stone natural tone 2010awards - riba product …3 this souvenir brochure of the stone federation...

awardsStone2010NaturaltoneS26 November 2010

Lords Cricket Ground, London

2 Natural Stone Awards 2008

3

This Souvenir Brochure of theStone Federation Great Britain2010 Natural Stone Awards,

produced by the stone industry’smonthly magazine, Natural StoneSpecialist, commemorates and

presents those projects that theteam of distinguished architectswho form the judging panel (see

page 4) have selected forrecognition. The winning projects

have been chosen for theexemplary design and execution

of the stonework. The clients,architects, main contractors,

specialist stone contractors andstone suppliers are all recognisedfor their essential contributions

to the successful projects.

The Natural Stone Awards2010 are presented by

Stone Federation Great BritainChannel Business Centre

Ingles ManorCastle Hill Avenue

Folkestone CT20 2RDTel: 01303 856123Fax: 01303 856117

[email protected]

This souvenir brochure ispublished by

The stone industry’s monthlymagazine

7 Regent StreetNottinghamNG1 5BS

Tel: 0115 945 3898Email: [email protected]

www.naturalstonespecialist.com

Printed in the UK by Buxton Press

BuxtonDerbyshire

Please note: While every efforthas been made to reproducecolour faithfully to the original,due to the limitations of the

printing process accuracy cannotbe guaranteed. Always seesamples of stone before

specifying or buying.

QMJ Publishing Ltd 2010©

Award 06Norwich Cathedral HostryNorwich

Highly Commended 07Energus Skills CentreWorkington, Cumbria

Highly Commended 07Cannon Bridge HouseLondon

Commended 08141 Bothwell StreetGlasgow

Commended 08House of FraserBristol

Commended 1020 Gracechurch StreetLondon

Commended 10Family HouseLondon

Award 12264-267 Tottenham Court RoadLondon

Highly Commended 13Royal Hospital ChelseaLondon

Highly Commended 13Private ResidenceWest Sussex

Commended 14The OrangeryThe Old Vicarage, CountyDurham

Commended 15Portavo HouseCounty Down, Northern Ireland

Award 18Repairs to the Choir BaysSelby Abbey, North Yorkshire

Highly Commended 19Corona Chapel – South SideCanterbury Cathedral, Kent

Highly Commended 19Ashridge Management CollegeAshridge, Hertfordshire

Highly Commended 20Stoke Rochford HallLincolnshire

Commended 20East Cloister & St Faith’s HouseChichester Cathedral

Commended 21The Pytchley GatesNorthamptonshire

Commended 21The Diana FountainBushy Park, Hampton, Middlesex

Commended 22The ScreenSt Pancras Chambers, London

Award 23Medieval & Renaissance GalleriesVictoria & Albert Museum,London

Highly Commended 2420 Gresham StreetLondon

Commended 25St Dunstan’s RC ChurchWoking, Surrey

Commended 25Private HouseLondon

Award 26Liverpool Canal Link & PierHeadPublic Realm, Liverpool

Highly Commended 27Resurfacing of Base CourtHampton Court Palace, Surrey

Commended 27St Martin-in-the-FieldsTrafalgar Square, London

Award 28New Chimney PiecesHanover Lodge, London

Highly Commended 29The MonumentLondon

Commended 29New CarvingsLincoln Cathedral, Lincoln

Commended 30Ashridge Management CollegeHertfordshire

Commended 30Atlas FountainKenilworth Castle, Warwickshire

New Build ModernStyle Stone Cladding

New BuildTraditional StyleStone Masonry

Repair &Restoration

Interiors

Landscaping

Craftsmanship

Contents awardsStone2010NaturaltoneS

The Natural Stone Awards 2010 are sponsored by


awardsStone2010NaturaltoneS

The Judges

The Judges, on behalf of Stone Federation, wouldlike to thank all those who entered the competition.It is pleasing to see that even in these recessionarytimes, a very high number of entries were received,confirming that clients continue to invest wisely byspecifying natural stone for use in their projects.

The Judges travelled far and wide examining thebuildings and landscapes which were entered in thisextremely prestigeous competition. They observedstone used in a variety of ways, demonstrating thematerial’s versatility, durability, timeless beauty and itsgreen credentials. The Judges saw small, speculativedevelopments of housing using natural stone in avery sympathetic and traditional way. The Judgessuggest there may, in the future, be a specialcategory to cater for such entries as they had to bejudged against the use of stone in much moredemanding projects.

There were two aspects the Judges observed thisyear that should be noted. Firstly, on numerousoccasions, we found that the quality of the designand manufacturing of the stone was outstanding yetthe quality of the fixing let the project down.Perhaps the recession is calling for shortcuts. TheJudges were saddened by this. Secondly, we hadconcerns about an approach to preservation thatcalls for cutting through original load-bearing stoneon the front of an existing stone building and thenre-hanging the remaining thin section stone on anew structure behind. Stone Federation will no

doubt have to advise on the prudence of thismethodology from a weathering point of view andalso whether it is environmentally sustainable.

The amount of natural stone now being used bylocal authorities in streetscapes pleased the Judges; itis raising the quality of our environment immensely.Many developers are also using stone for hardlandscaping in the public realm, raising the qualityand value of their developments.

All the Judges are volunteers who happilyundertake this work alongside Stone Federation.They undertake this task being totally convincedthat stone is one of the most versatile of buildingmaterials, and the Stone Awards are a way ofreminding a broad audience of this, whilerewarding those in the industry who deservepraise for their skills.

These Stone Awards are an important element inStone Federation’s drive to promote the use ofstone. Stone Federation also promotes naturalstone by running courses and seminars, such asCPDs, individually tailored to architects’ practices.They run courses in the use of stone in buildingsand their Stone in the City seminars are held acrossthe country. The message is clear: stone, correctlyused, correctly sourced, professionally worked andfixed, enhances our environment and maintains ourquality of life.

Sustainability is currently at the forefront of all our

minds in the building industry and stone, being anatural material, clearly has many sustainablequalities. The subject of sustainability in relation tostone is broad, involving not just its use in buildingsand landscapes, but its sourcing from quarries andmines. The Judges have recommended to StoneFederation that they launch a new natural stoneSustainability Award covering all aspects of theindustry, opening up the entries to quarrying andmining companies. The Federation has welcomedthe suggestion and the the first Award will bepresented at the Natural Stone Show being held atExCeL London 15-17 March next year.

The Judges were pleased to note the industrygenerally is still supporting skills training. Thisprovides a continuing supply of craftspeople thathave the knowledge and skills to deliver highstandards of workmanship and quality new projectsin stone, as well as craftsmen and women to caterfor the demands of preserving the stone-builtheritage of the nation.

The Judges could not help but see other superbprojects using natural stone as they travelledthrough the country. Of course, it was too late toinclude them in this year’s competition but we callon the industry and those who use its undoubtedtalents to encourage contractors, architects andbuilding owners to contact Stone Federation for anapplication form to enter the next Natural StoneAwards in 2012.

John M Burton, DipArch, RIBA, IHBC,AABC, Chairman of the Judging Panel andSenior Partner of Purcell Miller Tritton LLP,architects, designers and historic buildingconsultants. John is Surveyor of the Fabricof Westminster Abbey and the Surveyor tothe Fabric of Canterbury Cathedral,Conservation Advisor to the Crown Urban Estate, and aNational Trust Council member serving his second term.He was a member of the Cathedrals Fabric Commissionfor England and the English Heritage Places of WorshipPanel. He is an experienced lecturer in conservation andrestoration works both in the UK and USA. He is on theCourt of the Worshipful Company of Masons and alsoserves on the Craft Committee of the WorshipfulCompany of Carpenters.

Julian Limentani, BSc, BArch, RIBA, is aGraduate of Bath University. He started anarchitectural career with Marshall SissonsArchitects of Huntington in 1973 and hasbeen a partner in the firm since1979. Hehas been Cathedral Architect ofPeterborough Cathedral since 1989 and

looks after more than 100 churches. Among his otherappointments, he is Chairman of the Rochester CathedralFabric Advisory Committee and Chairman of the EastAnglia Churches Committee. He is a Liveryman of theWorshipful Company of Masons.

Paul Gibson, RIBA, studied mechanicalengineering at London University, andcontinued his studies at the CanterburySchool of Architecture and the RegentStreet Polytechnic. After working forNorman Foster, Terry Farrell and NickGrimshaw, and teaching in the USA, hecommenced private practice in 1973, founding the SidellGibson Partnership with Ron Sidell, famous as thearchitects of many of London’s major stone-clad buildings.

Graham Lee, DipArch, RIBA, is aPartner at London-based Sidell GibsonArchitects. Joining in 1986, Grahamparticipated in many of the stone-richprojects that have flowed through theoffice, including the re-housing of theCrown Jewels into the Waterloo Block

Stables at the Tower of London. Essentially interested inthe practical aspects of stone installation, Graham haslectured in this area for more than 10 years and, amongother subjects, identifies the common historic linksbetween architecture and masonry to non-architects.

Sean Collins started training at JohnBysouth Ltd in 1987 and completed afour-year apprenticeship followed by threeyears as a draughtsman, the third year asDrawing Office Manager. During this timehe worked on many prestigious buildings,including Buckingham Palace, St JamesPalace, Windsor Castle and the Houses of Parliament. In1994 he started as Workshop Manager for Boden &Ward Ltd and in 1999 formed the present day highlysuccessful Boden & Ward Stonemasons Ltd.

Ingval Maxwell, OBE, OBE, DADun, RIBA,FRIAS, CAABC, ACA FSAScot, qualified asan architect in 1969 and spent hisprofessional career dealing with theconservation of ancient monuments andhistoric buildings until his retirement fromHistoric Scotland in 2008. He is a past

Chairman of the Scottish Vernacular Buildings WorkingGroup and past Convener of the Scottish Stone LiaisonGroup and Scottish Historic Buildings Fire Liaison Group.He represented the UK on the European CommissionCOST Action C5 programme ‘Urban Heritage, BuildingMaintenance’, was Chairman of the European ScienceFoundation’s COST Action C17 ‘Fire Loss to HistoricBuildings’ and a member of the European Construction

Technology Platform ‘Focus Area Cultural Heritage’. He iscurrently a member of the EU Cultural Heritage IdentityCard and AHRC/EPSRC Science & Heritage AdvisoryGroups, the Journal of Architectural Conservation EditorialAdvisory Board, and an Honorary Member of theICOMOS International Scientific Committee on Stone. Heis also a Trustee of the Conference on Training inArchitectural Conservation and the Charles Wallace IndiaTrust, and a Deputy Chair of Learn Direct and Build.

Malcolm Reading, BArch, DipArch, RIBA,MAPM, FCSD, APMP Accredited,Diploma Management, Cranfield, foundedMalcolm Reading Consultants in 1996after six years as Director of Design andArchitecture at the British Council. He is a Trustee ofHistoric Royal Palaces, Chairman of the Tower of LondonWorld Heritage Site Committee, a Member of the RoyalInstitute of British Architects (RIBA), a Member of theAssociation for Project Management (MAPM), a Fellow ofthe Chartered Society of Designers (FCSD), RIBAAccredited Client Design Advisor.

Ulrike Knox, DipArch, RIBA, AABC, isCathedral Architect for BradfordCathedral and Principal of Knox-McConnell Architects having previouslybeen an Associate with Purcell MillerTritton in York. Working with the Surveyorto St Paul’s Cathedral, Ulrike was the

Project Architect for the internal cleaning and conservationof St Paul’s, a major part of the Tercentenary Project thatwon the RICS Project of the Year Award in 2009. Ulrikehas extensive experience in the care and conservation ofstonework and also new masonry installations in historicbuildings. She was elected President of the EcclesiasticalArchitects & Surveyors Association in 2010 and is amember of both the Fabric Advisory Committee (FAC)for Ripon Cathedral and the Diocesan AdvisoryCommittee (DAC) for Ripon and Leeds.

Judges’ comments


Norwich Cathedral HostryNorwich

AwardNew Build Modern Style Stone Cladding

Owner/Client: Norwich Cathedral | Architect/Designer: Andrew Barnett of Hopkins Architects | Main Contractor: Morgan Ashurst |Principal Stone Contractor: Rattee & Kett Ltd | Stone Supplier: 1)Hanbeck Natural Stone 2)Clipsham Quarry Company | Stone Used: 1)Ancaster Rag 2)Clipsham


The projectThis is the second building of a two-phase projectcreating a new Hostry on the site of its Medievalorigin and completing the original historic ensembleof Hostry and Refectory at Norwich Cathedral,supporting the cathedral and cloisters with a greatlyimproved range of facilities.

The design had to preserve the historic remains ofthe original buildings, ensure full disabled access, andcontribute to a reanimation of the cloistered site as awhole. The new Hostry and Refectory are believedto constitute the single most extensive addition to anEnglish Medieval cathedral since the Reformation.

The structure and materials of the new buildingswere largely determined by historic precedent andthe need to prevent archaeological damage. The newwall of both the Hostry and Refectory are built upoff the ancient flint walls in Ancaster limestone tomark the archaeology of old and new, while the newstructure stands close to, but independent of, theMedieval remains.

The fundamental design aim was to create buildingswhich, both in concept and fabric, would bewelcoming, suit their historic surroundings, andachieve the client’s requirement of a design-life of atleast 100 years. Hopkins sought to design buildings ofconsiderable architectural merit, using long-life,durable and self-finished materials so that thebuildings will age gracefully and be straightforward tooperate and maintain.

An aim was to maximize the building’s operationaland environmental performance, despite the historicrestrictions and statutory designations for the sitebeing complex and onerous. Only minimal alterations

were permitted to the Medieval fabric and majornew elements of external walling were required intraditional solid masonry. The remaining external wallsare fully glazed to preserve views through the newbuildings to the historic structures that form theirenclosure and surroundings, and the glazing is of thehighest solar and thermal performance possible.

To ensure their work did not alter the appearance ofthe historic site, Rattee & Kett visited a number ofLincolnshire quarries with the architect to sourceappropriate material and then produced exemplarpanels to satisfy the design intent. A panel was thenused as quality control and was compared with thewall throughout the construction process. The newwall has an Ancaster rag-stone face to both sideswith a continuous Clipsham limestone cill running the

length of the glazing above. Stone selection andquality control were key to the project.

Judges commentsThe stonework plays an essential part aesthetically inthis outstanding new building. The building is anexemplar for the choice and use of materials. Theconstruction method shows a completeunderstanding of materials. Stringent quality controlhas led to an excellent overall effect of well graded,coursed rubble walling that integrates with theoriginal work and 21st Century architectural detailing.

The junctions between the stone walls and the glassand timber are well thought out. The architect hasrespected the existing structure and context tocreate a magnet which entices the visitor.

7

Energus Skills CentreWorkington, Cumbria

Highly CommendedNew Build Modern Style Stone Cladding

Owner/Client: The National Skills Academy | Architect/Designer: Raymond Whittaker of Architects Plus | Main Contractor:Thomas Armstrong Ltd | Principal Stone Contractor: T A Law Ltd | Stone Supplier: Burlington Slate Ltd | Stone Used: Elterwater


Cannon Bridge HouseLondon

Highly CommendedNew Build Modern Style Stone Cladding

Owner/Client: Atlas Capital Group | Concept Architect: James Philipps of Murphy Philipps | Detail Design Architect: IainClavadetscher, CH Architects | Main Contractor: Laing O’Rourke Construction South Ltd | Principal Stone Contractor: Vetter UK Ltd| Other Stone Company/Consultant: Naturstein Vetter | Stone Supplier: 1)Albion Stone Plc 2)Priest Restoration UK Ltd 3) SantucciGraniti Srl | Stone Used: 1)Bowers Basebed Portland limestone 2) Viseu Granite 3) Travertine


The projectApproximately 450m2 of Burlington’s blue/greyElterwater weathered random walling stone hasbeen used to help create a dramatic focal point atthe new flagship Energus training centre inWorkington, Cumbria.

The striking circular lecture theatre anchors the mainfrontage of the building with a design feature thatforms a dramatic addition to the skyline.

Architect Raymond Whittaker explains: “Burlington’srandom walling stone was specified as a material

synonymous with Cumbria, helping maintain a sense ofplace and continuity with the traditions of engineeringand construction of the region. The combination oftexture and colour not only captures the changing lightand weather, it projects the mass and solidity of thebuilding and anchors it in the landscape.”

The same stone paves the perimeter of the buildingand is used as cladding to a reflecting pooloverlooked by the main atrium and external terraces.

Judges commentsThe Skills Centre auditorium contained in a hugeBurlington stone drum makes a bold statement and isthe key building on the site. It obviously attracted themost care, skill and money. An initial view is that this isa simple solution. However, all craftsmen will knowhow complicated it is to construct a drum so perfectly.

The building has been clad using a dry stone wallingtechnique (but with well recessed weak mortar). Noties to the inner leaf are visible. The batching of thestone is good, especially considering the hugequantities employed. The detailing is well thoughtthrough. This is an ambitious and well executedspecification of stone.

The projectThe objective was to remove the existing externalgranite façade to the front of a central London officebuilding entrance and replace it with a new limestonefaçade while the offices remained operational.

The project was undertaken over an eight weekperiod to February 2009. The area was approximately200m2 with an overall height of 15m, which includedflank walls to adjacent properties.

The lower section of the new limestone façade issloped forward at two different angles, with thesteeper stone face shaped to form an arched ‘scallop’over the entrance door. The plinths were producedfrom Portuguese Viseu granite and the cladding abovefrom Bowers Basebed from Portland. To completethe interface elements to the internal office entrancelobby, matching granite paving and Travertine claddingwas installed at ground floor level within the enclaveof the portico.

Vertical stainless steel channels were bolted to pre-drilled holes in the steelwork frame, with stonesupport and restraint fixings in turn bolted to thechannels. The design process involved close

co-ordination between parties to ensure the pre-drilled holes in the steelwork frame suited thepositional requirements of the vertical stainless steelchannels and the staggered stone joint layout.

The design and manufacture of the curved porticostones, with solid returns to the rim interface with thesloped cladding section was spatially complex andentailed a high level of expertise by the design officeand masons in the factory.

Installation of the stonework to the sloping sectionsaround the scallop was a particular challenge as thestones faced down as they were positioned.

Judges commentsThis truly is a monumental entrance to CannonBridge House. It makes a bold statement giving theentrance real presence. The design required themasons to cut curves in several directions.

Setting out is technically difficult with such large stone.Nonetheless, the project is well executed. Theidentity of the building carved into the stone in boldlettering is perfectly in scale with the building.


141 Bothwell StreetGlasgow

CommendedNew Build Modern Style Stone Cladding

Owner/Client: The Premier Property Group Ltd | Architect/Designer: Cameron Walker of Archial Architects | Main Contractor:Laing O’Rourke Construction Scotland Ltd | Principal Stone Contractor: Vetter UK Ltd | Stone Supplier: 1)Naturstein Vetter2)Grapesa | Stone Used: 1)Schönbrunner sandstone 2)Impala Granite


House of FraserBristol

CommendedNew Build Modern Style Stone CladdingawardsStone2010

NaturaltoneSThe projectThe building was conceived as a dramatic landmarkthat would signal the gateway to the city centre andwork well at the scale of the passing pedestrian ormotorist by creating interest through its form andmaterials – a contemporary reinterpretation of thegrand department stores of the late 19th century.

The building comprises massive cubic volumes at itsupper levels, juxtaposed and cantilevered out above asingle-storey plinth. The elevations are clad in 247precast concrete panels of different sizes faced with50mm Portland stone and arranged in portraitformat.

Most of the stone is Portland Roach, a cavernous,shelly oolitic limestone with a high fossil content. It isa hard and extremely durable material able to resistpollution. At the principal corner of the building,above the wide display window, smoother Whitbedstone is used, contrasting with the Roach in the waythat it is caught by the light and in its appearancewhen wet.

The choice of materials used to clad the building wascarefully made to contribute to its interest whenviewed close up.

Judges commentsLarge retail buildings pose serious problems of scalefor architects. This design successfully responds to thischallenge by emphasizing a massive citadel-like quality.The choice of Portland Roach bed stone seems

entirely appropriate, as it is both correct in scale andin character. The building is appropriately bold andrugged in that part of Bristol while the stone revealsnature in the fossils visible in it. The detailing of thejoins is simple but effective.

The projectIn the heart of Glasgow’s financialservices district, 141 Bothwell Street is aprestigious new commercial officedevelopment involving the design,supply, manufacture and installation of3,250m2 of Schönbrunner sandstoneand 750m2 of black Impala granite.

The stone cladding installation wasdesigned to BS8298:1994 with thestone supported back to eitherstructural concrete or structural steelwork. In bothcases, the stone was fixed by post drilling and fixingstainless steel support brackets at the appropriatestorey levels. Mortar anchor restraint ties were usedin the areas of the concrete cores and where therewas an SFS backing wall, proprietary plain backrestraint channels and associated restraints wereused.

The project provided many challenges. One inparticular was the tight city centre workingconditions. This necessitated early planning ofdeliveries to dedicated time slots for off loading. Thiswas maintained throughout the project and

contributed to the site gaining aConsiderate Constructors Silver Award.

The client and design team weredelighted with the high quality ofinstallation of the stonework whichthey say has “definitely led to thiscommercial property becoming evenmore desirable to prospective tenants”.

Judges commentsThe architect has followed Glasgow’s traditional useof stone – a black granite base and sandstone above.The building has benefitted greatly from respectingthe genii loci and interpreting it in a new buildingresulting in a high quality piece of architecture worthyof the city. Through an appropriate choice ofmaterials, high levels of craftsmanship, and a designedintegration that emulates the rhythm of bothtraditional and modern buildings in the vicinity, 141Bothwell Street is a fitting addition to the Glasgowcityscape.

Precision has been demanded in the cutting of bothsandstone and granite cladding tiles, and thecraftsmanship of fixing them is exemplary.

Owner/Client: Hammerson | Architect/Designer: Patrick Richard of Stanton Williams | Main Contractor and Principal StoneContractor: Sir Robert McAlpine Ltd | Other Stone Company/Consultant: Techcrete Ireland Ltd | Stone Supplier: 1)Albion Stone Plc| Stone Used: Bowers Roach and Bowers Whitbed Portland limestone


20 Gracechurch StreetLondon

CommendedNew Build Modern Style Stone CladdingawardsStone2010

NaturaltoneS

Family HouseLondon

CommendedNew Build Modern Style Stone Cladding

Owner/Client: Tom and Brenda Wells | Architect/Designer: Simon Knox of Knox Bhavan Architects | Main Contractor: R Durtnell &Sons Ltd | Principal Stone Contractor: R Durtnell & Sons Ltd | Stone Supplier: 1)Stancliffe Stone 2)Haysom (Purbeck Stone) Ltd3)CED Ltd 4)Stone Productions Ltd | Stone Used: 1)Cavendish White limestone 2)Purbeck Marble 3)Indian slate 4)White onyx


The projectThe original building, 54 Lombard Street,has been extensively rebranded with a newPortland stone façade from the groundfloor to the top of the third floor, whichdemarcates the podium floor. The newprojecting cornice divides the streetelevation from the roofscape above.

Independent Whitbed Portland limestonewas chosen along with Portland Roach forthe base course to reintegrate the buildingwith its surroundings.

The support to this stone façade is an insituconcrete backing wall from the top of thefirst floor, where the load is taken back to themain columns. This minimised the number ofmovement joints. The stone is hand set andrestrained back to the backing wall.

At the joints, head or cills, each stone has aminimum of 150mm return and thenominal joint width is 5mm. The cills arechamfered back towards the building to astainless steel gutter and drainage systemthat eliminates streaking to the face. In

Lombard Street a gentle curve is createdfrom 1250mm long pieces of facetedstone. In George Yard, a new public openspace is formed with a series of granite-clad conical planters in Verde Uba Tuba(Labrador Green). Internally, the receptionfloor to both receptions was replaced by a40mm thick lightly flamed and sealedAmerican Jet granite.

Judges commentsThis is a most interesting building. It hasgood traditional elements presented in amodern way. The high standard ofcraftsmanship which produced the longcurving wall is outstanding and makes adramatic elevation. The protection of thebuilding with a large overhang in lieu of acornice adds a dramatic feature.Allelements were carefully thought out, evento the detailing of the expansion joints. Thefaçades of the building change to reflect theadjoining architecture and link the buildinginto the streetscape with good transitionfrom one elevation to another.

The projectThis six-bedroom, two-storey contemporary

house in a London suburb is 8x24m. Anarrow service yard runsbetween the new houseand its neighbour and asingle storey pavilion tothe south is separatedfrom the main houseby a glazed entrance.

The front gable andthe single storey

wall sweeping around the pavilion use honedCavendish white limestone, 300, 600, 900 and1200mm long laid in 145mm high plain ashlarcourses. The stonemasons were required to ensureeach perpendicular joint was never closer than300mm to the joint above or below. Individuallydesigned stone quoins lock the stone face into thebrickwork that clads the remainder of the house. Thehouse has traditional cavity walls with the stoneworkforming an outer, load-bearing skin.

The front entrance is an internal / external space withone wall brick and one stone. Rainwater is directedinto a hidden gutter. The same care has been taken onthe pavilion, where coping stones shed water on to thehidden flat roof and not down the face of the building.

A stone clad citrus shelter is positioned at the endof the swimming pool. Other stones have beenspecified and carefully detailed in the interior andaround the outside of the house. They includePurbeck Blue on the kitchen and dining room floor,White Onyx for the vanity units and Indian BlackSlate for external terraces.

Judges commentsThis house clearly reflects an understanding clientwho wanted the best. It has been delivered in asensitive manner by an architect who is confident inthe use of the materials. The house fits well withother early properties in the road but is clearly froma different architectural genre.

The detailing and use of stone make a strongstatement about the quality of the property. ThePurbeck floor in the kitchen runs through to slateexternally, maintaining joints and detailing. Even thegreenhouse leans against a stone wall that is cleanlydetailed to capture the sun’s heat and protect thefruit trees. The stone work is not overpowering, butno other material would have provided a designsolution as good as this.

Owner/Client: Aviva Investors and Atlas Capital Group | Architect/Designer: John Guthrie of ORMS | Main Contractor: BAMConstruction UK Ltd | Principal Stone Contractor: Szerelmey Ltd | Stone Supplier: 1)Pisani 2)Albion Stone Plc 3)Grupimar | StoneUsed: 1)Jet Mist 2)New Independent Whitbed 3) Verde Uba Tuba


London

AwardNew Build Traditional Style Stone Masonry

Owner/Client: London & Regional Properties Ltd | Architect/Designer: Quinlan Terry of Quinlan & Francis Terry Llp | MainContractor: Kier London | Principal Stone Contractor: Ketton Stone (Masonry & Fixing) Ltd | Stone Supplier: 1)Rocamat PierreNaturelle 2)Egram | Stone Used: 1)Anstrude Roche Clair 2)Portuguese granite


The projectSitting next to the Dominion Theatre at the exit tothe Central Line and Northern Line TottenhamCourt Road underground station is 264-267Tottenham Court Road, .

The elevation facing Tottenham Court Road is a ninebay classical building 30.5m wide. It is built ofAnstrude Roche Clair natural limestone with agranite plinth. In keeping with the Portland limestonebuildings either side of it, it has bronze windows.

The composition starts at ground level with arusticated arcade supporting a giant Palladian IonicOrder with a superimposed giant Corinthian Orderabove complete with entablature and balustrade, all inAnstrude Roche Clair limestone.

There is an attic at the top and a natural slate roofbehind the parapet. At the two ends of thecolonnade there are plain and rusticated book endsto frame the composition, which make a clean jointwith the classical buildings either side of this one.

The project was carried out with an on-site period of20 weeks – quite an achievement for a solid load-bearing masonry project in the centre of London.

Judges commentsThis building is classical in the broadest sense of theword. Everything about the elevation on TottenhamCourt Road is correct – it is in scale with the streetand the traditional detailing is there, which we knowfrom history accommodates the weather perfectly.The stone is used in the most natural way, being afully load-bearing building.

As a traditionally designed stone façade it has depthto it and is well detailed. It fits into the street sceneflawlessly and is probably more environmentallysustainable than the façades where the stone hasbeen reduced in thickness and hung in a frame. Thedetailing and execution of this work is to a high leveland was pleasing to see.

264-267 Tottenham Court Road

13

Royal Hospital ChelseaLondon

Highly CommendedNew Build Traditional Style Stone Masonry

Owner/Client: Commissioners of the Royal Hospital | Architect/Designer: Roger Barrel of Quinlan & Francis Terry Llp | MainContractor: Wates Construction Ltd | Principal Stone Contractor: Stonewest Ltd | Stone Supplier: Rocamat | Stone Used:1)Anstrude Roche Clair 2)Massangis Clair Nuance


Private ResidenceWest Sussex

Highly CommendedNew Build Traditional Style Stone Masonry

Owner/Client: Confidential | Architect/Designer: Paul Pentney of Quinlan & Francis Terry Llp | Main Contractor: E A Chiverton Ltd |Principal Stone Contractor: Cathedral Works Organisation | Stone Supplier: 1)Dunhouse Quarry Co 2)Lambs Philpots Quarry3)Wincilate Ltd 4)Tudor Stone Ltd 5)Stone Firms Ltd | Stone Used: 1)Blaxter Buff sandstone 2)West Hoathly sandstone 3)Welsh slate4)Cragg sandstone 5)Portland limestone


The projectThis new wing, officially opened by HRH The Princeof Wales and Margaret Thatcher on 25 March 2009,has been built to replace an outdated structure.

Anstrude Roche Clair limestone is used for thebuilding’s façade and Messangis Clair, which is harderand less porous, for the plinths. The building designwas for classical load-bearing masonry, using 3mmjoints to fine tolerances. Lime mortar was used andthe stone was hand carved and finished.

Lettering to the main entrance and the entranceunder the ballustrading to the inner courtyard was cutin situ. Inside the chapel is an inlaid Portland Stonefloor. Elliptical arches outside the main entrances areset in rusticated ashlar walls and there are rusticatedsections of the plinths and quoins.

Judges commentsThis is a beautiful home from home. The classicaldesign is carefully detailed, simple but pleasing. Thework is exceedingly well executed. The colonnadeand inner court balustrades demonstrate theoutstanding skill used in design and execution. The

lettering cut into stone in various places is of goodproportion and the craftsmanship of the cutting isexcellent.This is a building worth studying to learn

about correct detailing of classical buildings. Thisbuilding gives one a feeling it is going to last aparticularly long time.

The projectThe load-carrying masonry walls comprise100mm West Hoathly split-faced sandstone.Plinth course, quoins, ground and first floorwindow surrounds, circular feature windows, andcornice, chimney caps are in Blaxter Buffsandstone from Northumberland. To the Northelevation, at the client's request, is a bespoke doorway.This highly decorative feature with heavy Baroqueinfluences took more than 1,000 hours to carve.

A similarly generous scheme has been designed forthe exterior hard landscaping with the extensive useof Derbyshire Cragg sandstone paving, rainwater gullychannels and setts with Blaxter Buff steps and copings.

The use of stone extends also to the interior with an80m2 Portland limestone floor, pilasters to walls,bespoke hand carved fireplace, and staircase.

A single storey Pool House sits in the groundstaking its cue from the main house. The externalhard landscaping uses West Hoathly split facedwalling, Blaxter copings and 380m2 of Craggsandstone paving to all sides of the dwelling andswimming pool.

Judges commentsThis is a fine example of a contemporary classicalhouse. The conviction and consistency of the detailingare to be admired as well as the search for solid and

enduring construction. As an example, the cavity wallsare tied with regularly spaced ‘bonder stones’ ratherthan modern wall ties. This is truly a ‘green’ buildingconstructed to last.


The OrangeryCommendedNew Build Traditional Style Stone Masonry

Owner/Client: Mrs Paula Scott | Architect/Designer: Colling Morris of Planarc Design | Main Contractor: Mike Neesam & Son |Principal Stone Contractor: Glasper Tunstall Stonemasonry Ltd | Stone Supplier: 1)Dunhouse Quarry Co 2)Purple Tree Products |Stone Used: 1)Blaxter sandstone 2)Cat Castle sandstone, Crema Marfil limestone


The projectFeatures and detailing for the stonework were taken from theexisting house. NHL 3.5 hydraulic lime mortar was used for beddingthe stonework.

The site was inaccessible to machinery or cranes and all the stonehad to be brought in using a mason’s trolley – and some of thelarger cills and mullions weighed 600kg or more. Two independentscaffolds were constructed inside and ouside the stonework and asteel girder with a block and tackle on them was used to lift thestone.

The new stonework was tooled to match the finish on the existinghouse, the client being committed to creating an extension matchingthe high quality of the original structure. Blaxter sandstone provideda close match to the existing stonework. Cat Castle buff was usedon the patio and Crema Marfil for the floor.

Judges commentsThe new structure integrates with the original to provide anenhancing and fitting addition. A small firm of local stonemasons hasexecuted the high-calibre stonework in a most exacting manner,clearly illustrating their pride in the project. The mould work is finelydetailed and considerable attention has been given to successfullyemulate the original quality and texture of the surface tooling of theVictorian property on the new masonry.

The Old Vicarage, County Durham

15

Portavo HouseCounty Down, Northern Ireland

CommendedNew Build Traditional Style Stone Masonry

Owner/Client: Mr and Mrs Derek Tughan | Architect/Designer: Bill Maxwell of Maxwell Pierce Architects | Main Contractor:Gilbert-Ash NI Ltd | Principal Stone Contractor: S McConnell & Sons Ltd | Stone Supplier: 1)The Bath Stone Group 2)S McConnell& Sons Ltd | Stone Used: 1)Basebed Bath Stone 2)Mourne granite


The projectPortavo House is a magnificent new residence for a private client inDonaghadee, Co Down. It is built in a new but traditional style using naturalstone that will mature with its landscape.

Locally quarried Mourne granite was used to form a sand blasted plinththat surrounds the perimeter of the house as well as profiled steps thatlead into all entrances to the dwelling.

Bath stone was used for the remaining stone on the external façade,including window cills and surrounds, door surrounds, eave course, stringcourse, chimney caps and a front entrance portico that faces out into themain courtyard.

Judges comments

This new mansion uses a considerable amount of Bath stone in defining itsappearance. The stonework is precisely detailed. All the beautifully workedBath stone window and door surrounds are highly and crisply modelled intheir expressed pediments and jambs. The Mourne granite base-courseextends out to form low flights of steps leading to the side and principaldoorways. The blue toned Bangor roof slates and the grey Mourne graniteplinth course complement one another.

The architectural detail and quality of the masonry is of the highest possibleorder and craftsmanship exemplary in both cutting and fixing.


Repairs to the Choir BaysSelby Abbey, North Yorkshire

AwardRepair and RestorationawardsStone2010

NaturaltoneS

The projectThe Grade 1 listed Abbey church of Selby is one ofthe largest parish churches in the country. It wasfounded as a Benedictine Abbey circa 1070 followingWilliam’s victory over the northern Earls in the yearsfollowing the Conquest. It is one of the few monasticchurches to survive as a parish church.

The Choir and Choir Aisles, as they are now, havebeen dated to 1320-40 and 1280-90, respectively, byarchaeological analysis carried out during the works.

The current seven-bay Choir enlarged an earlier,smaller Choir with apsidal east ends. It was built at atime when the Abbey was at its peak of prosperity.

The current project involved major externalstonework (and glazing) repairs to the Choir, namely:to repair and conserve existing masonry using arelatively light touch; to retain as much of the existingmasonry as possible, while ensuring that importantstructural stones were sound; carefully to repointopen and defective joints, retaining sound lime mortar.

Some re-instatement of the original design has beenmade, including new carved details. Carving hasbeen designed carefully to be sympathetic to themedieval original.

A significant number of stones have been retained bycareful pointing of small fissures, which will help toreduce water ingress. This has also served to improvethe surface visually.

Judges commentsThis is exemplary repair and conservation of themedieval fabric of this beautiful magnesian limestone‘Greater’ Church. Archaeological analysis informed thework and careful consideration of the variousexamples of extant stone led to the specification ofthe Tadcaster magnesian stone for the slightly yellowysouthern bays.

The boldest element of the scheme is thereinstatement of the figures set on top of the open-work parapet. They add wonderfully to the livelinessof the building. The figures, gargoyles and pinnacleshave been carved beautifully and are sympathetic tothe records of the medieval originals. Quality controlhas been strict throughout and the craftsmanship isfirst class, both in the replacements and in theconservation work.

Owner/Client: Selby Abbey PCC | Architect/Designer: Jane Kennedy and David Sherriff of Purcell Miller Tritton Llp | MainContractor and principal Stone Contractor: Quibell & Son Ltd | Other Stone Company/Consultant: Alan Micklethwaite | StoneSupplier: 1)Tadcaster Building Limestone Co | Stone Used: 1)Tadcaster Highmoor

19

Corona Chapel - South SideCanterbury Cathedral, Kent

Highly CommendedRepair and Restoration awardsStone2010

NaturaltoneS

Ashridge Management CollegeHertfordshire

Highly CommendedRepair and Restoration awardsStone2010

NaturaltoneS

The projectThis project to the south side of the Corona Chapelentailed large-scale replacement of early 20th

century Clipsham and late 19th century Bath stonerepairs in the chapel pinnacles and the replacementof 19th century Caen and Bath stone repairs at alower level.

Some decorative elements, including early Englishstyle capitals and columns, were re-carved in bluePurbeck Marble where evidence of its previous usewas found to exist.

A full programme of cleaning and conservation wasundertaken to preserve as much of the original andlater intervention material as possible, including Tudorbrick cores of the pinnacles. The cleaning involvedpoultices and a wet-head air-abrasive system.

All the stone repair and conservation wasundertaken by the Cathedral Works DepartmentStonemasonry and Conservation team. The stonewas fixed and grouted in lime putty mortars. Stainlesssteel fixings were used to dog-cramp and dowelblocks at regular intervals.

Judges commentsA thoroughlyresearched andrecorded piece ofrestoration balancedwith conservation sothe end result blendsthe new and oldwithout jarring. It is anexemplar of how thiskind of restorationshould be carried out.

Years of study of current Caen stone availability haveenabled this project to reintroduce the originalbuilding stone. Archaeological studies also confirmedthe early use of Purbeck Marble on the exterior ofthe building. Clearly the original Corona ofCanterbury Cathedral was a dramatic cream andblack.

Purbeck limestone has been reintroduced withcaution into the elevations to maintain the fullydocumented archaeological evidence. The carving ofthe Purbeck is exemplary.

The projectThe original College was converted into the presentbuilding in the gothic style from 1808 to 1825 byarchitect James Wyatt. After various uses, the AshridgeManagement College was established in 1959.

This latest phase of work involved the restoration ofthe façade to the east elevation, returns and bases ofthe chimneys above the library annex. Care was takento preserve as much of the original fabric as possible.

The stone façade is Clunch with Portland limestonedressings to the hood moulds, weatherings tobuttresses and the carved paterae to the quatrefoilpanels in the pierced parapet. The decayed state ofthe stone face was such that each stone wasremoved, assessed and, where possible, cleaned or anew face cut prior to it being refixed. Where thestone was beyond reuse it was replaced.

Hydraulic lime was used as the bedding material with2mm joints as original. The cavity behind the ashlarwas filled with a 3-to-1 mix of sharp sand andhydraulic lime to consolidate it. Every course was tiedback using a stainless steel flat bar with a dog crampacross every vertical joint.

The external arches and jambs to the central door

and four main windows were replaced half sole witha part replacement to the internal jamb toincorporate the new glass panels. Approximately 90%of the buttresses were replaced. Once the elevationwas dried it was cleaned down to a smooth finishand a lime water thoroughly applied.

Judges commentsThe Contractor should be congratulated ondemonstrating that the 'craft' of Masonry is alive andwell and high standards of craftsmanship can still beachieved.

The original bosses, mouldings and balusters withinthe pierced screen have been replaced. The state ofdeterioration of these elements can easily be seen onthe survey photographs and the mason haspainstakingly removed these, measured and replicatedwith new stone from the original quarry. The work issharp, defined and extremely well executed down tothe smallest detail.

The carvings are mounted on the refurbished screenwith care. The lime jointing is clean, clear andconsistent.

Owner/Client: Dean & Chapter of Canterbury Cathedral House | Architect/Designer: John Burton of Purcell Miller Tritton Llp | MainContractor and Principal Stone Contractor: Canterbury Cathedral Works Department | Other Stone Company/Consultant: Dr TimPalmer, Rose of Jerico | Stone Supplier: 1)Pierre de Paris 2)Limestone France 3)Haysom (Purbeck Stone) Ltd | Stone Used: 1)Caen-type limestone 2)Lepine limestone 3)Purbeck limestone

Owner/Client: Bonar Law Memorial Trust | Architect/Designer: Janet Norman of The Rhodes Partnership | Main Contractor andPrincipal Stone Contractor: Boden & Ward Stonemasons Ltd | Stone Supplier: 1)H G Clarke & Son 2)Albion Stone Plc | Stone Used:1)Totternhoe Clunch 2)Jordans Basebed Portland limestone


Stoke Rochford HallLincolnshire

Highly CommendedRepair and Restoration

Owner/Client: Stoke Rochford Hall | Architect/Designer: Andrew Brookes of Rodney Melville & Partners | Main Contractor: AustinNewport | Principal Stone Contractor: Croft Building & Conservation Ltd | Stone Supplier: 1)Glebe Stone Sales Ltd 2)Realstone Ltd| Stone Used: 1)Ancaster Hard White and Weatherbed 2)Ancaster Weatherbed


Chichester Cathedral, Sussex

CommendedRepair and RestorationawardsStone2010

NaturaltoneSThe projectThe mainly Romanesque Cathedral Church of theHoly Trinity dates back to 1076 and has evolved overthe years, showing evidence of work from nearlyevery century since then.

The 15th Century Cloisters are unique among Englishcathedrals as they centre round the south transeptrather than sitting between it and the nave. Thisproject involved conservation work in the easternarm of the Cloister on the windows, walls, buttressesand roof.

Rendering was removed and the fabric of the stoneunderneath given a conservation clean. The manyplaques covering the walls were also gently cleanedthen waxed to bring out the colour. Lettering waslightly painted.

Windows needed considerable restoration.Weathered areas were removed and replaced,smoothing over and blending any rough edges for ahomogenous effect. The roof was removed, repairedand retiled with the originals and other old tiles savedfrom local buildings of the same period.

Buttresses were taken apart and rebuilt using stonesourced from the original quarries of Caen in France.

Inside, more useable space was created by addinglighting, heating and power while retaining the originalfeel of antiquity.

St Faith’s House was once a medieval chapel, althoughits latest incarnation is as a Victorian house.Restoration work on the windows and roof includedreplacing eroded stone with new stone that wasgently rubbed off for a subtle blend. The roof wasretiled using as many of the original tiles as possible,some of which predated the 1477 tile size regulations.

Judges commentsThe project was a mixture of careful cleaning andrepairing with intelligent replacement of new stoneblended in to give a balanced aesthetic that fits well

with the adjacent Cloister walks.

It is one of those projects where good restorationresults in one saying nothing has been done, themasonry has historic character, shows its age but isstructurally sound. The Cloister has had new lifebreathed into it.

The projectStoke Rochford Hall is a superb Victorian countrymansion designed by the Scottish architect WilliamBurn and built in the early 1840s for a locallandowner, Sir Christopher Turnor. The style of thebuilding is Jacobean, with many gables, multiplechimneys and finial-capped turrets.

In January 2005, a fire damaged the main body of thebuilding and the roof and top floors caved in.

This £2.5million scheme involving the rebuilding andremedial works to the external envelope of thebuilding comprised extensive stonemasonry andbrickwork and the construction of new steel andtimber pitched and flat roofs.

Replacement stonework included elaborate chimneyshaving carved, twisted shafts with rope pattern anddecorative cappings, finials, parapet balustrades,dormers, cornices and windows.

New roof coverings comprised around 1,000m2 ofWestmoreland natural slates fixed in diminishingcourses on roofs of differing pitches including theassociated detailing at ridges and open and mitredvalleys with more than 500m2 of lead laid in bayswith associated gutters and sumps.

Judges commentsThis reconstruction programme involved rebuildingthe roofs, including 15 sets of chimneys stacks, eachcontaining two to six chimneys of about 4m height insolid stone. The stone used was Ancasterweatherbed. The stumps of the chimneys remainedand were built off to reconstruct the roofscape as itwas previously using the same stone.

This stone is hard, but through good workmansip thestandard of the finish is high. The joints are consistent,rope pattern twisted shaft mouldings all line throughfrom stone to stone and the stones are set outevenly with no ledges or saw marks noted. TheWestmoreland slate roofs are all new and wellexecuted.

East Cloister & St Faith’s House

Owner/Client: The Dean and Chapter of Chichester Cathedral | Architect/Designer: Colin Kerr of Molyneux Kerr Architects andRichard Meynell of Richard Meynell Ltd | Main Contractor and Principal Stone Contractor: Cathedral Works Organisation Ltd |Stone Supplier: 1)Associate Descarriers 2)MDB International | Stone Used: 1)Caen stone 2)Lepeine stone

21

The Pytchley GatesNorthamptonshire

CommendedRepair and Restoration

Owner/Client: Roy Arrowsmith | Architect/Designer: Alan Smith of Sursham Tompkins & Partners | Main Contractor: Mineral StarConstruction Ltd | Principal Stone Contractor: Boden & Ward Stonemasons Ltd | Stone Supplier: Private source | Stone Used:Weldon stone


The Diana FountainBushy Park, Hampton, Middlesex


Owner/Client: The Royal Parks | Architect/Designer: Eric Watts of Martin Ashley Architects | Main Contractor and Principal StoneContractor: Universal Stone Ltd | Stone Supplier: 1)Stone Firms Ltd 2)Bernacca 3)Essential Stone | Stone Used: 1)PortlandBasebed 2)Carrara marble 3)Kentish rag


The projectThe Pytchley Gates are a Grade II Listed monumentand a fine example of a decorative classical gateway.They originally stood at the entrance to Pytchley Hallbefore being moved to become part of the formalentrance to Overstone Hall. The large central carriagearch dates back to the late 16th or early 17th century.The two flanking stone pedestrian arches and all fourhighly ornate iron gates were added when thegateway was moved to its present location in 1843.The front central arch is flanked by two Roman Doriccolumns supporting an entablature.

In April 2007 a vehicle veered off the road andseverely damaged the gates. The lower north side ofthe main arch and column were demolished, includingparts of the surround to the north pedestrian gate.There was significant structural movement elsewhereon the monument. The main arch and capping abovehad a slight twist.

Each stone was taken down, photographed andindividually logged. They were cleaned off and setaside for re-use. The stones that could not be re-used were replaced with Weldon stone from aprivate source.

Judges commentsThis is a pure restoration project built in a traditionalmanner without any modern interventions. Theproject was to rebuild the gates re-using as much ofthe original stone as possible. This achieved a pleasing

result, with what new stone was needed carefullyhandled in all aspects so that it is difficult to identify.

It is a pleasing and successful reconstruction carriedout sympathetically. It has obliterated the history ofthe car crash.

The projectThe Fountain, attributed to Inigo Jones, was put in itscurrent position in 1713. It was erected first byCharles I after the Civil War in the 1630s in thecourtyard of Somerset House. In 1656 it was movedto Hampton Court, by 1690 it had been re-erectedin a new pool in the Privy Garden and in 1702 wasdismantled.

The top stonework is Carrara marble, with muchfinely carved detail of fish, crabs, and shells. This isseparated from the Portland stone base by a band ofBelgian Black Marble. The Portland stone has classicalmotifs and rusticated details representing river weedcarved on it. The Fountain has nine bronze figuresmade by the French royal sculptor, Le Sueur.

The stonework was conservation cleaned using handcleaning followed by Doff for the Carrara marble,although the Portland needed more work and the Josmild abrasive system was used. Previous hard resinpointing was cut out and replaced with lime mortar.The plinth to Diana, which had split, was replaced bya new one carved to match original profiles and theold plinth was used for small indent repairs.

Replacement Portland stone was carved to match

the hanging river weed details and fitted into position.Iron cramps, which had rusted and were causingdamage, were replaced by stainless steel, which alsomeant replacing damaged surrounding stonework.

Large amounts of hard cement pointing wereremoved and replaced by lime mortar. Three stonepedestal bases to the bronze scallop shells werebeyond repair and were replaced with matchingcarvings. At lower level the stone troughs wererepaired and filled with lime mortar to allow waterrun off and to prevent a build up of weed. Close towater level some Ragstone blocks were indented torepair damage to the existing Rag.

Judges commentsConsiderable deterioration had occurred to individualstones which had to be replaced with stone carvedto fit in with the original, slightly weathered detailing.Close examination of the monument shows that thiswas carried out in an exemplar fashion. The workbenefitted from the historic understanding and studyof the structure.


The ScreenSt Pancras Chambers, London


Owner/Client: Manhattan Loft Corporation | Architect/Designer: Jane Hillings of RHWL Architects | Main Contractor: Galliford Try |Principal Stone Contractor: PAYE Stonework & Restoration Ltd | Stone Supplier: 1)Castle Island Quarry 2)Glebe Stone Sales Ltd |Stone Used: 1)Kerry Red Marble 2)Ancaster Hard White


The projectSt Pancras Hotel at the front of St Pancras railwaystation in London was one of the most celebratedbuildings of the 19th century. It was designed byGeorge Gilbert Scott as a fitting termination toBarlow’s just as impressive train shed and has nowbeen restored and transformed into a modern fivestar hotel.

During the early stages of the project an internal fireextensively damaged the gilded glazed screen in theentrance foyer, leaving it in need of extensiverestoration.

Using the charred remains of the collapsed screen,the fire damaged remnants still in place and a smallpostcard showing the screen, the masons managed topiece together sufficient detail to enable a copy ofthe screen to be created.

The challenge included an eventually successful searchacross Ireland for sufficient Red Marble to replace thecolumns.

The result is a magnificent replica of the impressivescreen that is completely in keeping with therenovated Scott interior.

Judges commentsThe screen has been almostcompletely rebuilt, with only thesurrounding stone frame and theflanking marble pilasters havingsurvived relatively untouched.Amazingly, there were no drawings ofthe screen to refer to, just an oldpostcard.

This is a confident and assured piece ofwork, executed with some panache.The carving is very good indeed andthe overall look and feel of therestored screen outstanding.

Medieval & Renaissance GalleriesVictoria & Albert Museum, London

AwardInteriors awardsStone2010

NaturaltoneS

The projectThe aim of this first new-build gallery space at theV&A for more than I00 years was to recover andreinstate a number of existing Grade l Listed galleriesand back-of-house spaces to provide the V&A withgalleries to display 2,000 objects from its Medieval &Renaissance collection.

A limited palette of materials is employed to providesimple backdrops for the display of the artefacts.Throughout the perimeter galleries, pale limestones –predominantly Crema Marfil but also Pietra Serenaand Portland limestone – are used for floors, plinthsand the bases of showcases. Some of the plinths arealso created from Indian black granite. A combinationof 40mm slab and solid blocks weighing up to3.5tonnes is used.

Leather and oak have been used for loose and fittedfurniture. The support structures for artefacts aregenerally stainless steel or grey-painted steel, the toneof grey and material choice relating to the artefactand its context.

The visual impact of the method of display is

minimized – losing the bracket or dissolving the case– to highlight the powerful aesthetic worth of theartefact and create a memorable image.

Visitor circulation was improved by using previouslyunexploited space within lightwells to create stairsand a lift to connect six levels and a study area,providing access and orientation within the Medieval& Renaissance Galleries and improving the widerpublic circulation in this quarter of the museum.

Judges commentsGiven the interlinking scale of such a major project,extending across a number of galleries and previousback-of houses spaces, the soft, muted, effect resultingfrom the consistent use of finely finished limestonethroughout greatly contributes to the significantsuccess of the scheme.

In particular, the chosen colour and texture of thelimestones and sandstone readily allows the galleryexhibits to speak for themselves, unencumbered byany conflicting design intentions.

The quality of the craftsmanship is exemplary, as is

the attention to detail in the setting out, laying andfinishing of the geometrically devised and constrainedflooring designs.

The effective adoption of shadow gaps readily masksthe mass of the display mounting blocks so that thesurmounted objects and display cases appear to floatfree and, through the harmonious integration of theircolour and texture with the flooring, this conceptfurther enhances the ability of the objects andartefacts to be viewed without distraction.

Owner/Client: Victoria & Albert Museum | Architect/Designer: Simon Usher of MUMA Llp | Principal Stone Contractor: StoneProductions Ltd | Stone Supplier: 1)Mármoles Camar 2)Talara 3)Albion Stone Plc | Stone Used: 1)Crema Marfil 2)Indian BlackGranite, Pietra Serena 3)Portland Basebed limestone

23


awardsStone2010NaturaltoneS 20 Gresham Street

London

Highly CommendedInteriors

Owner/Client: Hermes Fund Managers Ltd | Architect/Designer: Mark Kelly of Kohn Pedersen Fox Associates | Main Contractor:Skanska (Private) Ltd | Principal Stone Contractor: Classic Formai Ltd | Other Stone Company/Consultant: Harrison GoldmanDesign Consultants Ltd | Stone Supplier: 1)Mariotti Carlo & Figli 2)Francepierre International | Stone Used: 1)Esta Cream Travertine2)PompignonThe projectThe works comprise natural stone cladding to themain reception walls and the flooring to the mainreception, as well as paving to the lift lobbies andbalconies to the other floors.

Panel sizes on the walls are 1600x800x150mm and300mm thick. The stones are end grain matched andeach course is blended from course to course. Thejoints are 6mm open.

The stone panels are restrained using 41x41mmUnistruct welded to box section steelwork fixed tothe concrete slab with fixings to the soffit using a slipjoint for deflections. In one area the wall is supportedby steel upstand beams to overcome a 27mmdeflection and in another a jacking system issupporting slab to overcome a similar deflection.

The lift lobby entrance stonework is supported byhanging steelwork between the joints and both endsare supported on the reveals. The stone was milledto incorporate scallops designed by the Architect.

The flooring is Pompignon flamed for the frontentrance and honed for the other circulation areas.

Judges comments

Art meets structure. This is a room-sized sculpture,beautifully executed in carefully chosen stone. Adistinct choice has been made in the selection of theblock from the quarry with the end result in mind. It

is a complicated build yet finished it looks simple. Allthe lines follow through. It is a long time since thejudges have seen such extensive quality control –control that is matched by the outstandingworkmanship used in fitting the sculpture.

25

awardsStone2010NaturaltoneSSt Dunstan’s RC Church

Woking, Surrey

CommendedInteriors

Owner/Client: The Catholic Church of England | Architect/Designer: Brian Quinn of Rooney & McConville | Main Contractor andPrincipal Stone Contractor: MCS Ltd | Stone Supplier: 1)Burlington Slate Ltd | Stone Used: Broughton Moor

Owner/Client: Confidential | Architect/Designer: Barry Paterson of Barry Paterson Associates | Main Contractor: Barrett HortonGroup | Principal Stone Contractor: Marmi e Granito Ltd | Stone Supplier: 1)McMarmilloyd Ltd 2)Lasa Marmo 3)A Bernacia Srl4)Pocai | Stone Used: 1)Verde Antiqua 2)Aqua di Bianca 3)Calacaita Staturio, Cipollino Urgulino 4)Noir St LaurentThe projectThis is a private family residence in London. Theproject included bathrooms, a spa room, a hall floor,two bespoke fireplaces and a swimming pool withcolumns, surrounds and tiling.

Judges commentsThis is a fine example of stone used in a granddomestic setting mixing traditional and moderntechniques. The work is well executed and the stonehas been carefully chosen for colour, pattern and quality.

Stone tiles are used extensively,carefully selected and executed. Therehas been some re-use of old stone tilesin the front hall floor with new workneatly added.

The principal WCs, spa room andensuite are well done. The stone –almost all Italian marble – is richlyvariegated, and competently executed.There are at least two single bathsurround cut-outs which are technicallyquite a challenge to cut and lay. Thefireplaces are well carved and installed.

The projectSt Dunstan's Church in Surrey has been revitalised bythe installation of a new alter which provides a focalpoint for the interior. In order to create an image of analtar with life-giving water pouring from it, intricately cutpieces of stone ‘flow’ from the baptistery, along thechurch aisle and into the sanctuary.

More than 120m2 of the mid-green stone has beenused to deliver a floor design that is inspired by astream of water. The same design surrounds the Fontin the baptistery and links. The altar represents thestone struck by Moses in the desert from whichwater erupted.

Judges commentsThis large church complex is visually held together bya beautifully designed and executed stone floor. Thefont at the entrance to the worship area is at thecentre of a beautifully detailed floor which leads verysymbolically through the centre of the Church toburst out again in the Sanctuary. The detailing andthe quality of the stone give this building a spiritualpresence and provide an understanding of the liturgy.The cutting of the complex shapes has beenundertaken with great skill and all the sections of thesurface beautifully laid.

Private HouseLondon

CommendedInteriors awardsStone2010

NaturaltoneS

25


Liverpool Canal Link & Pier HeadPublic Realm, Liverpool

The projectThis is the extension of the Leeds Liverpool Canalinto the heart of Liverpool with a reconfiguration ofthe Pier Head to form a truly world class spaceworthy of its historic location at the heart of thisWorld Heritage Site.

Now a distinctive and vibrant place, the area is ahive of activity as local people and visitors fromaround the world enjoy the canal, riverside walkwayand plaza.

This hard landscaping scheme is of intricate detail,using bespoke natural stone to create a unique publicrealm area with masonry seating, steps, cladding,parapets and performance space. Natural stone wasselected as a sustainable solution with its long designlife negating the need for frequent refurbishments ofthe space, which is costly to both the public purseand the environment. The finished scheme sets aprecedent in the capabilities of natural stone.

The crease lines at the water’s edge are highlightedwith warm-toned stone chosen to complement thefaçades of the Three Graces buildings. As theyapproach the canal basins, they splay out to dramaticeffect, creating a series of seat walls that

accommodate the change in level, elegantly morphinto flights of steps, then finally re-converge tocontinue their journey through the space.

In addition to being sculpturally attractive, this inbuiltseating is robust and much less vulnerable tovandalism than traditional benches, while embodyinga high degree of refinement and craftsmanship. Stoneis also used in the canal wall claddings, copings andabutments.

Providing a contrast, circa 7,000m2 of mid-grey,varied-tone granite paving forms a rich pattern andtexture that takes its inspiration from the variety ofstone sizes used in the surrounding historic docks. Agradation of five module sizes are used, with large flagstones in open expanses blending to cobbles in areasrequiring an intricate finish or where the surface isrequired to take particularly high weights such asriver wall maintenance cranes.

A subtley varied palette of mid-grey granite not onlyhighlights these unit changes but masks surface dirt.The effect is the creation of a rich patina across theplaza surface. All pavements were designed to takevehicular loadings.

There were more than 900 individual components in

the 22 unique granite seat walls alone, ranging from1,500kg per unit down to 30kg. Many of thecomponents were produced using CNC machinery,carving seamless transitions into large elements togive a sense of identity to the space while remainingsympathetic to the surrounding built heritage.Computer modelling was used to design theabutments and copings in a most effective way,reducing waste and cost.

Judges commentsThis project is impressive in scale and attention todetail. The designers have used a limited palette ofmaterials, restricting themselves to granite in mid greyand buff, which has lent the scheme a homogenous,restrained look without it becoming bland. The levelschange elegantly and the intersections are beautifullydetailed. The scheme responds naturally to theenvironment and the design appears unpretentiousand unforced. It is a well thought out scheme.

The quality control is good and the standard hasbeen maintained throughout this large site. The newwork flows and links in with all the original buildings.

Simple, effective and wearing extremely well.

awardsStone2010NaturaltoneS Award

Landscaping

Owner/Client: Liverpool City Council | Architect/Designer: James Haigh-Streeter of EDAW | Main Contractor and Principal StoneContractor: Balfour Beatty Civil Engineering Ltd | Other Stone Company/Consultant: TT Groundworks, Stone Central (NW) Ltd,Marshalls Plc | Stone Supplier: 1)Marshalls Plc | Stone Used: Chinese granites G682, G399, G654, G390 and Portuguese Lapa Grey

27

Resurfacing of Base CourtHampton Court Palace, Surrey

Highly CommendedLandscaping awardsStone2010

NaturaltoneS

St Martin-in-the-FieldsTrafalgar Square, London

CommendedLandscaping

Owner/Client: St Martin-in-the-Fields | Architect/Designer: Eric Parry of Eric Parry Architects | Main Contractor: Costain | PrincipalStone Contractor: Stonewest Ltd | Other Stone Company/Consultant: Stone & Ceramic Ltd, Harrison Goldman Design ConsultancyLtd, Taylor Pearce Restoration Services Ltd | Stone Supplier: 1)Albion Stone Plc 2)Haysom (Purbeck Stone) Ltd 3)Grupimar 4)Stone& Ceramic Ltd 5)Marshalls Plc | Stone Used: 1)Portland Whitbed 2)Purbeck 3)Nero Impala 4)Caliza Paloma 5)Haslington Yorkstone


The projectLittle evidence of the Henrician paving scheme hadsurvived but there were physical remnants and aphotographic record of a scheme by ChristopherWren circa 1700 and it was agreed that Wren’sscheme should form the basis of the new designentailing not only repaving works but also theconservation of existing paths, enhancing disabledaccess, improving the power, services and IT-infrastructure, and protecting the archaeology.

Purbeck limestone and Kentish Rag are the mostcommonly used paving materials in the palace’svariety of cobbled courtyards and these materialswere specified for the reconstructed surfaces.

Setts and loosely broken Purbeck limestone (a greyand pale selection of Thornback, Rag, Whetson,Freestone, Feather, Cap, Vyebit and Downsvien) andKentish Rag were sourced. The new stone mix withits varying colours and textures blends in with theexisting setts.

All new paving was laid in a loose bedding of recycledconcrete and crushed limestone. This alternative

bedding and jointing technique wasderived from historic – but in Britainalmost forgotten – loose laid pavingtraditions. These traditionaltechniques reduced the need fordeep sub-base excavations in anarchaeologically sensitive site. Theyalso allowed water to percolate into,and evaporate from, the ground viathe loose jointed bedding, as well asreducing the carbon footprint of thisproject and any future repairschemes. It has already proved selfhealing when cracking appeared as aresult of surface movement at softspots in and around the archaeology.

Judges commentsThe innovative use of a traditional techniqueintegrates the old with the new so well. Theworkmanship is stunning, particularly in the way triphazards have been eliminated while the percolateddrainage takes the strain off the sewers making, this a

particularly sustainable project. The large areas ofbroken paving composed of a variety of stones setwithin loose limestone jointing creates an overalleffect that is poetic. The original and new paving havebeen married together so well it is impossible todistinguish between them. The incorporation of fallsmust have been a nightmare and to achieveconsistency like this shows tenacity and experienceon the part of the craftsman.

The projectSt-Martin-in-the-Fields comprises the Gibbs-designed18th century church (Listed Grade I) along with itscrypt and three buildings in the north range (listedGrade II*). The burial vaults were designed by JohnNash and built in the 1830s.

The stone plinths to the churchyard railings had beenbadly eroded by the rising pavement levels, so mosthad to be replaced with new solid Portland stone.Many blocks of the vermiculated boundary wall wereheavily corroded and needed replacing. This involvedskilled hand carving by masons from templates forthe vermiculation detailing.

The widened Church Path was paved with newYorkstone (Haslingdon) paving. The new pavilionplinth is clad with curved black South African NeroImpala granite with picked and honed surfaces. Thelight well has large format, solid blocks supporting araised steel handrail. Both plinths have carefully sweptbases set flush to the falls of the new pavement.

In the churchyard, the original 1830s Yorkstone pavingslabs have been reinstated with a central podium,including one slab measuring more than 3m square.

Around this are new benches made in greyPortuguese granite and engraved for the benefactor.The Baker memorial fountain was reinstated close tothe new Yorkstone steps to Adelaide Street.

Judges commentsThe area just north of St Martin-in-the Fields hasbeen given back to the public realm with the

presence of the building below identified by theentrance staircase and a light well. The pavementstone work and the wall surrounding the light wellare beautifully detailed and particularly well executed.The paving is of an extremely high standard withevery detail carefully resolved. The new stonestreetscape has linked the adjoining historic buildingstogether and given the open space a real presence.

Owner/Client: Historic Royal Palaces | Architect/Designer: Dante Vanoci and Marc Wiese of Purcell Miller Tritton Llp | MainContractor: Mansell Construction Services Ltd | Principal Stone Contractor: A T Knott & Sons Ltd | Other StoneCompany/Consultant: Robin Sanderson, Oxford Archaeology | Stone Supplier: 1)HF Bonfield & Son 2)Gallagher Group | StoneUsed: 1)Purbeck limestone 2)Kentish Rag


New Chimney PiecesHanover Lodge, London

AwardCraftsmanship

Owner/Client: Metdist Ltd | Architect/Designer: Francis Terry of Quinlan & Francis Terry Llp | Main Contractor: Walter Lilly |Principal Stone Contractor/Craftsman: Timothy Lees | Other Stone Company/Consultant: Martin Foot, Matthew Simmonds, HarryBrockway | Stone Supplier: 1)Statuaria Arte Srl 2)Caminetta Nieri | Stone Used: 1)Statuary Marble 2)Sienna Marble


The projectEach of the five chimney pieces has been made fromcarefully selected statuary marble, sawn to make sureonly the best quality material was visible on thefinished piece.

The mouldings were machine cut and finished byhand. The enrichment and all other decoration wasentirely carved and finished by hand.

The Sienna marble was cut into veneers, polished,then book-matched across each chimney piece. Theapplied statuary marble was attached to the Siennamarble with good quality gesso and resin.

The chimney pieces were fixed with tolerances ofless than 1mm for the jointing using plaster forbedding and stainless steel cramps fixed inpolyester resin.

Judges commentsThis is as good as anything you will ever see – thephotographs cannot do it justice. Some of the bestcarving to be seen anywhere in London. There is somuch life in the friezes. The workmanship sings out.This is the work of someone who grabbed theopportunity and poured all his skills into it. The resultsof his labours are stunning.

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The MonumentLondon

Highly CommendedCraftsmanship

Owner/Client: The City of London Corporation | Architect/Designer: Judy Allen of Julian Harrap Architects | Main Contractor andPrincipal Stone Contractor: Cathedral Works Organisation | Stone Supplier: 1)Albion Stone Plc 2)Pooil Vaaish Ltd 3)Haysom(Purbeck Stone) Ltd 4)Rand & Asquith | Stone Used: 1)Jordan’s Portland Whitbed 2)Pooil Vaaish 3)Purbeck Cap 4)Elland Edge


New CarvingsLincoln Cathedral, Lincoln

CommendedCraftsmanship

Owner/Client: The Dean & Chapter of Lincoln | Architect/Designer: Nicholas Rank of Buttress Fuller Alsop Willimas | MainContractor and Principal Stone Contractor: Lincoln Cathedral Works Department | Stone Supplier: 1)Lincoln Cathdral Quarry2)Glebe Stone Sales Ltd | Stone Used: 1)Lincoln Cathdral Limestone 2)Ancaster limestone


The projectThe Monument, designed by Sir Christopher Wrenand Dr Robert Hooke and built between 1671 and1677, commemorates the rebuilding of the City ofLondon after the Great Fire of London. It is one ofthe tallest isolated stone columns in the world,standing 202ft (61.5m) tall – the distance between itand the site in Pudding Lane where the fire began.

The fluted Doric column is made of Portlandlimestone that was cleaned and repaired withmatching stone. There are 311 Pooil Vaaish limestonestairs leading to a viewing platform also of PooilVaaish. Every step required insert repairs. A Purbecklimestone entrance floor has been replaced.

Now a Scheduled Ancient Monument and Grade Ilisted building, The Monument consists of a pedestal21ft (6.4m) square by 40ft (12m) high, with a flutedshaft 120ft (36.5m) high by 15ft (4.5m) in diameter.On the abacus the viewing platform encompasses amoulded cylinder, or drum, that supports the focalpoint of the column, a flaming golden orb.

An emblematic sculpture in alto and bas relief byDanish sculptor Caius Gabriel Cibber on the westside of the pedestal has been cleaned and restored.

The other three sides of the pedestal are letteredwith Latin text. These were also cleaned and repaired.

On each corner of the top of the pedestal sitdragons, the work of Edward Pierce Junior. Thesewere cleaned and repaired, with several missing stonepieces being modelled and carved on site.

The underside of the platform had originally beendecorated with four ornately carved paterae, one foreach spandrel below the walkway. These had to beremoved in the late 19th century and no records ofwhat they were like exist. For the carving to replacethem inspiration was taken from the paterae at StPaul’s Cathedral.

Judges commentsA careful restoration of the Monument, carried outwithout overdoing the replacement and in asympathetic way. Nothing appears to be out of place.Pooil Vaaish is a fragile stone and not easy to work, soto achieve the first class result seen here is atestament to the skill of the masons.

The project blends the technical challenges and thelogistics of dealing with the size of The Monument inan expert way.

The projectThe 13th century Lincoln Cathedral is rich in finecarving. The current repair programme isconcentrating on the area to the south side of StHugh’s Choir and the elevations of the adjoiningTransepts. These feature some significant carvedgrotesques sitting on the tops of triangular buttresstops. The Cathedral is in an exposed location and thecarvings are subject to severe weathering – manyhave lost all their principal features and are sodecayed to be barely recognisable, so it has beendecided to replace several of them.

The starting point for each design is to assess theoriginal stone carefully, seeking to understand thecharacter and detail of the original carving whereverthese have been preserved. Archive photographs anddrawings are also examined to try to establish asmuch of the detail of the original as possible . Themasons then work carefully with the architect tocreate the new carvings, which are carefully modelledso as to fit naturally within the setting. Where detailsare totally lost the masons are able to contribute newinterpretations to the design.

One carving of a crouching person has been

modelled on a member of staff of the Cathedral. Thisperson has been depicted in medieval clothingholding a lantern and keys.

The Cathedral has its own quarry producing Lincolnstone, which takes detail well and is used whereverpossible. However, the bed height is limited and notsuitable for the larger carvings, so Ancaster limestonewas used for larger works.

These grotesque figures form an integral part of thedetail of the Cathedral and it is believed that the newcarving carefully follows the same language ofinventive and creative design as the original andenriches the life of the building.

Judges commentsThe masons have obviously enjoyed themselves. Theyhave demonstrated an exceptionally high standard ofcarving and put tremendous imagination into thesubjects. The figure of a man with lantern and keysdemonstrates this particularly.

Even though it is not easy to gain close access tothese carvings, the masons have put every possibleeffort into the design and carving in order for it to beof the finest for the Cathedral.


Ashridge Management CollegeHertfordshire


Atlas FountainKenilworth Castle, Warwickshire


Owner/Client: English Heritage | Architect/Designer: Richard Griffiths of Richard Griffiths Architects | Main Contractor: ROK |Principal Stone Contractor: Fairhaven & Woods Ltd | Stone Supplier: GBC Marmi Srl | Stone Used: Carrara Marble


The projectThe creation of the new marble fountain forKenilworth Castle was part of a larger project torestore Queen Elizabeth I's Privy Garden to thenorth side of the keep, with the intention ofenhancing the experience of visiting the site.

The evidence for the form of the garden andfountain was fairly extensive and based onwritten descriptions from 1575, a painting datingfrom 1620, recent archeological findings andresearch into comparative material from theperiod, a drawing detailing the design of the newfountain was produced.

The scope of the work involved further designdevelopment, both to the detail of the masonrystructure and to realise the sculptural elements.Eight full-size relief panels were modelled in clayfor the carvers as well as a large scale study ofthe pair of Atlas figures which support the globeat the centre from which the water falls.

The selection of a suitable marble for the workwas critical. The archeological investigation hadshown the original to be Carrara and so thequarries in Italy were visited in order to selectsuitable blocks. The masonry elements were to be

veined, the sculpture in clean marble. Particularlyimportant was the quality of the large block fromwhich the pair of figures would be carved to atolerance of ±4mm, especially as it needed to becore-drilled through its 2200mm height to allowthe insertion of an armature and water feed.

The masonry was brought to a fine honed lightpolish, contrasting with an off-the chisel textureto the carving that gave expression andcharacter to the carved surfaces.

Judges commentsThe fountain is an outstanding piece at theheart of the formal Tudor garden. It sets anextremely high standard at this focal point. Thesetting out and joining of the fountain base is ofoutstanding quality and the carved panelswarrant careful study to understand the skills ofa carver mason.

The two figures holding the globe are beautifullycarved and the whole object is a pleasure towalk around. It demonstrates how animatedstone can become when it is worked by theright hands.

The projectThe most challenging task toovercome on this project was therebuilding of the façade ashlar fromthe roof line.

The fact that the original ashlar acrossthe elevation was set on a curve hadto be taken into account. In the centreit had a 60mm variation with the sides.

The contractor had to make sure thatthe first floor cill course was fixed inexactly the correct position to receivethe new oak frames. This was criticalbecause the frames had to be fixed inthe same position, which abut the interior woodpanelling.

Once the parapet and string were removed from theLibrary Annex, the outer masonry had to bedelicately removed back to the glass line, taking intoaccount there was less than 200mm of originalinternal pier supporting each arch.

The contractors had to remove and rebuild alternatehalf sole piers and buttresses to give as much supportto the roof above as possible.

Judges commentsThe mason has painstakingly removed the originalbosses, mouldings and balusters, measured them andreplicated them with new stone from the originalquarry. The work is sharp, defined and extremelywell executed down to the smallest detail. Thecarvings are mounted on the refurbished screenwith care. The standard of craftsmanship isexceptionally high and the contractor should becongratulated for demonstrating that the craft ofmasonry is alive and well.

Owner/Client: Bonar Law Memorial Trust | Architect/Designer: Janet Norman of The Rhodes Partnership | Main Contractor andPrincipal Stone Contractor: Boden and Ward Stonemasons Ltd | Stone Supplier: 1)H G Clarke & Son 2)Albion Stone Plc | StoneUsed: 1)Totternhoe Clunch 2)Jordans Portland Basebed


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