’s inherent sheen adds to this areas and minimizing the need for distracting seams.
reflective effect. Zodiaq® is ideal for your clients Zodiaq® can be used for a wide range of horizontal and
who seek the ultimate in elegance and dramatic vertical applications across all sorts of environments. It
design without compromising performance. can be cut to exact requirements with complete precision.

Stone
ZodiaQ ®
Carmel Minera Pearl Bedrock Marrone Ambrato
43
Giallo Michelangelo Autumn Light Sandalwood osso Verona
Meteor Grey Woodland Grey orealis Blue Charcoal
Magellan Green Royal Brown Smokey Topaz Black Forest
Copper Sunset Copper Canyon Verde Gold Abyss

Notes
Design Process

Design Process
Lightweight
Lightweight Stone TOP
In addition to producing custom stone

tables, credenzas, and reception desks,
many types of granite and marble can
be fabricated in a lightweight process
for use on reconfigurable furniture.
A five-foot-square stone table top

that would normally weigh five hun-
dred pounds or more can be made with
46 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

Design Process
Lightweight
FOLDING TablE Top
Designed by WallGoldfinger using

a lightweight stone panel, this
hinging method allows the 5’ x 5’
table top to fold in two pieces and
to be removeable from a room
with ease.
47

Design Process
Matching
Slab Cutting
Quarry blocks are reduced to slabs

Fleuri cut with bed
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
48 stream of water.
Vein cut across bed Sawing and position
Marble blocks can be sawn of block in quarry.
Level of beds vary
either parallel or perpendicular to
the bedding plane. The perpendicular
cut is referred to as an across-the-bed or direction, and are available as either vein or
vein cut; the parallel cut is with-the-bed fleuri, while others produce a pleasing surface
or fleuri cut. Some marbles produce a only when sawed in one direction and are
pleasing surface when sawed in either generally available only in that variety.
Surface Patterns
Only certain marbles lend themselves to End Slip Match

Panels from the same block are
specific pattern arrangement, such as the placed end to end in sequence
to give a repetitive pattern and
side slip and end slip patterns. This is be- blended color in the vertical
cause a constant natural marking trend

Side Slip Pattern
throughout the block is required. Panels are placed side by side
to give a repetive pattern and
blended color in the horizontal
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.

Design Process
Matching
Matching and Blending
Although the arrangements of matched panels indicate an

almost perfect match of the veining lines, it is impossible
to achieve this perfection due to that portion of the marble
block lost during the sawing process and due to the 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.
book match Pattern
The adjacent faces of panels 1 & 2
are finished. Panel 2 is placed next
to panel 1 as the pages of a book
49
are opened.
End MAtch Pattern Quarter or diamond blEnd Pattern

The adjacent faces of match pattern Panels of the same variety but not nec-
panels 1 & 2 are finished. Panels 1 & 2 are book matched. Panels essarily from the same block arranged
Panel 2 is inverted above 3 & 4 are book matched and then in- at random. This scheme is followed
panel 1. verted over the top of panels 1 & 2. when no other pattern is specified.

Design Process
Matching
When designing a table or credenza on which be oriented to blend the separate slabs in the best
there are more than one piece of stone, deciding possible way.
how to match the slabs is an important part of The layout of the stone on the table, cre-
the process. Some stones are even and homoge- denza, or desk is limited only by the designer’s
nous, needing little attention to orientation. Oth- conception and the slabs of material available.
ers, particularly heavily veined marbles, should We have fabricated tables with two book-matched
End Match Pattern
50
Book Match Pattern

Design Process
Matching
slabs joined at the center for a continuous, ho- slip matched), how fragile the stone is, whether it
mogenous look, and we’ve produced furniture is veined or brachiate, the initial size of the slab,
with different stones in opposing configuration and if the selected slabs are in sequence (cut and
and combined them with wood and stainless steel. maintained in order from the same block). Wall-
Many factors come into play, such as how the Goldfinger and our partner stone sources have the
slabs were cut from the block (book matched or experience to identify the best options available.
Book match Pattern
51
Reverse Diamond Pattern

Design Process
Bases
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-
52 ferring weight directly to bottom plates, and
bolting narrow bases to the floor are all meth-
ods employed to accommodate and stabilize
the weight.

Design Process
Legs
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.
53
Stainless Steel Cross Base

Design Process
Base Options
The bases for our stone tables are also open to in- steel and glass cubes. We can accomodate your
novation and expression. We’ve made everything aesthetic desires with the structure and support
from large plastic laminate single units to veneered necessary to handle the requirements of a table
pedestals to trestle-style wood bases and stainless made from stone.
54 Aluminum pedestals
Brushed Stainless Steel drums
Stock veneer or custom veneer Base
Stock veneer or custom veneer Pedestals
Leather wrapped Pedestals

Design Process
Custom Bases
55

Notes
Sardinia marble quarry, Italy
ManufacturING

ManufacturING
Quarries
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
58 region, with some variations.

Barre Granite quarry, Vermont
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; ger exists, unless you can find a for a few years may actually be
once it hits the stone yards it may yard that has a reserved or undis- obsolete; likewise, the stone table
be bought up quickly and used in covered stock, which is usually in we produced for you seven years
various projects. When the quarry small quantities. So that beautiful ago may be impossible to match
is tapped out, that stone no lon- sample that’s been in your library exactly.

ManufacturING
Selection
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.
59
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.

ManufacturING
Water 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

60 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.

ManufacturING
Edge Profiles
Bevel Half Bullnose
61
Double Pencil Roman Ogee
Triple Waterfall Pencil
Full Bullnose Classic Ogee
Reverse Knife Dupont

ManufacturING
Finishing
Polished Finish Polished
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
62 character of the natural stone and is Design by: Visnick and Caulfield Associates
considered the finest and smoothest

High Honed
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.
SIMULATED to depict high honed finish
Honed
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.
SIMULATED to depict honed finish

NOTES
63

Notes
Design by: Gensler
COMMUNICATION TECHNOLOGY

Table Top Access
There are no more limitations for accommodating

power, data, and AV in a stone table than there would
be in a table topped with veneer, leather, or any other
material we use. With the technological advances in
the process of manufacturing stone, we do not need
to compromise the details we can offer just because
the top is “set in stone.” Power/data hatches, pass-
throughs, holes for microphones, wire chases under-
neath, even monitors that lift electronically out of the
table — all are possible.
66 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.
Available Finishes: Matte Black, Satin Chrome, Black

Chrome, Polished Chrome, Satin Nickel, English An-
tique, Polished Brass.
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

1 ⁄ 8”, 2 3⁄ 8” and 2 7⁄ 8”. The cap sits just 1⁄ 8” above the desk-
7
top for a trimmer, thinner appearance.
Available Finishes: Matte Black, English Antique, Satin

Chrome, Polished Brass, Black Chrome, Satin Nickel,
Polished Chrome. Unfinished also available.

Table Top Access
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.
67

Table Top Access
Double Doors
68
A B C
Retractable Doors

Connectivity
Plug-in Cords
D
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
69
use, and can be stored out of sight while remaining con- E
nected to the system, offering a discreet way to access
cables and connection points as they are needed.
Pop-ups
Motorized, vertically lifting enclosure for hideaway

computer-video interface and connector access (G),
F
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.

Microphones
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- Design by: Swanke Hayden Connell Architects
70 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.
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.

Microphones
Goose Neck Microphones
Specially designed for installation into tables or desks and

suitable for use in discussions and tele/video conferences.
The 85-mm long gooseneck provides a 4-pin female mini
XLR connection to connect the microphone to the power
supply which can be installed into tables or desks and 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. 71
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.

Conferencing
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
72 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.

Conferencing
Flip-Over Microphones
73
Flip-Over Speaker phones
Design by: Perkins+Will

Control 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.
74 Touchpanels offer un- Design by:

Ted Moudis Associates
matched video capabilities and

graphical performance to support
a host of control applications.
They also offer anti-aliased 3D ob-
jects including buttons, frames,
gauges and sliders. Anti-aliased
Design by: HLW
text options include standard,
embossed, beveled and fringed,
presenting an ideal “canvas” to
create great looking designs for
any application without 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.

Video Conferencing
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: Gensler

75
Design by: Gensler Design by: BHDP Architecture Design by: Gensler
Design by: Mancini Duffy

Client List
Selected
AIG, New York NY Hogan & Hartson, Washington DC
Alex Brown & Sons Incorporated, Balitmore MD IAC/InteractiveCorp, New York NY
Ambac Financial Group, New York NY IBM Corporation, Armonk NY
BNP Paribas, New York NY Jennison Associates, Boston MA
Bricklayers Union, Washington DC Kohlberg Kravis Roberts & Co., New York NY
Bristol-Myers Squibb, Princton NJ KPMG, New York NY
Brown, Rudnick, Freed & Gesmer, Boston MA Laborers International Union, Washington DC
76 Bryan Cave, New York NY McCarter & English LLP, Boston MA
Cadwalader, Wickersham & Taft, New York NY McKee Nelson LLP, Washington DC
Cleary Gottlieb, Washington DC Montgomery, McCracken, Walker & Rhoads,
Covington & Burling, New York NY Philadelphia PA
Covington & Burling, Washington DC Moore and Van Allen, Charlotte NC
Cypress Advisors, New York NY Penn Mutual, Philadelphia PA
Deutsche Bank, New York NY PricewaterhouseCoopers, New York NY
Ernst & Young, New York NY Silver Lake, New York NY
Epstein Becker & Green PC, Boston MA Sullivan & Cromwell, New York NY
Epstein Becker & Green PC, New York NY The Conti Group, New York NY
FactSet, Norwalk CT UBS/Warburg Dillon Read, New York NY
Faulding Pharmaceuticals, Paramus NJ Vinson & Elkins LLP, New York NY
Fish & Richardson, Boston MA Widener Building, Philadelphia PA
Goodwin Procter LLP, New York NY


NEW PUBLICATION WEEKDAYS
Reconfigurable Arbor SHOWROOM
TABLE Brochure 212-683-7272
Specification Guide 200 LEXINGTON AVENUE, NEW YORK CITY
Third Edition | 2009

On display in our New York
This informative catalogue City howroom are examples
fully describes WallGoldfin- of many of WallGoldfinger’s
ger’s unique “Arbor” line of unique offerings: monitor
light weight reconfigurable lifts, rotating microphones,
tables. Design considerations, monitor drawers, etc. The Showroom is on the 15th
finish choices and options are floor in the New York Design Center at 200 Lexington
all covered in exhaustive de- Avenue and managed by our New York Representa-
tail. Download the brochure in PDF formoat directly tives, Napier, Joseph and McNamara. The hours are
from our website, or request a printed copy from one 9am–5pm Monday through Friday.
of our sales representatives. SALES REPRESENTATIVES
PDF | 57.3 MB www.wallgoldfinger.com/publications Metropolitan New York
Casey McNamara caseym@njmltd.com
Wilson Villafana wilsonv@njmltd.com
MONTHLY
Kristina Ricicki kristinar@njmltd.com
Kelly Wenzel kellyw@njmltd.com
eNEWSLETTER
Gary Canning garyc@njmltd.com
2009
Second Series
Napier, Joseph, & McNamara, Ltd
200 Lexington Avenue, New York
Another monthly media P 212 | 683.7272
piece is our eNewsletter, F 212 | 683.7011
resurrected and relaunched www.njmltd.com
two months ago. In the
past, we found it tough to Metro Philadelphia, Mid-Atlantic
keep up with a thirty day Sam Lear sam@learassociates.com
publishing schedule but we’ve rededicated ourselves Tim Kalberer tim@learassociates.com
to the task, recognizing it’s important to keep our Gail Peterson gail@learassociates.com
customers up-to-date. If you would like to receive our Lear Associates, Inc.
electronic newsletter, please sign up on our website. Philadelphia, Pennsylvania
P 856 | 665.0023
www.wallgoldfinger.com/news/subscribe
F 856 | 665.0369
www.learassociates.com
Baltimore, Metro Washington DC

MONTHLY Paul Buchbinder
POSTCARDS buchwash@starpower.net
Collection Washington DC
THIRD SERIES | 2008–2009 P 202 | 255.4455
Every month WallGoldfinger F 202 | 332.1110
issues a postcard featuring a Chicago
noteworthy recent project. Curtis Ostler
Complete project information curtiso@wallgoldfinger.com
is included. If you would like
to be added to our postcard
Northfield, Vermont
mailing list or receive a book-
P 802 | 485.6261 ext. 4982
let of all postcards to date,
F 802 | 485.6267
please contact a sales repre-
sentative. Boston, All Other Areas
www.wallgoldfinger.com/news/ John Belniak
contact johnb@wallgoldfinger.com
Northfield, Vermont
P 802 | 485.6261 ext. 4987
F 802 | 485.6267
W A L L G O L D FINGER
7 Belknap Street, Suite 3
Northfield, Vermont 05663
P 802 | 485-6261
F 802 | 485-6267
www.wallgoldfinger.com
© 2008

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

FIRST DRAFT v0.1 | 2008

Design by: Ted Moudis Associates

4 Contents Stone 52 Structure

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Design by: CUH2A

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Design by: Butler Rogers Baskett

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Design by: Swanke Hayden Connell Associates

Design by: Gensler

Design by: AI Architecture

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Configurations and Materials

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Sahara Gold limestone,

Grigio Carnico and Crema

Stone with Metal

Verde granite, Nordic black marble,

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Breccia Pernice Rossa marble,

Crystal Olive Granite, figured

Verde Luchensa marble, pomelle

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Sahara Gold limestone,

Botticino Semi Classico

Stone with Metal

Absolute Black granite, Argos

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Verde Fondo Mare marble,

Classic travertine, figured

Emperador marble, quilted

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Calacatta marble and powder

Breccia Oniciata Classico

Stone with Metal

French Vanilla marble,

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Blue Pearl granite, synthetic

Aquamarine granite, quartered

Breccia Nouvelle marble,

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Emperador Costa marble, walnut

Crema Savoy and Verde Michelangelo

Stone with Metal

Argos marble, Black Absolute

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Saint Laurent marble, solid cherry,

Madura Gold granite, maple, stainless steel

Bambarino marble, ribbon striped mahogany

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Giallo and Emperador

Stone with Metal

Uba Tuba and Black

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

Macaubus marble, synthetic

Royal Gold marble, curly

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Peperino Rosso marble, brushed stainless steel and ¼” inlay

WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE

FIRST EDITION | WWW.WALLGOLDFINGER.COM

FIRST EDITION | WWW.WALLGOLDFINGER.COM

Granite is a very hard, igneous rock, formed African Tapestry

from volcanic eruption. The color and size of