Bayreuth Instead of Verona

Building design
COVID-19 Restrictions: Steffen, Managing Director of Burkhardt-Löffler

An Enormously Diverse Range of Presentations

On October 2, Burkhardt-Löffler hosted its first joint in-house exhibition with Weha. According to Weha Managing Director Stefan Deschler, 85 participants had registered for the event. At the in-house exhibition, which was organized on short notice, they were able to see new machine developments in person—as well as other innovations.

Featuring large machines from Burkhardt-Löffler across all segments of stone processing—all equipped with Weha tools—the open house perfectly showcased the synergies of the new partnership. In addition, Weha presented several small machines, transport equipment, and transport vehicles from its product range. Finally, Akemi, as the third partner, contributed to the event’s success with a demonstration of its product line.

In the October issue of STEIN 10/20, we had already reported that Burkhardt-Löffler had previously issued explicit invitations to machine demonstrations and plant tours in smaller groups at its company locations in Bayreuth and Langenaltheim. With the major event in early October, the machine manufacturer, together with its new partner Weha, has now provided an important additional boost to stimulate the capital goods business.

Particular interest was focused on the Powerjet 3D waterjet system with its newly developed cutting head—especially because the machine could be seen in action throughout the day. In addition, software developer Benedikt Maiser presented the company’s proprietary calibration unit, which can be used to determine the perfect Tool Center Point (TCP). The measuring device compensates for the wobble error of the C-axis and determines the exact distance to the focusing tube.

“We then know exactly how many millimeters we need to compensate in each direction—that is, along the X, Y, and Z axes,” explains Maiser. He uses this to set up the Powerjet 3D at the factory before shipment; later, the calibration unit will be needed at most one more time, if the machine is moved or if the customer has caused a crash.

In any case, customers appreciate being able to bring their materials in before purchasing a machine and have the process of cutting them demonstrated to them in detail. Based on the customer’s information and the material, Maiser and his colleagues can then make recommendations regarding a wide range of system parameters: from the focus tube and nozzle size and type, to the sand quantity and type, to the pump pressure.

Purchasing Manager Michael Hannweber adds, with regard to the waterjet machine, that the in-house-developed cutting head is particularly impressive due to its hollow-shaft gearbox. This allows the electrical system and high-pressure lines to be routed directly into the 3-D head, eliminating the need for a tubular spiral or a slip ring rotary feedthrough for the electrical signals.

Other major attractions for visitors included, on the one hand, the BAZ 2000 machining center, which, according to Burkhardt-Löffler, has revolutionized the concept of machining centers with its automatic suction cup positioning and loading, and, on the other hand, the KSL 80 automatic table-edge processing machine. Here, Weha showcased its magnetic clamping system, which has been tried and tested for more than 30 years; it now features three magnets and stands out from competing products in that the VA buttons of the very quick-release three-point clamping mechanism are attached to the base plate rather than to the tool.

In addition, Burkhardt-Löffler exhibited the LDZ 2000 K for the first time—a compact swivel-head saw with a monoblock design developed jointly with its partner Weha, which we had already introduced in STEIN 10/2020. This compact machine can be installed even in workshops with limited space. At the in-house exhibition, the machine was demonstrated with the 400/60 UNIV-2 natural stone diamond cutting blade.

In addition, Weha recommends its two new 400-series blades, Pro-Q and Weramic-yellow, which are specifically designed for quartzite and all types of ceramics. Visitors were not yet able to see the planned new KDL-B automatic belt edging machine in action, though according to Stefan Deschler, there have already been many inquiries about it. Thanks to its long-standing representation of Comandulli machines, Weha has strong industry contacts, particularly with stone processors interested in a belt-driven edge-grinding machine.

Many visitors were also interested in the Pantograph 1215 engraving machine presented by GTech owner Boris Malacko. And the Fuso Canter equipped with a Ferrari loading crane, as well as the compact tracked vehicle Roboman Junior—also featuring a Ferrari crane—on the outdoor grounds were surrounded by interested visitors all day long.

Exhibitor Akemi provided the icing on the cake of an eventful day. Application engineer Otello Piroddi and his colleagues demonstrated, among other things, the new Akepur 250 High Tack for the secure and temperature-resistant bonding of a wide variety of substrate materials beneath ceramic, natural stone, and artificial stone.

Another highlight from the construction chemicals manufacturer: the new color paste system, which is particularly well-suited for smaller businesses and highly intricate finishing work, and which, when used with the Platinum adhesive, enables a virtually inexhaustible variety of colors. The Spectrum Paste Case, which holds up to 60 coloring pastes in 45-gram tubes, can be purchased empty and customized with your own selection. Dry dust extraction systems from Weha, as well as the BSS 600 wire saw and the CSA 598 industrial band saw system from Burkhardt-Löffler, rounded out the extensive in-house exhibition presentation.

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Light and shadow in Cologne

Building design

L.-Fritz-Gruber-Platz is only about 400 meters away from Cologne Cathedral as the crow flies. For its design, the Düsseldorf-based firm scape Landschaftsarchitekten took up the theme of photography. The result is a play of light and shadow.

L. Fritz Gruber Square is located just 400 meters from Cologne Cathedral as the crow flies, right next to the Kolumba Art Museum of the Archdiocese of Cologne, which was built in 2007 according to plans by Peter Zumthor. The square is named after the photographic historian and journalist Leo Fritz Gruber. From 1945, he worked as a photographer for the British Army of the Rhine. This passion never left him. The Düsseldorf-based firm scape Landschaftsarchitekten therefore took up the theme of photography for the design of the square. A play of light and shadow creates a two-dimensional image of the large maple trees on the square. The square is bordered by listed facades from the 1920s and 1960s. Typical local basalt cobblestones surround a rectangular area of light-colored concrete slabs with an aspect ratio of 6:9 (small picture format), which is framed by three white cuboid benches.

Shadow plays are created on this projection surface, which is illuminated at night by a luminaire hanging above the square in the shape of a hollow sphere. Objects that cross its beam of light create sharply defined shadows on the paving. The functional principle is similar to that of a projector: a hollow body with a matt black inner surface and a point-shaped light source, the opening of which is dimensioned at the bottom so that the focal point beams precisely trace the surface of the square.

L.-Fritz-Gruber-Platz, Cologne

Client: City of Cologne – Civil Engineering Department
Open space: scape Landschaftsarchitekten, Düsseldorf
Project management: Hiltrud M. Lintel, Rainer Sachse
Collaboration: Jan Heimann, Judith Pfahler, Markus Hilgers, Bernd Nengel
Competition: 2007, 1st prize
Completion: September 2012
Area: 2,200 square meters
Costs: 570,000 euros

A stroke of art-historical luck

Building design

The Gothic sacristies of the parish church of St. Quirinus in Tegernsee are to be restored. Many eras have left their mark on St. Quirinus, which was the monastery church of the most important Benedictine abbey in Upper Bavaria until 1803.

The Gothic sacristies of the parish church of St. Quirinus in Tegernsee are to be restored. Many eras have left their mark on St. Quirinus, which was the monastery church of the most important Benedictine abbey in Upper Bavaria until 1803.

The sacristy used today dates from the Baroque period, but the two Gothic sacristies with their vaults and rare gray-on-gray painting are a stroke of art-historical luck. These are now used as storerooms, albeit for valuable items from the monastery or handicraft objects such as candlesticks or figurines.

The approval of the preliminary investigation for the restoration means that the sacristies will now be cleared out so that they can be made accessible to the public at some point in the future. Church historian Roland Götz has taken a closer look at the sacristies and knows that their preservation is a stroke of luck. However, fire protection still needs to be clarified, as there are no escape routes. As the church is under the same roof as the Bräustüberl, the castle distillery, the grammar school and the brewery, all those responsible and the owners must first come to an agreement. How much all the measures would cost is now to be found out in advance.