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	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Loyly,_Finland</id>
		<title>Loyly, Finland</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Loyly,_Finland"/>
				<updated>2020-03-24T18:26:15Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Unusual_building_design_of_the_week|See the Unusual building of the week series here]].&lt;br /&gt;
&lt;br /&gt;
[[File:Loyly3.jpg|link=File:Loyly3.jpg]]&lt;br /&gt;
&lt;br /&gt;
Designed by Avanto Architects, Löyly is a coastal sauna located in Hernesaari, a former industrial area of Helsinki, Finland. It was completed in 2016.&lt;br /&gt;
&lt;br /&gt;
The building is characterised by an irregularly-shaped outer shell that acts as a ‘cloak’, covering the rectangular black box that contains the sauna and restaurant.&lt;br /&gt;
&lt;br /&gt;
Wooden slats and bleachers create the multi-faceted volume of the sauna, allowing visitors to climb up to a viewing platform. The building is relatively low to the ground so that it will not impinge upon sea views for future residents. At ground level, a terrace extends out over the coastline, with a flight of stairs leading down into the sea.&lt;br /&gt;
&lt;br /&gt;
[[File:Loyly1.jpg|link=File:Loyly1.jpg]]&lt;br /&gt;
&lt;br /&gt;
The building is made of blackened concrete and steel and pale Scandinavian birch wood, materials selected for their durability. The external pine cladding was pressed, glued and heat-treated, and is intended to grey with age so that it blends in with the stony coastline.&lt;br /&gt;
&lt;br /&gt;
The developers intend to rediscover the community attachment to public saunas, which have been under threat from the growing popularity of private saunas. Finland, with a population of 5.4 million, has over three million saunas, roughly one per household.&lt;br /&gt;
&lt;br /&gt;
[[File:Loyly2.jpg|link=File:Loyly2.jpg]]&lt;br /&gt;
&lt;br /&gt;
All images copyright [http://www.kuvio.com/ Kuvio]&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Blur Building.&lt;br /&gt;
* Building of the week series.&lt;br /&gt;
* Chapel of the Holy Cross, Sedona.&lt;br /&gt;
* Cube Houses.&lt;br /&gt;
* Dancing House, Prague.&lt;br /&gt;
* Fish Building, India.&lt;br /&gt;
* Gentle Genius.&lt;br /&gt;
* Liepaja Thermal Bath.&lt;br /&gt;
* Little Crooked House, Poland.&lt;br /&gt;
* Norwegian Mountaineering Center.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
* Swimming pool construction.&lt;br /&gt;
* Underwater restaurant.&lt;br /&gt;
* Unusual building design of the week.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]] [[Category:DCN_Project_Knowledge]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/St._Basil%27s_Cathedral</id>
		<title>St. Basil's Cathedral</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/St._Basil%27s_Cathedral"/>
				<updated>2020-03-24T18:25:39Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Stbasils2.jpg|link=File:Stbasils2.jpg]]&lt;br /&gt;
&lt;br /&gt;
The Cathedral of Vasily the Blessed, more popularly known as St. Basil’s Cathedral, is a church located at one end of Moscow’s Red Square. It was built between 1551 and 1561 at the behest of Ivan the Terrible as a war memorial, with the architects designing eight pillar-shaped churches on one base, arranging seven of them around the central church, using domes, polygonal towers, blank arches and sharp spires to create the shape of bonfire flames rising into the sky.&lt;br /&gt;
&lt;br /&gt;
The architects took inspiration from Byzantine as well as Asian architecture, and used open brickwork which was a new technology at the time.&lt;br /&gt;
&lt;br /&gt;
As Russian preferences moved towards the use of vivid colours during the 18th century, the onion-shaped domes were given garish individual colour schemes.&lt;br /&gt;
&lt;br /&gt;
The cathedral has narrowly avoided destruction on several occasions. In the 19th century, Napoleon and his forces tried to dynamite it as they left Russia but the plan was scuppered by rain. Then in the 20th century, Stalin developed plans to destroy it, apparently for not being stylistically representative of the Soviet Union, but he was prevented by architect Pyotr Baranovsky who refused to prepare it for demolition.&lt;br /&gt;
&lt;br /&gt;
Today it is a no longer a functioning church but a museum and popular tourist attraction, having become a unique and iconic symbol of Russia.&lt;br /&gt;
&lt;br /&gt;
[[File:Stbasils1.jpg|link=File:Stbasils1.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* A House for Essex.&lt;br /&gt;
* Architectural styles.&lt;br /&gt;
* Building of the week series.&lt;br /&gt;
* Cathedral.&lt;br /&gt;
* Cathedral of Brasilia.&lt;br /&gt;
* Chapel of the Holy Cross, Sedona.&lt;br /&gt;
* Chelyabinsk Congress Hall.&lt;br /&gt;
* Dancing House, Prague.&lt;br /&gt;
* Durham Cathedral's Open Treasure project.&lt;br /&gt;
* Floors of the great medieval churches.&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Heddal stave church, Norway.&lt;br /&gt;
* Mahabat Maqbara, India.&lt;br /&gt;
* St Pauls Cathedral.&lt;br /&gt;
* St Peters Basilica.&lt;br /&gt;
* The Kremlin.&lt;br /&gt;
* Unusual building design of the week.&lt;br /&gt;
&lt;br /&gt;
[[Category:Conservation]] [[Category:International]] [[Category:Projects_and_case_studies]] [[Category:DCN_Project_Knowledge]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/St_Pauls_Cathedral</id>
		<title>St Pauls Cathedral</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/St_Pauls_Cathedral"/>
				<updated>2020-03-24T18:25:01Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:Stpauls1.jpg|link=File:Stpauls1.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
St. Paul’s Cathedral, designed by the architect Sir Christopher Wren, is an Anglican cathedral and one of London’s most iconic buildings. It is located on top of Ludgate Hill, the highest point in the City of London. Its famous lead-covered dome is one of the world’s largest, and at 111 m (365 ft), it was the tallest building in London from its completion in 1710 until 1967.&lt;br /&gt;
&lt;br /&gt;
The current cathedral is the fifth building on the site of Ludgate Hill, the original church having been founded in 604 AD. The fourth, Old St. Paul’s was a huge Gothic cathedral built by the Normans and regarded as one of the masterpieces of medieval Europe, with a tower and spire reaching a height of 489 ft. It was destroyed by the Great Fire of 1666, following which, a decision was taken to build a new cathedral from scratch.&lt;br /&gt;
&lt;br /&gt;
St. Paul’s is one of the most significant buildings in terms of national identity, with propaganda images showing it remaining unscathed having become synonymous with the wartime Blitz. It has also been the location for the funerals of Lord Nelson, the Duke of Wellington and Sir Winston Churchill; as well as the wedding of Prince Charles and Lady Diana.&lt;br /&gt;
&lt;br /&gt;
= Design and construction =&lt;br /&gt;
&lt;br /&gt;
[[File:Stpauls2.jpg|link=File:Stpauls2.jpg]]&lt;br /&gt;
&lt;br /&gt;
St. Paul’s was one of more than fifty church commissions that Christopher Wren received in the aftermath of the Great Fire. He was tasked with creating a cathedral that was a fitting replacement of the Old St. Paul’s, and a suitable place of worship.&lt;br /&gt;
&lt;br /&gt;
Wren was inspired by contemporary Renaissance trends in Italian architecture, and designed the cathedral in a restrained Baroque style, attempting to combine the traditions of English medieval cathedrals with the classical style of Inigo Jones, and French buildings by Mansart. The cathedral, in particular the dome, is heavily influenced by St. Peter’s Basilica in Rome.&lt;br /&gt;
&lt;br /&gt;
He designed the showpiece west façade to be fronted by a wide flight of steps, a double-storey portico and two Baroque towers.&lt;br /&gt;
&lt;br /&gt;
St. Paul’s is unusual among cathedrals in that it has a crypt which extends under the entire building rather than just under the eastern end. The crypt has a structural purpose, as massive piers spread the weight of the structure’s slimmer piers, necessary due to London’s relatively weak clay soil.&lt;br /&gt;
&lt;br /&gt;
The most notable feature is the dome. To ensure the dome appeared visually satisfying when viewed both externally and internally, Wren designed a double-shelled dome, with the the inner and outer domes using catenary curves rather than hemispheres. Between the two shells, a brick cone supports the timbers of the outer, lead-covered dome, and the ornate stone lantern that rises above it. The cone and inner dome are 18 inches thick and supported by wrought iron chains to prevent spreading and cracking.&lt;br /&gt;
&lt;br /&gt;
The dome rests on pendentives which rise between 8 arches spanning the nave, choir, transepts and aisles. It is raised on a tall drum around which there is a continuous colonnade.&lt;br /&gt;
&lt;br /&gt;
The construction of the cathedral took more than 40 years, and was ‘topped out’ in 1708 by Christopher Wren Jr who placed the final stone on the lantern, watched by his father below.&lt;br /&gt;
&lt;br /&gt;
[[File:Stpauls3.jpg|link=File:Stpauls3.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* After the Fire: London churches in the age of Wren, Hooke, Hawksmoor and Gibbs.&lt;br /&gt;
* Cathedral.&lt;br /&gt;
* Cathedral of Brasilia.&lt;br /&gt;
* Chapel of the Holy Cross, Sedona.&lt;br /&gt;
* Classical orders in architecture.&lt;br /&gt;
* Durham Cathedral's Open Treasure project.&lt;br /&gt;
* Eiffel Tower.&lt;br /&gt;
* Edinburgh Castle.&lt;br /&gt;
* Floors of the great medieval churches.&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Palace of Westminster.&lt;br /&gt;
* Pendentive dome.&lt;br /&gt;
* Sagrada Familia.&lt;br /&gt;
* [[St._Basil%27s_Cathedral|St. Basil’s Cathedral]].&lt;br /&gt;
* St Peters Basilica.&lt;br /&gt;
* Taj Mahal.&lt;br /&gt;
* The Rebuilding Acts.&lt;br /&gt;
* Types of dome.&lt;br /&gt;
* Unusual building design of the week.&lt;br /&gt;
&lt;br /&gt;
= External resources =&lt;br /&gt;
&lt;br /&gt;
* St Pauls - [https://www.stpauls.co.uk/history-collections/history Official site]&lt;br /&gt;
&lt;br /&gt;
[[Category:History]] [[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Suvela_Chapel</id>
		<title>Suvela Chapel</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Suvela_Chapel"/>
				<updated>2020-03-24T18:24:37Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[File:OOPEAA_Suvela_photos_MikaHuisman_web_1_.jpg|link=File:OOPEAA_Suvela_photos_MikaHuisman_web_1_.jpg]]&lt;br /&gt;
&lt;br /&gt;
[Image © Mika Huisman]&lt;br /&gt;
&lt;br /&gt;
In the last months of 2016, the Suvela Chapel was completed and inaugurated in Espoo, a city just west of Helsinki, Finland. Designed by architectural practice OOPEAA’s principal Anssi Lassila, the aim was to provide a hub for the culturally-diverse neighbourhood, and a venue for religious and community events.&lt;br /&gt;
&lt;br /&gt;
The building is a hybrid structure with timber elements as well as concrete and steel. Cladding the exterior are shimmering, multi-tonal copper panels, chosen for their sustainable credentials and to emphasise the unity of the building’s volume.&lt;br /&gt;
&lt;br /&gt;
[[File:OOPEAA_Suvela_photos_MikaHuisman_web_2.jpg|link=File:OOPEAA_Suvela_photos_MikaHuisman_web_2.jpg]]&lt;br /&gt;
&lt;br /&gt;
[Image © Mika Huisman]&lt;br /&gt;
&lt;br /&gt;
Timber is used predominantly in the tall chapel hall on the walls and the underside of the roof, which are covered in spruce panels textured with ridges for improved acoustic quality.&lt;br /&gt;
&lt;br /&gt;
The building wraps into a single U-shaped volume forming an intimate interior courtyard in the centre. The large roof angles up to match the height of surrounding buildings. The main chapel is located at the northeast end of the building, directly accessed via the main entrance. The smallest part of the building contains the parish facilities, while the southwest wing contains community services, including a soup kitchen.&lt;br /&gt;
&lt;br /&gt;
[[File:OOPEAA_Suvela_photos_MarcGoodman_web_11.jpg|link=File:OOPEAA_Suvela_photos_MarcGoodman_web_11.jpg]]&lt;br /&gt;
&lt;br /&gt;
[Image © Marc Goodwin, Archmospheres]&lt;br /&gt;
&lt;br /&gt;
Lassila said:&lt;br /&gt;
&lt;br /&gt;
&amp;amp;quot;Providing schools, libraries and churches as places where people can come together in shared space has deep roots in the cultural tradition of Finland. The Suvela Chapel is part of this tradition.&amp;amp;quot;&lt;br /&gt;
&lt;br /&gt;
Suvela Chapel was one of the four finalists for Finlandia Prize in 2016 (which OOPEAA won in 2015 for Puukuokka Housing Block), is amongst the nominated projects for the Mies van der Rohe Award 2017, and was awarded bronze in the American Architecture Prize 2016.&lt;br /&gt;
&lt;br /&gt;
[[File:OOPEAA_Suvela_photos_MarcGoodman_web_14.jpg|link=File:OOPEAA_Suvela_photos_MarcGoodman_web_14.jpg]]&lt;br /&gt;
&lt;br /&gt;
[Image © Marc Goodwin, Archmospheres]&lt;br /&gt;
&lt;br /&gt;
Images and content courtesy of OOPEAA.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Chapel of the Holy Cross, Sedona.&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* [[St._Basil%27s_Cathedral|St. Basil’s Cathedral.]]&lt;br /&gt;
* St Pauls Cathedral.&lt;br /&gt;
* Unusual building design of the week.&lt;br /&gt;
&lt;br /&gt;
[[Category:News]] [[Category:DCN_News]] [[Category:Projects_and_case_studies]] [[Category:DCN_Project_Knowledge]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T18:23:25Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1_straight.jpg|link=File:Chapel_Holy_Cross_1_straight.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| All images copyright George Demetri&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona, which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale.&lt;br /&gt;
&lt;br /&gt;
Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”.&lt;br /&gt;
&lt;br /&gt;
In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T01:01:45Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1_straight.jpg|link=File:Chapel_Holy_Cross_1_straight.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| All images copyright George Demetri&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:59:06Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1_straight.jpg|link=File:Chapel_Holy_Cross_1_straight.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| All images copyright George Demetri&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
=== Related articles on Designing Buildings Wiki ===&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:58:19Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel Holy Cross 1 straight.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| All images copyright George Demetri&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
=== Photography: all images copyright George Demetri ===&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_1_straight.jpg</id>
		<title>File:Chapel Holy Cross 1 straight.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_1_straight.jpg"/>
				<updated>2020-03-24T00:57:36Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Copyright George Demetri&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Copyright George Demetri&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:43:24Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
=== Photography: all images copyright George Demetri ===&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:37:22Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York.&lt;br /&gt;
&lt;br /&gt;
Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross.&lt;br /&gt;
&lt;br /&gt;
Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted.&lt;br /&gt;
&lt;br /&gt;
Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&lt;br /&gt;
&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater.&lt;br /&gt;
&lt;br /&gt;
By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light.&lt;br /&gt;
&lt;br /&gt;
On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:34:48Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil's Cathedral&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:32:53Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil’s Cathedral.&lt;br /&gt;
* St Paul's Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:31:46Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Florence Cathedral.&lt;br /&gt;
* Ljubljana Castle.&lt;br /&gt;
* Loyly, Finland.&lt;br /&gt;
* St. Basil’s Cathedral.&lt;br /&gt;
* St Pauls Cathedral.&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:30:28Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* &amp;lt;br /&amp;gt;&lt;br /&gt;
Florence Cathedral.&lt;br /&gt;
* &amp;lt;br /&amp;gt;&lt;br /&gt;
Ljubljana Castle.&lt;br /&gt;
* &amp;lt;br /&amp;gt;&lt;br /&gt;
, Finland.Loyly&lt;br /&gt;
* &amp;lt;br /&amp;gt;&lt;br /&gt;
St. Basil’s Cathedral.&lt;br /&gt;
* &amp;lt;br /&amp;gt;&lt;br /&gt;
Cathedral.PaulsSt&lt;br /&gt;
* Suvela Chapel.&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:27:22Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_2a_cropped.jpg|link=File:Chapel_Holy_Cross_2a_cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel_Holy_Cross_3.JPG|link=File:Chapel_Holy_Cross_3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior_Chapel_Holy_Cross.jpg|link=File:Interior_Chapel_Holy_Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* [https://www.designingbuildings.co.uk/wiki/Florence_Cathedral Florence Cathedral].&lt;br /&gt;
* [https://www.designingbuildings.co.uk/wiki/Ljubljana_Castle Ljubljana Castle].&lt;br /&gt;
* [https://www.designingbuildings.co.uk/wiki/Loyly,_Finland Loyly, Finland].&lt;br /&gt;
* [https://www.designingbuildings.co.uk/wiki/St._Basil%27s_Cathedral St. Basil’s Cathedral.]&lt;br /&gt;
* [https://www.designingbuildings.co.uk/wiki/St_Pauls_Cathedral St Pauls Cathedral].&lt;br /&gt;
* Suvela Chapel&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:23:21Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:Chapel Holy Cross 2a cropped.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
[[File:Chapel Holy Cross 3.JPG]]&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
[[File:Interior Chapel Holy Cross.jpg]]&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Interior_Chapel_Holy_Cross.jpg</id>
		<title>File:Interior Chapel Holy Cross.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Interior_Chapel_Holy_Cross.jpg"/>
				<updated>2020-03-24T00:22:47Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_3.JPG</id>
		<title>File:Chapel Holy Cross 3.JPG</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_3.JPG"/>
				<updated>2020-03-24T00:21:40Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Copyright George Demetri&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Copyright George Demetri&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_2a_cropped.jpg</id>
		<title>File:Chapel Holy Cross 2a cropped.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_2a_cropped.jpg"/>
				<updated>2020-03-24T00:19:17Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Copyright George Demetri&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Copyright George Demetri&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:14:38Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel_Holy_Cross_1.JPG|link=File:Chapel_Holy_Cross_1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
[[Category:Projects_and_case_studies]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona</id>
		<title>Chapel of the Holy Cross, Sedona</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Chapel_of_the_Holy_Cross,_Sedona"/>
				<updated>2020-03-24T00:13:44Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Created page with &amp;quot;{| | File:Chapel Holy Cross 1.JPG |}  = Introduction =  Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete s...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:Chapel Holy Cross 1.JPG]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Introduction =&lt;br /&gt;
&lt;br /&gt;
Set amid the towering red sandstone buttes of Sedona, Arizona, the Chapel of the Holy Cross is a reinforced concrete structure completed in 1956. It was the brainchild of sculptor and local rancher Marguerite Brunswig Staude who, in 1932, perceived a cross when looking at the newly completed Empire State Building in New York. Her initial sketch, which she showed to Lloyd Wright (son of architect Frank Lloyd Wright) was of a building which was cruciform in plan and elevation. Wright was said to be ‘struck’ by the idea and together they devised a modern 150m-high ‘skyscraper cathedral’ clad in glass and featuring an articulated cross. Wright’s model and plans were to be used as the basis for a building overlooking the Danube in Budapest, Hungary. However, with the start of the Second World War in 1939, Staude’s dream was temporarily thwarted. Undeterred, she subsequently decided to build near her ranch in Oak Creek Canyon, Arizona which offered various dramatic sites for the proposed chapel. Together with architect Anshen &amp;amp;amp; Allen, they decided upon a twin-pinnacled spur 80m-high jutting out of a 300m rock wall which Staude described as being as “solid as the rock of Peter”.&amp;lt;br /&amp;gt;&lt;br /&gt;
However, because the land was government property, an act of Congress was necessary to obtain a deed and permission to build. These were obtained thanks to the intervention of senator Barry Goldwater. By 1954, the drawings and technical specifications for the chapel were completed and in April 1955, the William Simpson Construction Company broke ground. Following its completion in 1956 at a cost of $300,000, the building received the 1957 Award of Honor accolade from the American Institute of Architects.&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
|&lt;br /&gt;
&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Construction =&lt;br /&gt;
&lt;br /&gt;
The building has sloping 300mm-thick sandblasted, course-aggregate, reinforced concrete walls and a sloping roof which result in trapezoidal elevations. Their solidity contrasts with the lightness of the grey-tinted glass on the front and rear elevations which flood the chapel with light. On the front elevation the main feature is the 27.4m-high reinforced concrete cross which serves both structural and aesthetic functions. On the interior, the cross supports both the altar and the Corpus. From the car park at the rear of the building, a long, snaking textured concrete ramp leads visitors to the main entrance which is mostly glazed apart from the aluminium doors. The effect of the sloping roof is to reduce the entrance height to a more human scale. Able to accommodate up to 150 people, the chapel interior comprises a simple palette of concrete walls and polished concrete floor. The surrounding geological formations can be seen through the smoked glass which also serves to reduce glare. A staircase adjacent to the entrance leads down to a shop, confessional, office, two sacristies and services.&lt;br /&gt;
&lt;br /&gt;
= &amp;lt;br /&amp;gt;&lt;br /&gt;
Sculptor and architect collaboration =&lt;br /&gt;
&lt;br /&gt;
Staude wrote subsequently of the chapel:&lt;br /&gt;
&lt;br /&gt;
* “The accomplishment of this dream was made possible when sculptor and architect meet on common ground. The sculptor then became the donor and passed on her vision to the architect who sublimated it in terms of transcendental form. It is now a monolith with the Christian connotation of the one cross...organic to the structure.”&lt;br /&gt;
&lt;br /&gt;
Although of the Catholic faith, Staude intended the chapel to have universal appeal, with its doors “ever...open to one and all, regardless of creed”. In 2007, the Chapel of the Holy Cross was voted by Arizonans as being one of the Seven Man-Made Wonders of Arizona.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_2.JPG</id>
		<title>File:Chapel Holy Cross 2.JPG</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_2.JPG"/>
				<updated>2020-03-24T00:13:15Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Copyright George Demetri&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Copyright George Demetri&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_1.JPG</id>
		<title>File:Chapel Holy Cross 1.JPG</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:Chapel_Holy_Cross_1.JPG"/>
				<updated>2020-03-24T00:11:49Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Copyright George Demetri&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Copyright George Demetri&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:18:35Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at The Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the exhibition alluding to various historical precedents, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is primarily on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structural solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
All photography kindly supplied by The Building Centre, London.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* The Building Centre.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:17:45Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at The Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the exhibition alluding to various historical precedents, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is primarily on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structural solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
All photography kindly supplied by The Building Centre, London.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:16:44Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at The Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the exhibition alluding to various historical precedents, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is primarily on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
All photography kindly supplied by The Building Centre, London.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:13:09Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at The Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
All photography kindly supplied by The Building Centre, London.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:08:56Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at The Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:07:51Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on 27 February 2020. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg|link=File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:06:08Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU_FlatVault_MikaelaBurstow.jpg|link=File:AAU_FlatVault_MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects_FinsburySq_HeleneBinet.jpg|link=File:EricParryArchitects_FinsburySq_HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:CarlSvestedt DelasWinery intwall.photo DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Interior, Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg</id>
		<title>File:CarlSvestedt DelasWinery intwall.photo DanGlasser.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:CarlSvestedt_DelasWinery_intwall.photo_DanGlasser.jpg"/>
				<updated>2020-02-27T15:05:43Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo DanGlasser.&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T15:02:34Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose._TimSoar.jpg|link=File:15ClerkenwellClose._TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, Groupwork, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Flat Vault, AAU Anastas, Israel. Photo © MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:EricParryArchitects FinsburySq HeleneBinet.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:EricParryArchitects_FinsburySq_HeleneBinet.jpg</id>
		<title>File:EricParryArchitects FinsburySq HeleneBinet.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:EricParryArchitects_FinsburySq_HeleneBinet.jpg"/>
				<updated>2020-02-27T15:01:57Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Finsbury Square, London, Eric Parry Architects. Photo ©HeleneBinet&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Finsbury Square, London, Eric Parry Architects. Photo HeleneBinet&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:AAU_FlatVault_MikaelaBurstow.jpg</id>
		<title>File:AAU FlatVault MikaelaBurstow.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:AAU_FlatVault_MikaelaBurstow.jpg"/>
				<updated>2020-02-27T14:59:11Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Mikaela Burstow&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Mikaela Burstow&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:57:01Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt_DelaWinery_DanGlasser.jpg|link=File:CarlSvestedt_DelaWinery_DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:15ClerkenwellClose. TimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DW/index.php%3Ftitle%3DW/index.php%3Ftitle%3DW/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_AAU_FlatVault_MikaelaBurstow.jpg%26action%3Dedit%26redlink%3D1%26action%3Dedit%26redlink%3D1%26action%3Dedit%26redlink%3D1&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:15ClerkenwellClose._TimSoar.jpg</id>
		<title>File:15ClerkenwellClose. TimSoar.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:15ClerkenwellClose._TimSoar.jpg"/>
				<updated>2020-02-27T14:56:44Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: photo tim soar&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;photo tim soar&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:53:53Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:CarlSvestedt DelaWinery DanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DW/index.php%3Ftitle%3DW/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detailTimSoar.jpg%26action%3Dedit%26redlink%3D1%26action%3Dedit%26redlink%3D1&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detailTimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DW/index.php%3Ftitle%3DW/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_AAU_FlatVault_MikaelaBurstow.jpg%26action%3Dedit%26redlink%3D1%26action%3Dedit%26redlink%3D1&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:CarlSvestedt_DelaWinery_DanGlasser.jpg</id>
		<title>File:CarlSvestedt DelaWinery DanGlasser.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:CarlSvestedt_DelaWinery_DanGlasser.jpg"/>
				<updated>2020-02-27T14:53:34Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:52:00Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre CarlSvestedt DelasWineryDanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DW/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detailTimSoar.jpg%26action%3Dedit%26redlink%3D1&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detailTimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DW/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_AAU_FlatVault_MikaelaBurstow.jpg%26action%3Dedit%26redlink%3D1&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:50:36Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre CarlSvestedt DelasWineryDanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detailTimSoar.jpg&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detailTimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=W/index.php%3Ftitle%3DSpecial:Upload%26wpDestFile%3DNewStoneAge_BuildingCentre_AAU_FlatVault_MikaelaBurstow.jpg&amp;amp;action=edit&amp;amp;redlink=1|File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:49:42Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre CarlSvestedt DelasWineryDanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=Special:Upload&amp;amp;wpDestFile=NewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detailTimSoar.jpg|File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detailTimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[w/index.php?title=Special:Upload&amp;amp;wpDestFile=NewStoneAge_BuildingCentre_AAU_FlatVault_MikaelaBurstow.jpg|File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age</id>
		<title>The New Stone Age</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/The_New_Stone_Age"/>
				<updated>2020-02-27T14:48:32Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: Created page with &amp;quot;{| | File:NewStoneAge BuildingCentre CarlSvestedt DelasWineryDanGlasser.jpg |- | Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser. |}  Highlighting the...&amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre CarlSvestedt DelasWineryDanGlasser.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| Delas Freres Winery, France, Carl Fredrik Svenstedt. Photo ©DanGlasser.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Highlighting the benefits of stone for a broad range of structural uses in contemporary construction, the New Stone Age exhibition opened at the Building Centre, London on February 27. The exhibition demonstrated how a material quarried, shaped and used by man for shelter over the past seven millennia may have even more relevance today thanks to newly discovered structural possibilities and environmental credentials.&lt;br /&gt;
&lt;br /&gt;
Traditional and contemporary designers have prized stone for its aesthetic qualities over a broad range of applications, such as for internal and external facings, claddings and flooring. The New Stone Age demonstrates that over and above these uses, stone can also have exciting structural possibilities which can also bring surprising sustainable benefits.&lt;br /&gt;
&lt;br /&gt;
Curated by Amin Taha of Groupwork, Steve Webb of Webb Yates and Pierre Bidaud from The Stonemasonry Company Ltd, the three came together respectively as architect, engineer and craftsman. Together they created a celebration of the benefits of structural stone, some of which may come as a surprise to many. Such as, for example, the minimal processing that is often required between quarrying and installation, thereby minimising the embodied CO2 of the material.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detailTimSoar.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| 15 Clerkenwell Close, London. Photo ©TimSoar.&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
On 15 Clerkenwell Close, the collaboration between Groupwork, Webb Yates and The Stonemasonry Company has resulted in a landmark building with a structural stone exoskeleton that works in tandem with the building’s core and party walls.&lt;br /&gt;
&lt;br /&gt;
In addition to the various historical precedents on display, such as the Parthenon, King’s College Chapel, and the buildings of the 19th century French architect Fernand Pouillon, the emphasis is on elegant contemporary stone structures either completed or on the drawing board. This includes:&lt;br /&gt;
&lt;br /&gt;
* Logements Collectifs, Switzerland, Perraudin Architecture.&lt;br /&gt;
* The Flat Vault, Israel, AAU Anastas.&lt;br /&gt;
* Delas Freres Winery, France, Carl Fredrik Svenstedt.&lt;br /&gt;
* Plainfaing Tourist Office, France, Studio Lada.&lt;br /&gt;
* SGAE Central Office, Spain, Ensamble Studio&lt;br /&gt;
* Finsbury Square, London, Eric Parry Architects.&lt;br /&gt;
&lt;br /&gt;
{|&lt;br /&gt;
| [[File:NewStoneAge BuildingCentre AAU FlatVault MikaelaBurstow.jpg]]&lt;br /&gt;
|-&lt;br /&gt;
| AAU Anastas, Flat Vault, Israel. Photo ©MikaelaBurstow&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
Among the 3D exhibits are a full-scale structural stone floor as a potential replacement for hollow core concrete flooring; while a seemingly ‘floating’ post-tensioned stair developed by the Stonemasonry Company shows how advanced reinforcement techniques born out of research and modelling software can result in novel structurally solutions.&lt;br /&gt;
&lt;br /&gt;
Due to its size, a 12m-long prototype of a pre-tensioned structural limestone floor slab engineered by Webb Yates was located outside the building. The stone’s minimal post-extraction tooling and manufacture is said to give a carbon footprint of just 15% of the hollowcore concrete equivalent at the same cost: cut from the quarry, the limestone was ready for site installation. For a typical 12m floor span, the embodied CO2 is claimed to be:&lt;br /&gt;
&lt;br /&gt;
* Stone 778kg&lt;br /&gt;
* Timber 893kg&lt;br /&gt;
* Concrete 1,929kg&lt;br /&gt;
* Steel 3,230kg.&lt;br /&gt;
&lt;br /&gt;
The exhibition also explored stereotomy, the technique of cutting solids to specific shapes and dimensions. In stonework, one stone can be cut to interlock with its neighbours, thereby creating a stable, monolithic construction that has been used for centuries, particularly for Classical and Renaissance lintels.&lt;br /&gt;
&lt;br /&gt;
It is to be hoped that this exhibition will resonate with architects and engineers long after it closes and remind them of a mostly ignored structural solution that is sure to offer hitherto unexplored structural possibilities. If it achieves this, a new stone age will have truly begun.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Choosing stone.&lt;br /&gt;
* Defects in stonework.&lt;br /&gt;
* Finding stone to conserve historic buildings.&lt;br /&gt;
* Inspecting stone sample panels.&lt;br /&gt;
* Kentish ragstone.&lt;br /&gt;
* Masonry.&lt;br /&gt;
* Modern Stonemasonry.&lt;br /&gt;
* Natural stone cladding.&lt;br /&gt;
* Natural stone for Interiors.&lt;br /&gt;
* Natural stone tiles.&lt;br /&gt;
* Natural stone.&lt;br /&gt;
* Patio stone.&lt;br /&gt;
* Portland Stone.&lt;br /&gt;
* Puddingstone.&lt;br /&gt;
* Roof slates.&lt;br /&gt;
* Sustainable stone.&lt;br /&gt;
* Sourcing stone to repair Exeter Cathedral.&lt;br /&gt;
* Stone dressing.&lt;br /&gt;
* Two New Ludgate Portland Stone Feature Wall&lt;br /&gt;
* Use of Stone in Monks Lantern Weybridge.&lt;br /&gt;
&lt;br /&gt;
&amp;lt;br /&amp;gt;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Category:Construction_techniques]] [[Category:Design]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detail%C2%A9TimSoar.jpg</id>
		<title>File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose detail©TimSoar.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_detail%C2%A9TimSoar.jpg"/>
				<updated>2020-02-27T14:46:50Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: 15ClerkenwellClose_streetview©TimSoar&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;15ClerkenwellClose_streetviewTimSoar&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_AAU_FlatVault_%C2%A9MikaelaBurstow.jpg</id>
		<title>File:NewStoneAge BuildingCentre AAU FlatVault ©MikaelaBurstow.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_AAU_FlatVault_%C2%A9MikaelaBurstow.jpg"/>
				<updated>2020-02-27T14:43:52Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: AAU_FlatVault_©MikaelaBurstow&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;AAU_FlatVault_MikaelaBurstow&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_streetview%C2%A9TimSoar.jpg</id>
		<title>File:NewStoneAge BuildingCentre Groupwork 15ClerkenwellClose streetview©TimSoar.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_Groupwork_15ClerkenwellClose_streetview%C2%A9TimSoar.jpg"/>
				<updated>2020-02-27T14:41:03Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: 15ClerkenwellClose_streetview©TimSoar&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;15ClerkenwellClose_streetviewTimSoar&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_CarlSvestedt_DelasWinery%C2%A9DanGlasser.jpg</id>
		<title>File:NewStoneAge BuildingCentre CarlSvestedt DelasWinery©DanGlasser.jpg</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/File:NewStoneAge_BuildingCentre_CarlSvestedt_DelasWinery%C2%A9DanGlasser.jpg"/>
				<updated>2020-02-27T14:37:13Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: CarlSvestedt_Delas Winery ©DanGlasser.jpg&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;CarlSvestedt_Delas Winery DanGlasser.jpg&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch</id>
		<title>Acoustics Academy launch</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch"/>
				<updated>2020-02-14T10:25:40Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:AcousAcad1.jpg|link=File:AcousAcad1.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Launch =&lt;br /&gt;
&lt;br /&gt;
February 13, 2020 saw the launch of the Acoustics Academy, an online platform which aims to showcase ‘expertly-verified’ acoustic solutions for architects, designers, specifiers, contractors and the wider building sector. Aiming to simplify the complex world of sound design, the platform will cover a wide range of applications, including residential, commercial, industrial, health and education.&lt;br /&gt;
&lt;br /&gt;
The launch took place at the Surface Design Show, London.&lt;br /&gt;
&lt;br /&gt;
= Aim =&lt;br /&gt;
&lt;br /&gt;
Hailed as the “first definitive public-champion platform for third-party, expertly-approved acoustic products and solutions”, the Acoustics Academy will provide the building sector with sound design details that aim to be more accessible and easily understood.&lt;br /&gt;
&lt;br /&gt;
It will also provide specifiers with commentary and insight into the building materials and Quiet Mark-approved products that can offer solutions to the problem of unwanted noise in buildings. This includes like-for-like comparisons and product validations that cover performance, design, sustainability, suitability and cost-effectiveness.&lt;br /&gt;
&lt;br /&gt;
Specifiers can gain an idea of which products and solutions are likely to meet their architectural requirements. This in turn is hoped will encourage them to take more responsibility for creating environments that promote health and well-being. Such environments are even more essential for those with autism, dementia and people of any age with sensitive hearing who may benefit from solutions that protect hearing and prevent hearing loss.&lt;br /&gt;
&lt;br /&gt;
Poppy Szkiler, founder and managing director of Quiet Mark commented: “Acoustics Academy is our new online platform to serve the building sector by further equipping and empowering architects, designers and industry with expert-approved acoustic materials, products and solutions.”&lt;br /&gt;
&lt;br /&gt;
She added: “Our buildings must evolve to embrace responsible sound-design to transform living spaces into harmonious ‘soundscapes’ that deliver excellence in acoustic design and support our desire for quieter living. A property that&amp;lt;br /&amp;gt;&lt;br /&gt;
has been designed acoustically creates a calm environment, reducing stress and supporting mental health.”&lt;br /&gt;
&lt;br /&gt;
[[File:AcoustAcad2.jpg|link=File:AcoustAcad2.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Presentations =&lt;br /&gt;
&lt;br /&gt;
The Acoustics Academy launch event saw presentations from a diverse selection of acoustic experts representing architecture and engineering, design, research and manufacture. Presentations were made by:&lt;br /&gt;
&lt;br /&gt;
* Poppy Szkiler, founder and managing director, Quiet Mark.&lt;br /&gt;
* Colin Ball, lighting director, BDP.&lt;br /&gt;
* Richard Grove, acoustics director, BDP.&lt;br /&gt;
* Oliver Heath, director and biophilic design consultant, Oliver Heath Design.&lt;br /&gt;
* Adrian Passmore, associate director, Arup.&lt;br /&gt;
* Ethan Bourdeau, acoustic standard lead, WELL Building Institute.&lt;br /&gt;
* Shane Cryer, concept developer (education), Saint-Gobain Ecophon.&lt;br /&gt;
* Martin Rawlins, head of UK sales, BASWA Acoustic AG.&lt;br /&gt;
* Nigel Sill, CEO, Enfield Speciality Doors.&lt;br /&gt;
&lt;br /&gt;
= Quiet Mark =&lt;br /&gt;
&lt;br /&gt;
Quiet Mark (QM) is the international approval award programme associated with the UK Noise Abatement Society charitable foundation. QM engages directly with industry, manufacturers, consumers, retailers and influencers, establishing noise-reduction and acoustic design as key considerations in product development. It also educates consumers on the impact of noise in the home environment through new national retailer partnerships with Argos, ASDA, Currys Dixons, John Lewis, Very, Littlewoods and more, presenting a clear, easy way to identify quieter products.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Acoustic consultant.&lt;br /&gt;
* Acoustic design for health and wellbeing.&lt;br /&gt;
* Airborne sound.&lt;br /&gt;
* Approved Document E.&lt;br /&gt;
* Ash deafening.&lt;br /&gt;
* Audio frequency.&lt;br /&gt;
* Acoustic performance.BREEAM&lt;br /&gt;
* Building Bulletin 93: acoustic design of schools.&lt;br /&gt;
* Building regulations.&lt;br /&gt;
* Decibel.&lt;br /&gt;
* Flanking sound.&lt;br /&gt;
* Impact sound.&lt;br /&gt;
* Noise nuisance.&lt;br /&gt;
* Pre-completion sound testing.&lt;br /&gt;
* Reverberation.&lt;br /&gt;
* Robust details certification scheme.&lt;br /&gt;
* Sound absorption.&lt;br /&gt;
* Sound insulation.&lt;br /&gt;
* Sound insulation in dwellings: Part 1: An introduction (GG 83-1).&lt;br /&gt;
* Sound reduction index (SRI).&lt;br /&gt;
* Sound v noise.&lt;br /&gt;
* Structure-borne sound.&lt;br /&gt;
* Suitably Qualified Acoustician.&lt;br /&gt;
&lt;br /&gt;
= External resources =&lt;br /&gt;
&lt;br /&gt;
* [https://www.quietmark.com/building/building-sector Acoustics Academy]&lt;br /&gt;
* [https://www.quietmark.com/ Quiet Mark]&lt;br /&gt;
&lt;br /&gt;
[[Category:Organisations]] [[Category:Products_/_components]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch</id>
		<title>Acoustics Academy launch</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch"/>
				<updated>2020-02-14T10:23:30Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:AcousAcad1.jpg|link=File:AcousAcad1.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Launch =&lt;br /&gt;
&lt;br /&gt;
February 13, 2020 saw the launch of the Acoustics Academy, an online platform which aims to showcase ‘expertly-verified’ acoustic solutions for architects, designers, specifiers, contractors and the wider building sector. Aiming to simplify the complex world of sound design, the platform will cover a wide range of applications, including residential, commercial, industrial, health and education.&lt;br /&gt;
&lt;br /&gt;
The launch took place at the Surface Design Show, London.&lt;br /&gt;
&lt;br /&gt;
= Aim =&lt;br /&gt;
&lt;br /&gt;
Hailed as the “first definitive public-champion platform for third-party, expertly-approved acoustic products and solutions”, the Acoustics Academy will provide the building sector with sound design details that aim to be more accessible and easily understood.&lt;br /&gt;
&lt;br /&gt;
It will also provide specifiers with commentary and insight into the building materials and Quiet Mark-approved products that can offer solutions to the problem of unwanted noise in buildings. This includes like-for-like comparisons and product validations that cover performance, design, sustainability, suitability and cost-effectiveness.&lt;br /&gt;
&lt;br /&gt;
Specifiers can gain an idea of which products and solutions are likely to meet their architectural requirements. This in turn is hoped will encourage them to take more responsibility for creating environments that promote health and well-being. Such environments are even more essential for those with autism, dementia and people of any age with sensitive hearing who may benefit from solutions that protect hearing and prevent hearing loss.&lt;br /&gt;
&lt;br /&gt;
Poppy Szkiler, founder and managing director of Quiet Mark commented: “Acoustics Academy is our new online platform to serve the building sector by further equipping and empowering architects, designers and industry with expert-approved acoustic materials, products and solutions.”&lt;br /&gt;
&lt;br /&gt;
She added: “Our buildings must evolve to embrace responsible sound-design to transform living spaces into harmonious ‘soundscapes’ that deliver excellence in acoustic design and support our desire for quieter living. A property that&amp;lt;br /&amp;gt;&lt;br /&gt;
has been designed acoustically creates a calm environment, reducing stress and supporting mental health.”&lt;br /&gt;
&lt;br /&gt;
[[File:AcoustAcad2.jpg|link=File:AcoustAcad2.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Presentations =&lt;br /&gt;
&lt;br /&gt;
The Acoustics Academy launch event saw presentations from a diverse selection of acoustic experts representing architecture and engineering, design, research and manufacture. Presentations were made by:&lt;br /&gt;
&lt;br /&gt;
* Poppy Szkiler, founder and managing director, Quiet Mark.&lt;br /&gt;
* Colin Ball, lighting director, BDP.&lt;br /&gt;
* Richard Grove, acoustics director, BDP.&lt;br /&gt;
* Oliver Heath, director and biophilic design consultant, Oliver Heath Design.&lt;br /&gt;
* Adrian Passmore, associate director, Arup.&lt;br /&gt;
* Ethan Bourdeau, acoustic standard lead, WELL Building Institute.&lt;br /&gt;
* Shane Cryer, concept developer (education), Saint-Gobain Ecophon.&lt;br /&gt;
* Martin Rawlins, head of UK sales, BASWA Acoustic AG.&lt;br /&gt;
* Nigel Sill, CEO, Enfield Speciality Doors.&lt;br /&gt;
&lt;br /&gt;
= Quiet Mark =&lt;br /&gt;
&lt;br /&gt;
Quiet Mark (QM) is the international approval award programme associated with the UK Noise Abatement Society charitable foundation. QM engages directly with industry, manufacturers, consumers, retailers and influencers, establishing noise-reduction and acoustic design as key considerations in product development. It educates consumers on the impact of noise in the home environment through new national retailer partnerships with Argos, ASDA, Currys Dixons, John Lewis, Very, Littlewoods and more, presenting a clear, easy way to identify quieter products.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Acoustic consultant.&lt;br /&gt;
* Acoustic design for health and wellbeing.&lt;br /&gt;
* Airborne sound.&lt;br /&gt;
* Approved Document E.&lt;br /&gt;
* Ash deafening.&lt;br /&gt;
* Audio frequency.&lt;br /&gt;
* Acoustic performance.BREEAM&lt;br /&gt;
* Building Bulletin 93: acoustic design of schools.&lt;br /&gt;
* Building regulations.&lt;br /&gt;
* Decibel.&lt;br /&gt;
* Flanking sound.&lt;br /&gt;
* Impact sound.&lt;br /&gt;
* Noise nuisance.&lt;br /&gt;
* Pre-completion sound testing.&lt;br /&gt;
* Reverberation.&lt;br /&gt;
* Robust details certification scheme.&lt;br /&gt;
* Sound absorption.&lt;br /&gt;
* Sound insulation.&lt;br /&gt;
* Sound insulation in dwellings: Part 1: An introduction (GG 83-1).&lt;br /&gt;
* Sound reduction index (SRI).&lt;br /&gt;
* Sound v noise.&lt;br /&gt;
* Structure-borne sound.&lt;br /&gt;
* Suitably Qualified Acoustician.&lt;br /&gt;
&lt;br /&gt;
= External resources =&lt;br /&gt;
&lt;br /&gt;
* [https://www.quietmark.com/building/building-sector Acoustics Academy]&lt;br /&gt;
* [https://www.quietmark.com/ Quiet Mark]&lt;br /&gt;
&lt;br /&gt;
[[Category:Organisations]] [[Category:Products_/_components]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch</id>
		<title>Acoustics Academy launch</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch"/>
				<updated>2020-02-14T10:14:17Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:AcousAcad1.jpg|link=File:AcousAcad1.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Launch =&lt;br /&gt;
&lt;br /&gt;
February 13, 2020 saw the launch of the Acoustics Academy, an online platform which aims to showcase ‘expertly-verified’ acoustic solutions for architects, designers, specifiers, contractors and the wider building sector. Aiming to simplify the complex world of sound design, the platform will cover a wide range of applications, including residential, commercial, industrial, health and education.&lt;br /&gt;
&lt;br /&gt;
= Aim =&lt;br /&gt;
&lt;br /&gt;
Hailed as the “first definitive public-champion platform for third-party, expertly-approved acoustic products and solutions”, the Acoustics Academy will provide the building sector with sound design details that aim to be more accessible and easily understood.&lt;br /&gt;
&lt;br /&gt;
It will also provide specifiers with commentary and insight into the building materials and Quiet Mark-approved products that can offer solutions to the problem of unwanted noise in buildings. This includes like-for-like comparisons and product validations that cover performance, design, sustainability, suitability and cost-effectiveness.&lt;br /&gt;
&lt;br /&gt;
Specifiers can gain an idea of which products and solutions are likely to meet their architectural requirements. This in turn is hoped will encourage them to take more responsibility for creating environments that promote health and well-being. Such environments are even more essential for those with autism, dementia and people of any age with sensitive hearing who may benefit from solutions that protect hearing and prevent hearing loss.&lt;br /&gt;
&lt;br /&gt;
Poppy Szkiler, founder and managing director of Quiet Mark commented: “Acoustics Academy is our new online platform to serve the building sector by further equipping and empowering architects, designers and industry with expert-approved acoustic materials, products and solutions.”&lt;br /&gt;
&lt;br /&gt;
She added: “Our buildings must evolve to embrace responsible sound-design to transform living spaces into harmonious ‘soundscapes’ that deliver excellence in acoustic design and support our desire for quieter living. A property that&amp;lt;br /&amp;gt;&lt;br /&gt;
has been designed acoustically creates a calm environment, reducing stress and supporting mental health.”&lt;br /&gt;
&lt;br /&gt;
[[File:AcoustAcad2.jpg|link=File:AcoustAcad2.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Presentations =&lt;br /&gt;
&lt;br /&gt;
The Acoustics Academy launch event, held at the Surface Design Show, London, saw presentations from a diverse selection of acoustic experts representing architecture and engineering, design, research and manufacture. Presentations were made by:&lt;br /&gt;
&lt;br /&gt;
* Poppy Szkiler, founder and managing director, Quiet Mark.&lt;br /&gt;
* Colin Ball, lighting director, BDP.&lt;br /&gt;
* Richard Grove, acoustics director, BDP.&lt;br /&gt;
* Oliver Heath, director and biophilic design consultant, Oliver Heath Design.&lt;br /&gt;
* Adrian Passmore, associate director, Arup.&lt;br /&gt;
* Ethan Bourdeau, acoustic standard lead, WELL Building Institute.&lt;br /&gt;
* Shane Cryer, concept developer (education), Saint-Gobain Ecophon.&lt;br /&gt;
* Martin Rawlins, head of UK sales, BASWA Acoustic AG.&lt;br /&gt;
* Nigel Sill, CEO, Enfield Speciality Doors.&lt;br /&gt;
&lt;br /&gt;
= Quiet Mark =&lt;br /&gt;
&lt;br /&gt;
Quiet Mark (QM) is the international approval award programme associated with the UK Noise Abatement Society charitable foundation. QM engages directly with industry, manufacturers, consumers, retailers and influencers, establishing noise-reduction and acoustic design as key considerations in product development. It educates consumers on the impact of noise in the home environment through new national retailer partnerships with Argos, ASDA, Currys Dixons, John Lewis, Very, Littlewoods and more, presenting a clear, easy way to identify quieter products.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* Acoustic consultant.&lt;br /&gt;
* Acoustic design for health and wellbeing.&lt;br /&gt;
* Airborne sound.&lt;br /&gt;
* Approved Document E.&lt;br /&gt;
* Ash deafening.&lt;br /&gt;
* Audio frequency.&lt;br /&gt;
* Acoustic performance.BREEAM&lt;br /&gt;
* Building Bulletin 93: acoustic design of schools.&lt;br /&gt;
* Building regulations.&lt;br /&gt;
* Decibel.&lt;br /&gt;
* Flanking sound.&lt;br /&gt;
* Impact sound.&lt;br /&gt;
* Noise nuisance.&lt;br /&gt;
* Pre-completion sound testing.&lt;br /&gt;
* Reverberation.&lt;br /&gt;
* Robust details certification scheme.&lt;br /&gt;
* Sound absorption.&lt;br /&gt;
* Sound insulation.&lt;br /&gt;
* Sound insulation in dwellings: Part 1: An introduction (GG 83-1).&lt;br /&gt;
* Sound reduction index (SRI).&lt;br /&gt;
* Sound v noise.&lt;br /&gt;
* Structure-borne sound.&lt;br /&gt;
* Suitably Qualified Acoustician.&lt;br /&gt;
&lt;br /&gt;
= External resources =&lt;br /&gt;
&lt;br /&gt;
* [https://www.quietmark.com/building/building-sector Acoustics Academy]&lt;br /&gt;
* [https://www.quietmark.com/ Quiet Mark]&lt;br /&gt;
&lt;br /&gt;
[[Category:Organisations]] [[Category:Products_/_components]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	<entry>
		<id>https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch</id>
		<title>Acoustics Academy launch</title>
		<link rel="alternate" type="text/html" href="https://www.designingbuildings.co.uk/wiki/Acoustics_Academy_launch"/>
				<updated>2020-02-14T10:10:37Z</updated>
		
		<summary type="html">&lt;p&gt;George Demetri: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;{|&lt;br /&gt;
| [[File:AcousAcad1.jpg|link=File:AcousAcad1.jpg]]&lt;br /&gt;
|}&lt;br /&gt;
&lt;br /&gt;
= Launch =&lt;br /&gt;
&lt;br /&gt;
February 13, 2020 saw the launch of the Acoustics Academy, an online platform which aims to showcase ‘expertly-verified’ acoustic solutions for architects, designers, specifiers, contractors and the wider building sector. Aiming to simplify the complex world of sound design, the platform will cover a wide range of applications, including residential, commercial, industrial, health and education.&lt;br /&gt;
&lt;br /&gt;
= Aim =&lt;br /&gt;
&lt;br /&gt;
Hailed as the “first definitive public-champion platform for third-party, expertly-approved acoustic products and solutions”, the Acoustics Academy will provide the building sector with sound design details that aim to be more accessible and easily understood.&lt;br /&gt;
&lt;br /&gt;
It will also provide specifiers with commentary and insight into the building materials and Quiet Mark-approved products that can offer solutions to the problem of unwanted noise in buildings. This includes like-for-like comparisons and product validations that cover performance, design, sustainability, suitability and cost-effectiveness.&lt;br /&gt;
&lt;br /&gt;
Specifiers can gain an idea of which products and solutions are likely to meet their architectural requirements. This in turn is hoped will encourage them to take more responsibility for creating environments that promote health and well-being. Such environments are even more essential for those with autism, dementia and people of any age with sensitive hearing who may benefit from solutions that protect hearing and prevent hearing loss.&lt;br /&gt;
&lt;br /&gt;
Poppy Szkiler, founder and managing director of Quiet Mark commented: “Acoustics Academy is our new online platform to serve the building sector by further equipping and empowering architects, designers and industry with expert-approved acoustic materials, products and solutions.”&lt;br /&gt;
&lt;br /&gt;
She added: “Our buildings must evolve to embrace responsible sound-design to transform living spaces into harmonious ‘soundscapes’ that deliver excellence in acoustic design and support our desire for quieter living. A property that&amp;lt;br /&amp;gt;&lt;br /&gt;
has been designed acoustically creates a calm environment, reducing stress and supporting mental health.”&lt;br /&gt;
&lt;br /&gt;
[[File:AcoustAcad2.jpg]]&lt;br /&gt;
&lt;br /&gt;
= Presentations =&lt;br /&gt;
&lt;br /&gt;
The Acoustics Academy launch event, held at the Surface Design Show, London, saw presentations from a diverse selection of acoustic experts representing architecture and engineering, design, research and manufacture. Presentations were made by:&lt;br /&gt;
&lt;br /&gt;
* Poppy Szkiler, founder and managing director, Quiet Mark.&lt;br /&gt;
* Colin Ball, lighting director, BDP.&lt;br /&gt;
* Richard Grove, acoustics director, BDP.&lt;br /&gt;
* Oliver Heath, director and biophilic design consultant, Oliver Heath Design.&lt;br /&gt;
* Adrian Passmore, associate director, Arup.&lt;br /&gt;
* Ethan Bourdeau, acoustic standard lead, WELL Building Institute.&lt;br /&gt;
* Shane Cryer, concept developer (education), Saint-Gobain Ecophon.&lt;br /&gt;
* Martin Rawlins, head of UK sales, BASWA Acoustic AG.&lt;br /&gt;
* Nigel Sill, CEO, Enfield Speciality Doors.&lt;br /&gt;
&lt;br /&gt;
= Quiet Mark =&lt;br /&gt;
&lt;br /&gt;
Quiet Mark (QM) is the international approval award programme associated with the UK Noise Abatement Society charitable foundation. QM engages directly with industry, manufacturers, consumers, retailers and influencers, establishing noise-reduction and acoustic design as key considerations in product development. It educates consumers on the impact of noise in the home environment through new national retailer partnerships with Argos, ASDA, Currys Dixons, John Lewis, Very, Littlewoods and more, presenting a clear, easy way to identify quieter products.&lt;br /&gt;
&lt;br /&gt;
= Related articles on Designing Buildings Wiki =&lt;br /&gt;
&lt;br /&gt;
* [https://www.quietmark.com/building/building-sector Acoustics Academy]&lt;br /&gt;
* Acoustic consultant.&lt;br /&gt;
* Acoustic design for health and wellbeing.&lt;br /&gt;
* Airborne sound.&lt;br /&gt;
* Approved Document E.&lt;br /&gt;
* Ash deafening.&lt;br /&gt;
* Audio frequency.&lt;br /&gt;
* Acoustic performance.BREEAM&lt;br /&gt;
* Building Bulletin 93: acoustic design of schools.&lt;br /&gt;
* Building regulations.&lt;br /&gt;
* Decibel.&lt;br /&gt;
* Flanking sound.&lt;br /&gt;
* Impact sound.&lt;br /&gt;
* Noise nuisance.&lt;br /&gt;
* Pre-completion sound testing.&lt;br /&gt;
* [https://www.quietmark.com/ Quiet Mark]&lt;br /&gt;
* Reverberation.&lt;br /&gt;
* Robust details certification scheme.&lt;br /&gt;
* Sound absorption.&lt;br /&gt;
* Sound insulation.&lt;br /&gt;
* Sound insulation in dwellings: Part 1: An introduction (GG 83-1).&lt;br /&gt;
* Sound reduction index (SRI).&lt;br /&gt;
* Sound v noise.&lt;br /&gt;
* Structure-borne sound.&lt;br /&gt;
* Suitably Qualified Acoustician.&lt;br /&gt;
&lt;br /&gt;
[[Category:Organisations]] [[Category:Products_/_components]]&lt;/div&gt;</summary>
		<author><name>George Demetri</name></author>	</entry>

	</feed>