Patents Pending 
 
 A COJLOa 
 PENETRANT 
 FOR 
 
 CONCRETE 
 
 SURFACES 
 

 AT 
 
 THE LIBRARIES 
 
 /)/ 
 
 Ij25 
 
 COLUMBIA UNIVERSITY 
 
 Avery Library 
 
 
n 
 
 
 v_/ 
 
 or 
 
 ENDUmNGLY 
 COLOR. STAINING 
 CONCRETE 
 FLOOnS 
 STEPS 
 WALKS 
 RAMPS 
 STEPPING STONES 
 
 Patents Pending 
 
 A.C.HortN Company 
 
 LONG ISLAND CITY 
 LONG ISLAND N.Y,~ 
 
Main lobby stairs in the Allison & Allison, Architects 
 
 Friday Morning Club, 
 
 Los Angeles, Califor?iia. Up ^nd down these concrete steps pass 
 
 each day, many feet, ruffing and scuffing the 
 Keramik Finish. 
 
 Save for a slightly greying effect on the 
 center of the treads, the color and finish are 
 as perfect as the day Keramik was put on. 
 
 The effect can be duplicated by using 
 Keramik Spring Willow Green Number 22, 
 as shown on tile page 12. 
 
 7 
 
n 
 
 II5E A TALE OF THE MYSTICS 
 ^ READS THE STORY 
 
 OF KERAMIK 
 
 I T STARTS in ancient Flan¬ 
 ders. It continues in sun¬ 
 shine-flooded Los Angeles. 
 
 Starts with Robert B. Lam- 
 mens, an inquisitive child in 
 the Belgian town ofWetteren. 
 
 His father, a searcher in 
 ceramics, a maker of tiles of 
 concrete, pigment colored and 
 hydraulic pressed. 
 
 Sometimes the colors came 
 right. Often wrong. 
 
 Never was there the surety 
 of exact happenings. 
 
 The lad Lammens, with a 
 wonder-why mind, spent all his 
 spare hours in the tile shop. 
 
 Ever was he trying for more 
 satisfactory colors. 
 
 Ever seeking to increase 
 density, surface hardness. 
 
 Then came college, with 
 years of chemistry, physics, and 
 ever the lure of the unsolved 
 problems of concrete coloring 
 and density. 
 
 The seeking of a coloring 
 that would not be an integral 
 pigment, but one having a tile¬ 
 like surface endurance. 
 
 Then America with its 
 promise beckoned him. 
 
 A friend finds this student- 
 dreamer, lighted by the spark 
 of genius, working in overalls 
 in a New Jersey ceramic plant, 
 studying at first hand, materials 
 and methods. 
 
 Years follow—luring years 
 of constant seekings. 
 
 So thorough is his knowl¬ 
 edge, so exact his findings on 
 concrete problems, that he 
 becomes an accepted authority 
 and advisor among architects. 
 
 And then^—from an unsus¬ 
 pected source, comes the key 
 that unlocks the door of his 
 long years of seekings. 
 
 He discovers what he calls 
 Kemiks. They are what you 
 and I now know as concrete 
 color surface penetrants — in 
 finished results—Keramik. 
 
 Th ese Kemiks, in a wide 
 gamut of colors, join forces 
 with the lime in the concrete 
 — but that’s another story. 
 
 First, let’s see some of the 
 Keramik results secured with 
 this wizardly Kemik. 
 
 After that we can go into 
 particulars of what Keramik 
 Staining is, and how it does it. 
 
 j j.C.HORKlQ 
 
 3 
 
Paul Thiene, Landscape Architect 
 
 A mong Keramik’s first successful 
 . uses, was for concrete Tennis 
 Courts. 
 
 For the first time it was possible to 
 secure a pleasing color, that is not only 
 absolutely weather proof, but that per¬ 
 manently hardened the surface, prevent¬ 
 ing infiltration and diminishing disin¬ 
 tegration. 
 
 The Keramik Spring Willow Green 
 of this Court has stood alike the pelting 
 of Southern California’s sun, and the 
 grilling wear of players. 
 

 W IZQg TOlOS u 
 
 
 
 
 L7 ~i^- jW j\7 M \Yl xVi )Vi 'I \\ri \yi \Vl iV/ 
 
 
 WtlW^^v<\v>^Mi^ll/i^l/g\l/few<\vaw^^i 
 
 Meyer & Holler, Architects and Contractors 
 
 I N the Court, and throughout the entire 
 Grauman Egyptian Theatre, at Los 
 Angeles, Keramik has lent a gamut of 
 color. Colors that are time-toned, 
 enriching. Colors restful, yet vibrant. 
 
 Glaring white-sand-made concrete, 
 softened, beautified and surface hard¬ 
 ened with the colors from Keramik’s 
 Kemik palette. 
 
 I.C.Horn^ 
 
 5 
 
A nd now comes a hotel 
 . hallway, where wear is 
 severe, constant; and a diffi¬ 
 cult unifyingof several low- 
 keyed colors is the problem. 
 
 This glimpse in the 
 lobby of the Regent Hotel, 
 Hollywood, California, is 
 its own best evidence of 
 accomplishment. 
 
 Meyer & Holler, Architects and Contractors 
 
 Had you thought of the delightful possibilities in 
 colored concrete stepping stones—Keramik colors 
 linked in lower keys, reflective of the flowers? 
 Intriguing thought, that. 
 
 6 
 
T o coLOR-coat the 
 boundaries of a concrete 
 pool—how evident—how 
 “painty” that effect would 
 be. 
 
 But Keramik-colored — 
 how inherently natural the 
 impression — how logical 
 the mode of obtainment. 
 For such is the charm of 
 Keramik, Kemik Staining. 
 
 Residence of Wm. Hanson, Flint Ridge, 
 Caltjornia. Harwood Hewitt, Architect. 
 
 And Bath Rooms—had you thought of how you 
 can now have tile effects in an almost unlimited 
 variety of color combinations? Keramik sweeps 
 ingly waves aside accepted tile color limitations. 
 
 1 
 

 Ninth Church of Christ Scientist, Los Angeles, California 
 
 Meyer & Holler, Architects and Contractors 
 
 I MAGINE the insistent crudeness had 
 these concrete steps and approach 
 been natural concrete color! 
 
 How a thing apart from the build¬ 
 ing itself. 
 
 How acceptably Keramik has harmo¬ 
 niously softened and color-toned it all 
 into the picture. 
 
 Like the brick, the color is produced 
 not alone by the Kemik Stain, but by 
 internal chemical action; varying with 
 the lime content; an action comparable 
 in results to the firing of brick. 
 
Ninth Church of Christ Scientist, Los Angeles, California 
 
 Meyer & Holler, Architects and Contractors 
 
 T he white lines in the floor of this 
 Christian Science Church vestibule 
 were secured by leaving the joints or 
 markings in the grey cement, and pre¬ 
 venting the Keramik stain from creep¬ 
 ing into them. The joints are cut square 
 Yf. or inch wide and yi deep. This 
 method, you at once see, admits of a 
 wide range of design treatments. 
 
 In this instance, an equivalent of a 
 three-color effect was secured, in addi¬ 
 tion to the natural duotones in the two 
 Keramik colors. 
 
 9 
 

 out 
 
 DOES IT PENETRATE ENOUGH? 
 
 D oes Keramik Kemik penetrate deeply enough, 
 is what you first want to know. 
 
 It penetrates deeper than the color on a vitrified tile. 
 Break a piece of such tile, and you’ll find the 
 penetration is so small it scarce can be seen. 
 
 The color lays on the surface. 
 
 Still, see how tile wears. 
 
 "But” you reply, "Vitrified tiles are glaze colors 
 burned in; while Keramik is just a penetrant stain.” 
 So far as the vitrified tile is concerned, yes. 
 
 As for a Keramik stained tile, no. 
 
 Let’s explain why. 
 
 The Keramik Kemik Stain has little value until a 
 chemical action with the cement is set up. 
 
 The Kemik Stain will give the desired color effect 
 only when the chemical reaction takes place which 
 contacting with the concrete creates. 
 
 The Keramik Developer, which follows the appli¬ 
 cation of the Kemik Stain, carries further the chemi¬ 
 cal action, accentuating and fastening the color. 
 
 What takes place is a near approach to the burn¬ 
 ing of the tile. Chemical action in the concrete, caused 
 by the Kemik, takes the place of fire with tile. 
 
 In like manner, if it were not for the smooth hard¬ 
 ened surface of the burned tile, the color would soon 
 wear off. The Keramik Surfacer accomplishes quite 
 the same result. 
 
 It gives a rich, smooth, sheen effect, that both re¬ 
 duces friction and diminishes wear. 
 
 Even when looking through a magni' 
 fying glass at a piece of broken surface- 
 colored, vitrified tile, you can scarce 
 detect the penetration. 
 
 10 
 
WILL KERAMIK WEAR? 
 
 I N front of one of the big Los Angeles, California, 
 stores, on one of its busiest streets, is a Keram- 
 icized colored concrete sidewalk. 
 
 After several years of constant wear and tests, it still 
 holds its color to an unbelievable degree. Previous 
 to being Keramicized, the pigment color used, faded 
 out in less than a year. 
 
 On steps where the treads get that constant sliding- 
 scraping wear, Keramik stands up. 
 
 Look at a concrete floor through a magnifying 
 glass and you’ll see it is a countless series of hills 
 and valleys. It’s the hills-—or high spots only—that 
 wear off. In the valleys lies the untouched unaffected 
 color. Any wearing off of the high spots, you at 
 once see, causes only a slight greying effect. One 
 that’s always harmonious. 
 
 Another thing to remember is that the chemical 
 action caused by the Kemik in the Keramik Process, 
 hardens and densifies the surface, causing it to have 
 a greatly increased resistance to wear. Furthermore, 
 it isn’t as if Keramik was something new and so 
 little tried as to prove nothing. 
 
 After years of tests the architects and contractors 
 of California have given it an unqualified endorse¬ 
 ment. Keramik is now available to you as a finished, 
 proven product in which you can put your un¬ 
 reserved confidence, whether it be used on old floors 
 or new. 
 
 
 11 
 
No. 42 Yukon Yellow 
 
 No. 41 Suede Grey 
 
 No. 32 Oak Leaf Brown 
 
 No. 22 Spring Willow Green 
 
 KERAMIK COLORS 
 AND COMBINATIONS 
 
 A LTHOUGH there are some twelve or so basic 
 xX Keramik Kemik colors, an endless variety of 
 gradations and combinations can be secured. 
 
 Most interesting variations develop of themselves, 
 because of the varying lime contents and varying den¬ 
 sities of the concrete. Lights and darks often con.- 
 trast themselves like the gradations of a delightful 
 piece of old time-toned Cordovan leather. 
 
 The applying of one or more colors over another 
 gives results comparable to those of a painter in his 
 laid-over colors, giving combinations of under and 
 over tones. 
 
 The control of the basic Keramik colors, however, 
 is constant. Their charm lies in the natural gradation 
 and blendings. Such a thing as a flat, so-called, uni¬ 
 form color is, happily, practically unobtainable. 
 
 The seemingly impossible has been accomplished. 
 
 In addition to colors shown above, there are Seal 
 Brown, Snuff Green, Green Variation, Brown-Green 
 Duotone, Sage Brush Green, Cat Tail Brown. 
 
 Duotone effects in all the Keramik Kemik colors 
 is one of Keramik’s greatest accomplishments. 
 
 12 
 
No. 24 Ripe Olive 
 
 HOW APPLIED 
 AND SPECIFIED 
 
 Although Keramik staining has been tested 
 XX for a long period, it is still virtually a new art. 
 An art not only involving a knowledge of appli¬ 
 cation methods but a familiarity with the perform¬ 
 ances of Keramik colors. 
 
 At present this knowledge is known alone to us, 
 or our licensed contractors. 
 
 New floors should be, as far as possible, protect¬ 
 ed from oil stainings of any kind. The uncombined 
 cement, or laitence as it is called, should be removed 
 with an acidulated wash. Then is applied the color 
 base of Kemik Stain, which has no evident bearing 
 on the final color attained. 
 
 Applications of Keramik Kemik Stains are followed 
 by the Developer, which both accentuates the color 
 and densifies tbe surface. 
 
 Then follows the Surfacer, which further wear- 
 proofs, and leaves the surface with a rich soft sheen. 
 
 Specify as follows: Concrete surfaces to be treated 
 with the Horn Keramik Process—Patents Pending 
 (give color number or numbers). 
 
 Application to be made by A. C. Horn Company, 
 or its licensed contractors. 
 
 A.C.Horn(6 
 
 13 
 

 One 
 
 
 iiiitiAii iik, ’lii'^k: iiii dk, Xk.4tk!^i^iLt^ .1^ dib di^iid 
 
 FOR OLD FLOORS OR NEW 
 
 A New York Architect moved to offices in 
 a building where the floors were the depress¬ 
 ing drabbish color of the natural concrete. Its 
 depressing effect was noticeable on the spirit 
 and work of the draftsmen. 
 
 It was Keramicized the Oak Leaf Brown 
 shown above. It’s scarce necessary to tell 
 you the result alike on the room and the 
 workers. Name and address of architect 
 gladly furnished. 
 
 Basement Lobby in F< 
 Bank, Hollywood, Cal 
 Morgan, Walls and Cl 
 
Four 
 
 
 CUT DESCRIPTIONS 
 
 In the five subjects illustrated, Keramik Stains were used 
 with entire satisfaction on either old or new floors. 
 
 Automobile Salesroom of Gotfred— three 
 son Motor Co., Los Angeles, Cal. 
 
 Morgan, Walls and Clements, Archi¬ 
 tects. 
 
 St. Vincents Church, Los Angeles, — four 
 Cal. Albert C. Martin, Architect. 
 
 Three | 
 
 " «»'" ■§ 
 
 
 tal Trust and Savings 
 
 ONE — Beauford Craig Residence, Pasadena, 
 Cal. 
 
 Kenneth A. Gordon, Architect. 
 
 TWO —One of Los Angeles’ largest Depart¬ 
 ment Stores. 
 
 ents. Architects. 
 
 15 
 

 Ow §flafltrrit C nJiferirio CIhiwj er 
 
 ^ of fit#- 
 
 4 ^ 
 
 '- —-Xiri\obcrf"-6-fainmc^ 
 
 Cfrtijirfltetfjlsnor ' 
 
 in 
 
 S^n«:A*‘fs 
 
 Ah ' ‘ . 
 
 .^ l(obei-t L\ 
 
 &A-W4a-t 
 
 v;s3es4t4AivJA?^ 
 
 .V* «*'?<>*»• 
 
 5 ; «if, 
 
 
 
 
 T his Certificate of 
 Honor was awarded 
 by the California Chapter of 
 The American Institute of 
 Architects to Robert B. 
 Lammens, the inventor of 
 Keramik Process of Con¬ 
 crete Staining. 
 
 It is the highest honor 
 conferred on a layman by 
 an Institute Chapter. 
 
 ( 
 
T his cement tile, like all those throughout the book, was 
 made direct from the Keramik Stained Tile. 
 
 No retouching or the least change in color has been made. 
 The effect is called Oak Leaf Variation. It was secured by 
 first staining with Oak Leaf Brown Number 32. Then re¬ 
 staining alternate squares with Number 21. 
 
 This at once suggests to you endless effects, interpreting a 
 mood, or effectually linking in the floor with your color scheme. 
 
 When you consider it is equally practicable on either old or 
 new floors, what a vista of possibilities Keramik opens up! 
 
 17 
 
ETTERS FROM ARCHITECTS 
 WHO HAVE USED 
 KERAMIK ^ 
 
 As the Lammens Process of Concrete Staining, or Keramik, as it is now 
 called, was first discovered by Robert B. Lammens, of Los Angeles, 
 California, just logically, most of its uses started in California. 
 
 Not caring to use any letters from architects other than those who 
 had used the material sufficiently long to give it an ample test, accounts 
 for so many coming from Pacific Coast Offices. 
 
 Harmonious Colors 
 
 JOHN C*AUSTlN--r-AtA 
 
 AND 
 
 TREDENICM-ASHLEY--Ai-A 
 
 ARCHITECTS 
 
 III6-II25 DETWLER BUILDING 
 412 WST SKIN STREET 
 U3S ANGELES CALlfOKNlA 
 
 We have just completed the treatment with The 
 Lammens Process, of the cement floor in the 
 Exhibit Hall of the Los Angeles Chamber of 
 Commerce. 
 
 The result obtained is very satisfactory. All 
 of the colors are clear and rich, and the com¬ 
 bination of colors very harmonious. The sur¬ 
 faces appear to be hard and durable. 
 
 We have watched floors that have been treated 
 with the Lammens or Keramik Process, for the 
 past year, and have been well satisfied with it; 
 otherwise, we should not have used the system 
 in the Los Angeles Chamber of Commerce’s 
 principal rooms. 
 
 Equals Tile 
 
 Lower Cost 
 
 ALBERT C. MARTIN 
 ARCHITECT 
 higgins building 
 UOSANGELES.CAL. 
 
 It very often happens that we desire to get an 
 attractive floor in situations where our cost 
 allowance will not admit of marble or other 
 expensive material. In such cases we have used 
 the Lammens or Keramik Process with very good 
 results. 
 
 Have been able to secure colors which are very 
 soft and harmonious in their effect, and that tone 
 in with other colors in the architectural scheme. 
 
 A very important advantage, is that floors so 
 treated are not checkerboarded in effect, but each 
 tile has the color varied within itself, and blends 
 to the adjoining tile. 
 
 Feel that there are greater possibilities for this 
 process that have not yet been discovered. 
 
 Hospital Floors 
 
 MARSTON.VAN PELTS MAYBURY 
 
 ARCHITECTS 
 25 SOUTH EUCLID AVENUE 
 PASADENA 
 
 In regard to the treatment of cement floors 
 with the Lammens or Keramik Process of stain¬ 
 ing, we wish to say that we have used this 
 process on some of our more important work 
 with very satisfactory results. The effects obtain¬ 
 able are on a parallel with the best quality of 
 tile floors. In addition to the pleasing appear¬ 
 ance obtained, their treatment acts as a hardenet 
 for the cement top dressing. 
 
 ^bert ®rr, JVrdiitect 
 
 MCMBER OP 
 
 THC American institute of Architects 
 
 (Aitgeles, OlaL 
 
 On the recently completed first unit of the Holly¬ 
 wood Hospital we used the Keramik Process 
 of Chemical Staining for the floors, throughout 
 practically the entire building. All of the wards 
 had a border and base of this treatment, besides 
 all service kitchens and other utility rooms. 
 
 From an economic standpoint, it has proven 
 very successful. From the artistic, it is a very 
 pleasing and satisfactory solution for our prob¬ 
 lem of floor finish. I would not hesitate to use 
 this on any future work, owing to the results 
 obtained on the Hollywood Hospital. 
 
 SV-N 
 
Hardens and Preserves 
 
 
 Better Than Tile 
 
 W. J. DODD. ARCHITECT 
 WILLIAM R I C H A R DS. E NG INEER 
 905 BRACK SHOPS BUILDING 
 LOS ANGELAS. CAUlFORNIA 
 
 The first time I saw and investigated Mr. Lam- 
 mens’ treatment of cement surfaces, which is 
 what is now called Keramik, I was immediately 
 impressed by the vastness of the field for such 
 a process in the finishing of floors in public and 
 semi-public buildings, especially for offices and 
 hospitals. 
 
 I had experienced the usual heartbreaking dis- 
 appointmentswith numerous kinds of floorpaints 
 on cement, the best of which soon failed under 
 heavy wear, leaving a spotty, unsightly appear¬ 
 ance on the floor. 
 
 Somewhat better, but still unsatisfactory, were 
 the results I had experienced with mixing min¬ 
 eral pigments and other coloring matters with 
 the cement topping. 
 
 Therefore, hailed wirh enthusiasm, the advent 
 of a treatment of the finished cement surface, 
 old or new, which gave a permanent and beau¬ 
 tiful appearance to the floor, and which at the 
 same time hardens and preserves the cement. 
 
 Have used this treatment on various classes 
 of building, and have had uniformly excellent 
 results. Believe the scope for this Keramik 
 staining and hardening of cement surfaces is 
 practically unlimited. 
 
 
 JOHNSON,KAUFMANN S COATE 
 ARCHITECTS 
 
 We have been using cement stained floors pre¬ 
 pared by the Lammens or Keramik Process over 
 a period of years and today these floors have a 
 higher value in our opinion than they have had 
 at any time during that period. We know of 
 nothing on the market that rivals it except tile, 
 and in many cases we believe that a well made 
 cement floor treated by this process is superior 
 to tile. 
 
 Stands Wear 
 
 Morgan,Walls £ Clements 
 Architects and Engineers 
 iiaA I N Van Nuys Budo. 
 
 Los Angeles,Cal. 
 
 Several vears ago, Mr. Lammens brought me 
 a sample of cement surface treated with color 
 which he assured me would stand considerable 
 wear under foot. This struck me very forcibly 
 as having wonderful decorative possibilities in 
 a material of very little cost. 
 
 Within a few weeks we executed a Sun Room, 
 staining it a real apricot color to tie in with 
 draperies and contrast with the general greenish 
 color walls. 
 
 From this beginning, Keramik has become 
 an every day occurrence with us. Almost every 
 building erected by this firm has some portion 
 of floors so treated. 
 
 Never Fails 
 
 J.F'RA.rrErVT'EI.lJETl 
 AitCHITECT 
 SttetbIUC Stofty Bxjxlj>ing 
 Los 
 
 This is an endorsement of the Lammens or Kera¬ 
 mik Process of chemical staining, which I have 
 been familiar with by using it wherever possible. 
 
 I consider it by far the best method yet invent¬ 
 ed for the preservation and beautifying of cement 
 floors. I have used it both in domestic and public 
 buildings with absolute success, and have yet to 
 find a single instance where it has failed to satisfy 
 my clients. 
 
 Should you so desire I can give you a list of 
 prominent buildings, such as clubs, hospitals, 
 residences, showrooms, etc., in fact I have used it 
 in a great many cases in preference to tile. 
 
 These floors do not show the slightest signs of 
 deterioration or fading, instead they seem to im¬ 
 prove with time. 
 
 Now have three buildings on the boards which 
 will have this process specified. 
 
 Used on Buildings of All Types 
 
 MEYER & HOLLER 
 
 INCORPORATED 
 
 ( MIL.WAVICE.E, BMLDING COMPANY) 
 
 WRIGHT ©• CA^LKHDE.R BVTtGINO 
 
 LOS A-NGBLES 
 
 This office regards the Lammens Process of 
 staining cement floors as one that provides a 
 most satisfactory way of obtaining artistic and 
 permanent results. 
 
 We have used this process with complete sat¬ 
 isfaction on the following jobs: 
 
 Southern California Music Company 
 Fourth Christian Science Church 
 Christie Hotel 
 Pierce Mortuary 
 Dr. Smith Residence 
 Ninth Christian Science Church 
 Hollywood Athletic Club 
 Grauman’s Egyptian Theater. 
 
Robert H. Orr, Architect 
 
 This Keramik Stained restaurant floor, with all its aisle pass- 
 and pushing back of chairs, shows no appreciable wear 
 C. C. Brown Confectionery, Los Angeles, California. 
 Architects Morgan, Walls and Clements 
 
 All floors through practically the entire Hollywood 
 Hospital, at Hollywood, California, are Keramik 
 Stained. 
 
 Turn back to page eighteen, and read what the 
 architect says about it. 
 
 Number 23, Green Olive, Note the duotone effects 
 The next one so stained might be decidedly variant. 
 
 Now much more attractive than one solid color tone throughout 
 

 
 
 
 Let us again emphasize the fact that Keramik 
 Kemik Process (Patents Pending) is equally practi¬ 
 cal on either old or new floors. 
 
 On remodeling work its value at once suggests 
 itself. 
 
 Flemish Brown Number 33. Again note the duotone. 
 Here you see them to greater extent due to more variation 
 in the lime content 
 
 Fourth Church of Christ Scientist, Cos Angeles, California 
 Meyer and Holler, Architects and Contractors 
 
 This entire concrete tile court or patio is Keramik Stained a 
 restful cool color, in just the desired strength and gradation to 
 suit the owirer’s taste. Charles Seyler Residence, Los Angeles, 
 California. Architects Morgan, Walls and Clements 
 
 21 
 
Acquataina Apartments, Chicago, III. 
 Vulcatex joint water-proofing cement used 
 Ralph C. Harris, Architect 
 
 y 
 
 A WORD 
 ABOUT THE MAKERS 
 OF KERAMIK 
 
 o You now, Keramik may be 
 but little more than a mere name. 
 The name of a process. 
 
 But what guarantee have you, 
 that Keramik is not just one 
 more of the many seeming happy 
 solutions that, because of lack of 
 merit, have come and gone ? This, then, 
 is your guarantee. 
 
 Back of Keramik stands The A. C. 
 Horn Company, its makers. 
 
 Back of A. C. Horn Company stands a 
 reputation of a quarter of a century, gained 
 the country over in structural and chemical 
 engineering fields. To the success of 
 modern water-proofing methods and ma¬ 
 terials, no other single concern has con¬ 
 tributed as much. 
 
 A. C. Horn is one of the pioneers in 
 integral water-proofing, which today is 
 such a vital factor in building. It was 
 this Company that did so much to perfect 
 thorough water-proofing and damp-proof¬ 
 ing materials for superstructures. 
 
 Materials and methods, indispensable to 
 the success of such structures as the Wool- 
 worth Building in New York City, and 
 the Wrigley Building in Chicago, not to 
 mention buildings of all sizes, the entire 
 country over. 
 
 The reputation of A. C. Horn Company 
 stands squarely back of Keramik. It’s your 
 unqualified guarantee of success. 
 
 II 
 
 )i 
 
 1 
 
 I 
 
 
 i 
 
 22 
 
CONCERNING 
 
 HORN'S 
 
 WATER PROOFINGS 
 
 ou Know full well that it’s not 
 a difficult thing to water-proof 
 a foundation or a structure, so 
 that it meets specifications and 
 passes inspection. But it’s quite 
 another thing, to have those con¬ 
 ditions continue during the life 
 of the building. Based on that accom¬ 
 plishment are Horn’s Water-proofings. 
 
 Such is unfailingly so, whether it be a 
 caulking material for window frames, or 
 Terra Cotta joints. 
 
 And whether it be for integrally water¬ 
 proofing a foundation; or damp-proofing 
 of walls by the membrane method. 
 
 Prevention is ever less costly than cures. 
 Still Horn’s materials and methods accom¬ 
 plish both. We heartily advise prevention. 
 
 So dependable, for example,has Vulcatex 
 proven, that all the Terra Cotta joints on 
 the Wrigley Building were raked and filled 
 with it. On the second building, Vulcatex 
 was used at the start. 
 
 The full service of an extensive group 
 of Horn’s water-proofing engineers is 
 always available to you. 
 
 When we say engineers, we mean ex¬ 
 actly that and not the usual salesmen abun¬ 
 dant in conversation, but lacking in ex¬ 
 perience and applicable facts. 
 
 For facts on our leading materials see 
 the pages that follow. 
 
 iHi; 
 
 ^ Effl ITd 
 
 gncjy.F: r. 
 
 
 London Guarantee Trust Building, Chicago, III. 
 Completely pointed with Vulcatex 
 AlfredS- Aschuler, Architect 
 
 23 
 

 Weaver High School, Hartford, Conn. 
 
 All Cast Stone caulked with Vulcatex. Foundations were water-proofed with Hydratite 
 Frank Irving Cooper Corp., Architect, of Boston and Hartford 
 
 HO UN'S SPECIFIC WATEH PROOFINGS 
 FOR SPECIFIC USES 
 
 HYDRATITE 
 
 An Integral Water-Proofing Compound 
 in Paste, Powder or Liquid Form 
 
 o be incorporated into cement mortar 
 and concrete mixtures, rendering them 
 permanently water-tight. For water¬ 
 proofing all cement mortar and con¬ 
 crete work, including: 
 
 Concrete Substructure, Floor Slabs, 
 Reservoirs, Cisterns, Tanks, Sewers, etc. 
 
 Cement Plaster. 
 
 3 Stucco: Preventing disintegration and 
 staining due to volume changes of ab¬ 
 sorbed water. Prevents rusting of wire 
 lath from continued water absorption. 
 
 4 Mortar Joints in brickwork or stone 
 to prevent damp structures. 
 
 5 Concrete Blocks (containing no cin¬ 
 ders). 
 
 DEHYDRATINE DAMP-PROOEING 
 COATINGS 
 
 For Inside Surfaces of Exterior Masonry Walls 
 Above Grade 
 
 1 Dehydratines are composed of intelligent 
 blendings of the world’s best bitumens 
 and pitches, which in themselves are water, 
 acid and alkali proof,—combined scien¬ 
 tifically with prepared and especially treated 
 oils to insure immunity against destruc- 
 
tive influences of contraction and ex¬ 
 pansion, and finally thinned with mineral 
 distillates to provide area covering capacity 
 as well as penetration. The intimate com¬ 
 bining of heat processes and proportioning 
 of these ingredients, render successful du¬ 
 plication of these time-tested coatings 
 practically impossible. 
 
 2 For Many Years have been success¬ 
 fully used in all climates, remaining tough, 
 elastic, pliable and adhesive, adapting them¬ 
 selves at all times to any possible ex¬ 
 pansion or contraction of the masonry. 
 
 3 Seal the inside surface of the wall against 
 penetration of moisture through the 
 masonry. 
 
 4 Provide a permanently Eeeective Bond 
 for directly applied gypsum plaster, elimi¬ 
 nating the necessity and expense of furring 
 and lathing on brick, terra cotta and stone 
 walls. 
 
 5 Preserve plaster mural decorations from 
 disfigurement. Prevent staining and efflo¬ 
 rescence of plaster and peeling of paint. 
 
 DEHYDRATINE No. 1 
 
 Damp-proofing brush coating for brick, terra 
 cotta and stone. 
 
 DEHYDRATINE SEMI-MASTIC 
 
 (Patented) Extra heavy damp-proofing brush 
 coating, containing asbestos fibres which provide 
 additional body and strength, equalling about 
 five ordinary coats of oil paint. Of substantial 
 insulating value. Eor use on brick, terra cotta 
 and stone. 
 
 DEHYDRATINE No. 10 
 
 (Patented) Heavy damp-proofing trowel coating 
 for use on brickwork. Applied 1/16 inch thick. 
 Reinforced with asbestos fibres, providing 
 extra strength equalling ten ordinary coats of 
 oil paint. Of exceptional insulating value. 
 
 DEHYDRATINE No. 2 
 
 A transparent water-proof brush coating for 
 enveloping exterior masonry surfaces. 
 
 Eor use on virgin surfaces only, without 
 affecting the surface texture. 
 
 Preserves brick, stone, concrete, cement 
 mortar, magnesite lime, or cement stucco. 
 
 Protects metal lath from rusting due to 
 absorbed moisture. 
 
 Eor interior of reservoirs, pools, water tanks, 
 etc., to prevent leakage. 
 
 Eor checking efflorescence on exterior brick 
 or stone work. 
 
 Protects decorations from dampness. 
 
 Wrigley Building, Chicago, 111. 
 
 All joints raked and pointed with Vulcatex. 
 Graham, Anderson, Probst 8c White, Architects 
 
 25 
 
DEHYDRATINE No. 80 
 
 VULCATEX 
 
 A liquid compound to lubricate, hasten the 
 hardening and permanently strengthen cement 
 mortar and concrete mixtures. (To be mixed 
 with the gauging water.) 
 
 Hastens the setting of cement mortar for 
 floor work, saving labor costs. 
 
 Hardens the cement floors throughout, pro¬ 
 ducing hard-wearing, dust-free cement surfaces 
 and making possible a high polish. 
 
 HORNSTONE HARDENER 
 
 A chemical surface treatment for cement floors, 
 concrete surfaces, and limestones; resulting in 
 harder, denser, insoluble, dustproof and perma¬ 
 nent wearing surfaces, highly resistant to disin¬ 
 tegration by chemical action or traffic. 
 
 An Elastic Cement for 
 
 Caulking of Window Frames 
 Pointing up brick, stone and terra cotta joints 
 Filling expansion joints in concrete work 
 Pointing up and embedding glass in skylights 
 Bedding slate and Spanish tile roofs 
 Pointing up flashings. 
 
 VULCATEX remains indefinitely elastic and 
 adhesive, is non-staining, and is furnished in 
 the natural gray or in special colors. It has for 
 many years been widely recognized as the most 
 effective caulking and pointing material. The 
 color adaptability of VULCATEX permits its 
 use in the finest architectural work. 
 
 Elevator Pits and Foundations Integrally Water-Proofed with Hydratite. 
 Columbia School of Mines, Arnold W. Brunner, Architect 
 
 26 
 
BYWAY OF EVIDENCE 
 
 Plaza Hotel, New York 
 H. J. Hardenbergh, Architect 
 Number 1 Dehydratine med 
 
 T he following list of a few of the 
 country’s buildings in which 
 Horn Water-Proofings have been 
 used, carries its own convincement. 
 
 If it is evidence you seek, what 
 better can there possibly be? 
 
 BARNARD COLLEGE, 
 
 New York City, N. Y. 
 
 Architects—Buchman & Fox 
 [Hydratite] 
 
 BROOKLYN EDISON COMPANY, 
 
 Brooklyn, N. Y. 
 
 Architects—Thomas E. Murray, Inc., Engrs. 
 [Hydratite] 
 
 CARNEGIE LIBRARY, 
 
 Pittsburgh, Pa. 
 
 Architects—Alden & Harlow 
 No. 1 Dehydratine] 
 
 No. 3 Dehydratine] 
 
 No. 4 Dehydratine] 
 
 CHAPEL OF INTERCESSION, 
 
 Washington Heights, N. Y. 
 
 Architect—Bertram Goodhue 
 [Hydratite] 
 
 CHICAGO & NORTHWESTERN DEPOT, 
 Chicago, Ill. 
 
 Architects—Frost & Granger 
 [No. 4 Dehydratine] 
 
 DEPARTMENT OF AGRICULTURE BLDG., 
 Washington, D. C. 
 
 Architects—Rankin. Kellogg & Crane 
 [No. 3 Dehydratine] 
 
 FREEDMEN’S HOSPITAL, 
 
 Washington, D. C 
 
 Architects—Bruce Price & De Sitour 
 
 [No. 1 Dehydratine] 
 
 HOTEL AMBASSADOR, 
 
 New York City, N. Y. 
 
 Architects—Warren & Wetmore 
 [Hydratite] 
 
 HOTEL DENECHAND, 
 
 New Orleans, La. 
 
 Architects—Toledano & Wogan 
 [No. 1 Dehydratine] 
 
 KEENAN BUILDING, 
 
 Pittsburgh, Pa. 
 
 Architect—Thomas Hannah 
 [No. 4 Dehydratine] 
 
 MADISON AVE. PRESBYTERIAN CHURCH, 
 New York City, N. Y. 
 
 Architect—James Gamble Rogers 
 [Hydratite] 
 
 METROPOLITAN SAVINGS BANK, 
 Baltimore, Md. 
 
 Architects—Parker, Thomas & Rice 
 [No. 1 Dehydratine] 
 
 MISSOURI PACIFIC BUILDING, 
 
 St. Louis, Mo. 
 
 Architect—W. Albert Swasey 
 [No. 4 Dehydratine] 
 
 MUNICIPAL BUILDING, 
 
 Washington, D. C. 
 
 Architects—Gape & Stewardson 
 [No. 3 Dehydratine] 
 
 MUNSEY BUILDING, 
 
 Washington, D. C. 
 
 Architects—McKim, Mead & White 
 [No. 1 Dehydratine] 
 
 MUSEUM OF NATURAL HISTORY, 
 
 Central Park, New York City 
 Architect—Chas. Volz 
 [No. 1 Dehydratine] 
 
 NATIONAL LEAD CO. BLDG., 
 
 Port Richmond, S. 1. 
 
 Architect—Frank Quinby 
 [Hydratite] 
 
 POST HEADQUARTERS, 
 
 U. S. Military Academy, West Point, N. Y. 
 Architects—Gram, Goodhue & Ferguson 
 [No. 1 Dehydratine] 
 
 R. A. LONG BUILDING, 
 
 Kansas City, Mo. 
 
 Architects—Howe, Hoyt & Cutter 
 [No, 1 Dehydratine] 
 
 STEVENS INSTITUTE GYM., 
 
 Hoboken, N. J. 
 
 Architects—Ludlow & Peabody 
 [Hydratite] 
 
 THE BON MARCHE, 
 
 Seattle, Washington 
 Architect—John Graham 
 [No. 1 Dehydratine] 
 
 TIFFANY BUILDING, 
 
 New York City, N. Y. 
 
 Architects—McKim, Mead & White 
 [No 1 Dehydratine] 
 
 U. S. CUSTOM HOUSE, 
 
 San Francisco, Calif. 
 
 Architects—Fames & Young 
 [No. 4 Dehydratine] 
 
 U. S. SENATE BUILDING, 
 
 Washington, D. C. 
 
 Architects—Garrere & Hastings 
 [No. 3 Dehydratine] 
 
 WANAMAKER BUILDING, 
 
 Philadelphia, Pa. 
 
 Architect—D. H. Burnham 
 [No. 3 Dehydratine] 
 
 WESLEY MEMORIAL CHURCH, 
 
 Atlanta, Ga. 
 
 Architect—George C. Thompson 
 No. 4 Dehydratine] 
 
 WESLEYAN UNIVERSITY, 
 
 Middletown, N. Y. 
 
 Architect—Henry Bacon 
 [Hydratite] 
 
 27 
 
Copyright 1925 by 
 
 A. C. Horn Company 
 
 LONG ISLAND CITY 
 LONG ISLAND, N. Y. 
 Printed by 
 
 The Scribner Press 
 
 AVERY LI3RARY 
 COLUMBIA UNIVERSITY