With irreverent apologies to Joe Cocker – who lays that number down so smoothly (Ha! Joe and smooth in the same sentence)  that anyone would be dissuaded from total abandonment…

Base form ready to pour

When we create integral sinks in a single wet cast pour, that is, using a very flowable concrete which fills the form and self-levels, it is necessary to work with a form that is watertight and able to withstand the significant hydraulic pressure to which it is subjected. If you incur what is termed a “blowout” in the middle of a pour, it is difficult, if not impossible, to salvage the moment and all the effort of building that single-use mold is lost. Back to square one; not a pleasant situation and certainly not a profitable one to those in the biz. It has happened to everyone at some time. It’s a lesson which is learned rather quickly and stashed away in the “never gonna skip that step again” files…

Hat form in place atop base

When doing a three dimensional pour such as an integral sink bowl (or two!) built into a concrete countertop, a two part form is constructed. The lower form might be termed the base, the upper is often called a hat or cap form. Both are built carefully ahead of time, mated to each other and shaped/caulked/drilled so that they are completely ready to be pressed into service as the pour commences.  Nota bene: Wet concrete waits for no man – so there are no opportunities to insert a missing step while in the heat of the moment. The lower base form is filled with the fresh concrete to its upper edge, vibrated for consolidation and air removal, and the hat mold lifted into place and screwed down quickly. Then the sink cavity (all upside down and backwards remember!) is filled to its upper extremity, consolidated, and the pour is wrapped up. Performing this process with two discrete colors makes it even more challenging, as one need to be careful not to contact any errant surfaces which would muddy the transition. This creates a very unique look however, possible only with the dynamism of precast concrete. A current project (showcased here) was cast in a dark grass green pigment for the body of the concrete countertop and snow white rectangular sink bowls. Definitely NOT “off the shelf”.

Hat form's white concrete placed

The resulting bi-color casting

Concrete contraption

I have plans. They’re not grandiose or even far-reaching. Some might characterize them as pedestrian. But at least they’re mine. Dream a little dream, said Mama Cass.

Well, I’ve been spending a little (very slight exaggeration) time out in blog world, reading my webby friends and acquaintances periodic  feats of penmanship, and thinking to myself (which is where I do most of my thinking, come to think of it) – “I need to do something a little more useful and expansive with this blog of Concrete Detail” or something along those lines. I have had some helpful and encouraging discussions on the subject with a few confidantes and we (the royal we) are in the early stages of reformatting and reformulating this mouthpiece of  concrete communication. I would like it to be not only a means of presenting the craft of concrete countertops, but a look around at some of the other topics that inform our day-to-day operations and also some of the more esoteric influences that might underlie the mindset of this individual artisan. Warning: still waters may run deep. Or not.

I like writing. So maybe this is just an excuse, a convenience of permission. There is a horde of technical necessities to wade through (this, for a member of the IT-illiterati), much less the always looming content issue – what’s the drivel du jour? – but we’ll cross that boondoggle when we come to it. OK – so there’s that. Tally-ho!

Goodness, where does the time go?   *mumbling*  “I’m late, I’m late – for a very important date!” – The White Rabbit.  And so, I return to the blog with an overdue post on our latest work (there’s been a slew of it lately):

We have just completed a seven foot long double bowl vanity for a home’s master bath in Wilmington, Vermont. The owners wanted to evoke a slightly woodsy feel with the room, which is set in the lushly forested foothills of the Green Mountains near a small lake. The walls are painted a leafy green; the cabinetry is constructed of maple stained with an orange-y finish; the ceramic tile floor is white. We decided to run with a neutral palette on the countertop and sink bowls, to calm the wash area and allow it to stand as an element on its own – not competing with the other colors present in the setting.

The top itself is cast in our “Bone” palette choice, which is what we have dubbed our natural white portland mixed with native sand and gravel – this throws the color of the pure white cement into a gray/tan off-white tone. The sink bowls (round vessels recessed halfway into the top to keep the finish height workable) are cast in “Fog”, which is a silver-gray shade with a slight touch of blue in it. The sinks were cast in a two part fiberglass mold in order to yield a finely finished interior and exterior, as both are visible. The forest theme is implemented with relief impressions of maple and oak leaves cast into the top, replete with veins and small undulations. The leaf images were the result of hand brushed latex copies of real leaves that had been cast in plaster to create a negative, which was then reversed using the rubber copy. The rubber makes a clean reproduction in concrete and releases easily when the forms are stripped to reveal the hardened concrete surface.

A last detail (another facet of the nature theme)  is the heavily ground edge of the top, the backsplash, and the sink rims. This exposes the native aggregate inside the concrete matrix to lend contrast with the more uniform polished planes and adds specks of color and shape to the strong geometry of the assembled installation. Setting the faucets off to the right side of the bowls allows easier access by the users and a welcome assymetry to the composition. The entire project is sealed with our new sealing system by Innovative Concrete Technologies, of which we are quite proud. It is a lithium silicate based treatment, which actually densifies the concrete surface to a point where it is difficult for liquids and staining agents to even penetrate the concrete. It is water-based and actually gains in effectiveness over time! Not sure I can make the same claim of myself…

Art Underfoot

We’re just wrapping up another facet of the studio relocation to the Book Press building: the new office/showroom space. A 14 x 20 area was partitioned out of the 4800 sq. ft. shop to create a dust-free and “quieter” administrative workspace and display area for our concrete countertops and other cast architectural elements. We approached the project with an intention of honoring the hard-working past by giving it a new task: providing a textural counterpoint to the displays of finely finished artisan concrete which we will showcase there in the coming months.

The pre-existing  40 year old concrete slab floor was in pretty rough shape from its former life as a printing factory – gouges, drilled holes, layers of grease, ink, solvents, oil, and other nastiness had left their industrial mark. We scraped and scrubbed off the topmost layers, then rented a diamond floor grinder to get down to the raw concrete in preparation for staining it with a wash of transparent colors. We removedabout 60 pounds of concrete dust with the machine and an attached vacuum, exposing the aggregate to varying degrees in the process. Then multiple washes and wet-vaccing to clean up all residue before we spray applied 5 shades of water-based stain to create a vivid organic land/waterscape, sealed with a satin floor sealer. The result is a walkable canvas – what we call “Art Underfoot” – which will set the space apart as befits its purpose and “wow” our visitors with implications of concrete possibilities. Stop in and check it out!

A long absence from concrete countertop blogging, engendered by a protracted business relocation, is nearly over. No new posts since early December – wow! But now, six or seven weeks later, the shop is fully shifted and is now morphing back into production as we unpack boxes and crates and attempt to get the office/showroom into the same condition. We have been working the customer relations end from the old location at the Cotton Mill, waiting for the new office build-out to be completed – with mixed success; apologies to our clients and contacts who have been caught in the fallout. The new showroom plans include an overlayed and acid-stained floor!

Several concrete countertop projects have transpired in the interim and pictures and descriptions are long overdue. I hope to remedy that soon with updated posts and accompanying photos showcasing our latest work, including two more kitchens, a couple of vanity tops, a fireplace surround ensemble, restaurant tabletops and countertops, and others. Many more are in the wings as we begin to enjoy our new space and settle into a more efficient and productive studio workspace at the Book Press building in Brattleboro’s north end. Stay tuned, please!

Concrete countertops epitomize customization – and that’s the truth. No other material can be manipulated and personalized to the same degree. It’s the almost-magical phase change from liquid to solid that enables this opportunity; the artisan can work with and through the material to accomplish their design goals, be they straightforward or fantastical. Add to that the endless combinations of particular aspects such as color, shape, texture, dimension, amalgamation and the possibilities become limitless.

One example of the chameleon properties of artisan concrete countertops is the ability to coax several surface appearances from the same base. When concrete is turned out of the form, it has a solid, somewhat homogenous appearnance characterized by pigmented “cream”, the pure binder paste of cement and fines that line the face of the mold upon compaction in the pouring process. Lurking just below the surface are the aggregates that lend their strength to the matrix: first the sand grains and then the coarser particles, such as crushed stone or glass. The fabricator artist can reveal these at will, by varying the amount of grinding and polishing on the various faces of the piece. We have had a run lately (instigated by my friends in Putney) of what we term a light sand finish on the working countertop face, contrasted with a heavy grind on the vertical front edges. The subtle mottling and sparkle of the filled and polished worktop is set off by the multi-colored diamond ground profile of the counter’s edge, accented by a thin bevel where they meet. No other material can match this striking combination. Which is why we love what we do…

Does every blog entry require crisp photographs, maps and charts, or even links to other “relevant” content? Well, probably. At least the posting pundits and interweb wags would have it that way. But, I’m going rogue – at least briefly. Perhaps it’s just becasue I don’t feel like uploading another batch of pixels…

Concrete Detail is moving its concrete countertop studio to the BookPress building on the north end of the bustling burg of Brattleboro, Vermont. In two weeks. Are we looking forward to this transpiration of events? Yes and no: yes, because we will gain on several (or I should say many) fronts. More space, better space, cheaper space; better access for inbound and outbound materials and products; private entrance, showroom, room for expansion, synergistic neighbors, oh… I could go on and on.

No, because we have to schlep our worldly goods (after we sort through and fill several dustbins) piece by piece from one corner of town to another. I know, stop whining and get over it… OK, I’m over it. It’s all good.

Here we grow!

A little revisit to a recent concrete countertop project helps to demonstrate the rationale and inspiration behind some of the design decisions that we make when contemplating an upcoming project.  Always a collaboration, of course, between artisan and client – the concrete results incorporate the designer, the owners and their respective environment, be it a home or business.

In this particular case, we knew that the kitchen remodel included a multi-colored slate tile backsplash and the existing natural cherry custom cabinetry. The situation required a little thought about the proper means of tying this together. we opted for a subtle gray/green sage base color for the countertop, with some black sand (recycled coal slag!) added for texture, and a series of one inch square glass mosaic tiles, backpainted in tones to coordinate with the slate’s amazing range of color. These were arranged in a fourquare pattern and embedded at three different locations in the tops. Seen in context, it all makes perfect sense. And that’s why we love what we do – reasons to be cheerful.

Concrete Detail has planning a move to new quarters in a different area of Brattleboro, Vermont which is our base of operations. We are in a 1700 sq.ft. shop right now, part of an old textile mill near the Connecticut River on the south end of town. The property is owned and administered by BDCC as an incubator space to encourage new and growing businesses. They are great landlords and friends.

They also own a former printing facility on the north end of town which we have had our eyes on for awhile. A very large complex, there is a plethora of wonderful space there just begging to be used for cool creative businesses. We are beginning the buildout of our new space, taking 2400 sq.ft. for now (a 30% expansion) and an option for 2400 more, down the road. We will be moving into  true industrial space, 16 ft. ceilings, no obstructions, concrete floors (we’re on wood flors currently, which is a problem for water management),  and lots of very nice access. The slab is being cut in the next couple days to install drainage for our wet processes. Then wiring, some more walls, doors and windows and we can move in (and pay for it!). A little nerve-wracking, but very exciting. The future’s so bright…

Foursquare tiles in Sage

We installed a simple, elegant concrete countertop recently in a peaceful hilltop home in western Massachusetts home which amply demonstrates the “less is more” principle. While one can accomplish  many design concepts through the concrete medium, it requires restraint and a discerning eye to draw on the appropriate techniques and options to create an element that “belongs” and that works with the surroundings, instead of clamoring for attention. This is a deliberate response to the environment and to the dwellers within… A true collaboration of the conceptual and the corporeal.

This project was a change-out of countertops, appliances, sink and fixtures, and a new backsplash. The existing cabinets were handmade of cherry and had aged to the quintessential  orangey-brown that gives cherry its great warmth. The appliances were black with stainless steel; the undermounted Blanco granite composite sink was matte black; the  accompanying fixtures chosen in brushed stainless finish; and the new backsplash was to be a multi-colored rainbow slate.

The concrete countertop base color choice was “Sage”, a soft gray/green that went exceptionally well with the cherry wood. A nice dose of fine black sand was added and lightly ground to add texture and draw in the appliance and sink components. A series of  backpainted glass mosaic tiles in a foursquare pattern was embedded at three different locations, eanch tile a different color suggested by the slate backsplash tiles (still to be installed). A simple eased square edge and a matte sealer finish completed the collage, and a new concrete countertop was subtly inserted into the picture, part and parcel by intent.

PS – Hopefully we will have some additional finished images of the  big picture after the splash is completed and the whole project wrapped up. Stay tuned!