The House is rarely built completely in stonewall thicknesses, but the stone material is typically used to provide quality and value to the architectural details of a project such as skirting boards, window frames, cantonal or doors, thresholds of windowsills, railings, balconies and shelves.
These details help to elevate the building to a superior quality; of course, the attention to detail is integrated with the insertion context, having greater sensitivity when designing in carefully consider environmental and morphological aspects of the surrounding urban fabric.
The skirtings are placed primarily on external wall surfaces that are covered in full or partial way depending on the needs of the designer and the customer's requests.
The sealing between the plates work well when they are placed vertically in order to promote scrolling and rainwater runoff. Horizontal or inclined surfaces, on the other hand, it is preferable to adopt collection ducts having a slope, where, sticking to the inside, allow the creation of a drip pan to remove and detach from the wall surface rainwater that otherwise would fall on the ground creating bounce phenomena harmful to their long-term degradation on base building structures.
The attention to detail was much greater in ancient times, until the Renaissance during the realisation of the projects the details had an importance equal to or greater than the load-bearing structures. The comparison with modern architecture shows that the quality of the project has been moved more in technological aspect with respect to the accurate architectural detail system that conferred prestige on facades of buildings.
A significant example of this ancient/modern report is the comparison of Palazzo Castiglioni in Milan Corso Venezia (Figure 1), where it is more accentuated the quality of execution, and the Louvre Museum in Paris (Figure 2), where it is treated more technological appearance. In both, however, shows that the key lies on the quality of architectural design.
In the project of Mies Van Der Rohe's Barcelona Pavilion of 1929, there is a careful blend of products and industrially processed elements and careful correlation of items on different pages that characterize different views and feelings.
The Pavilion was built in 1928-29, as a temporary structure for the international exhibition in Barcelona and had a celebratory function of representing the emerging values of the new Germany keen to put more distance between itself and its imperialist past that now no longer belonged politically. The Pavilion thus had to project an image of openness, liberality, modernity and power.
It was brilliantly designed and resolved by Mies van Der Rohe that Blake laid down a base over eight-shaped chrome-plated steel uprights. In this context, the use of materials was not accompanied by an ideology of economic savings, but were fine and expensive materials used such as Onyx and marble walls, painted glass semi reflective, stainless steel and travertine.
The feelings that came from the structure were different and powerful from various viewpoints; the structure seemed to float on the water, having the base of the roof light and perfectly parallel with the water immediately places out of coverage.
The plan of the Pavilion was reading like a abstract framework with weight that ranged through an intense pace of new spaces and floors.
Moving on stone surfaces, cut with absolute precision, establish an almost solemn, as the game of reflections from water on glass surfaces and Steel Community introduces a Mercurial and sublime quality. (Figure 3)
From this example of sublime relationship between architecture, space and sensations created by the project shows how contemporary architecture designers have lost the ability to customize and make unique construction details, overwhelmed by the need of building density strangling our cities now dilapidated buildings and saturated with no personality and recognizable architectural style.
To recreate the relationship between person and place in which it moves, should be cared for the base, the outlines and borders, particularly in the houses of the city; paying greater attention also in coatings, in the proportions and shapes using new construction techniques linear current and increasingly sophisticated.
In the Renaissance were often used mythological figures or human figures to characterise the construction details of the buildings; an example is the Renaissance palace Omenoni, Milan where human figures seem to support the upper cornice, actually supported by little capital behind them. (Figure 4)
The stone is not a suitable material to be used as support for shelves or balconies, since most of the rocks has loads of compression fracture between 1000 and 2000 kg per square centimeter, while their flexural strength is on average around 100 – 200 kg per square centimeter.