CULTURAL & HISTORICAL BUILDINGS MASTERPIECE Age, outlines the major considerations for projects in historical locations.


it on that; often they would try to do it for a minimum amount of wastage and then fettle in the next one size-wise. So, having variations is fine.


Consider Design


You also need to think about the actual design of the flooring. Would you want it in random lengths and widths? Or would you like it in big pieces, metre by metre? Which way would you effect the grout lines? Choose the sizes that work best for the room. If you get a stone expert on board as early as possible in the design process, you won’t have any horror stories.


Performance


The most important thing is, of course, the performance; it is a tried-and- tested stone that is fit for purpose as a public stone. Make sure you see the stone in situ before going ahead. For example, in our showroom the oxidisations of stone have happened;


you’re seeing them as the floor calms down. When a new floor goes into a building it always looks too fresh but, once the natural oxidisation process happens, it will blend into its natural surroundings.


Public Funded – Since many of these historical and cultural buildings are public funded it’s important to consider everything – ensuring they are getting the best value for their money, while ensuring the carbon footprint is kept to a minimum. For example, they may not want material imported from China if they’re positioning themselves as a green building.


The Finish - Think about the finish – would you want a polished surface in the area you’re working on? Does it meet the slip-resistant test if it’s in a public area? Or do you want it to be a rough, regatta finish or sand blasted? Do you want a hand-chiselled finish? Everything will effect the look of the stone.


Case Study: The V&A, London


Ten years ago, we were approached by an architect working for the Victoria and Albert Museum (V&A) in Kensington to re-invigorate the bust plinth area. These were very unusual display stands that needed to be manoeuvred and safe as the public would be there. They came to us with the aesthetics and asked us to achieve it, whilst also engineering the safety of the plinths at the same time.


We worked backwards. Bearing in mind there is an original mosaic floor in there, we needed to be very careful. We had to get an anchor bolted to the floor to hold the plinths so they didn’t topple over. The material they chose was a Spanish stone called Morano which was very fragile to work with. They wanted large, all-edge mitred display features.


It was a tricky project because, of course, we had to work out of hours. We did night shifts; on average around four hours an evening rather than a full day because of the logistics and working conditions where we’d need to put the hording up.


It was a challenge but a huge honour for us. The fact that we have our products in one of the best museums in the country, if not the world, is wonderful. We continue to carry out maintenance from time to time when the occasional repair has been required. However, ten years on, it’s still looking great and the longevity is testament to the design, material itself and the workmanship.


www.stone-age.co.uk twitter.com/TomorrowsTS V&A Museum © Stone Age — 23 —


Norwich Cathedral © Stone Age


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32