SPECIFICATION GUIDE WALL GOLDFINGER FIRST DRAFT v0.1 | 2008 STONE TABLES
Mar 28, 2016
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
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Contents
4 Contents
6 Introduction
confiGurationS & 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
Design by: teD MouDis assoCiates
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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
coMMunication tecHnoloGY66 Table Top Access
69 Connectivity
70 Microphones
72 Conferencing
74 Control Panels
75 Video Conferencing
W A L L G O L D F I N G E R7 Belknap Street, Suite 3
Northfield, Vermont 05663
P 802 | 485-6261F 802 | 485-6267
www.wallgoldfinger.com
©2008
Design by: CuH2a
WALLGOLDFINGER, INC. | STONE SPECIFICATION GUIDE
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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.
Design by: butler rogers baskett
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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
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Configurations anD Materials
Design by: gensler
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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
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CO
NF
IGU
RA
TIO
N
RECTANGULAR
Configurations & Materials
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
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ELLIPSE
Configurations & Materials
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
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CO
NF
IGU
RA
TIO
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ELLIPSE
Configurations & Materials
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
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BOAT-ShAPE
Configurations & Materials
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
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CO
NF
IGU
RA
TIO
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BOAT-ShAPE
Configurations & Materials
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
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RACETRACk
Configurations & Materials
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
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CO
NF
IGU
RA
TIO
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RACETRACk
Configurations & Materials
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
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ROUND
Configurations & Materials
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
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CO
NF
IGU
RA
TIO
N
ROUND
Configurations & Materials
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
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VIDEO CONFERENCE
Configurations & Materials
American Mahogany granite, Pine synthetic leather, brushed stainless steel and ¼” inlay
Peperino Rosso marble, brushed stainless steel and ¼” inlay
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CO
NF
IGU
RA
TIO
N
VIDEO CONFERENCE
Configurations & Materials
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
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
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stone
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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
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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
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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
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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.
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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
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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
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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
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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
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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
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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.
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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
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Design ProCess
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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
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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.
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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.
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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.
Design ProCessMATChING
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Design ProCessMATChING
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
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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
Design ProCessMATChING
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
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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.
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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
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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
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Design ProCessCUSTOM BASES
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
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ManufaCturing
sarDinia Marble quarry, italy
barre granite quarry, VerMont
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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.
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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
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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.
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ManufaCturingEDGE PROFILES
Bevel
Double Pencil
Triple Waterfall
Full Bullnose
Reverse Knife
Half Bullnose
Roman Ogee
Pencil
Classic Ogee
Dupont
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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
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notes
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
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CoMMuniCation teCHnology
Design by: gensler
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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.
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CoMMuniCation teCHnologyTABLE 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.
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douBle doorS
retractaBle doorS
CoMMuniCation teCHnologyTABLE TOP ACCESS
a Cb
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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
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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
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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.
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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.
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73
CoMMuniCation teCHnology CONFERENCING
flip-oVer MicropHoneS
flip-oVer Speaker pHoneS
Design by: Perkins+will
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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
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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
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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
Design by: butler rogers baskett
FIRST EDITION | WWW.WALLGOLDFINGER.COM
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
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