BUILDING and HOMES

Dominion, Volume 20, Issue 297, 14 September 1927, Page 17

BUILDING and HOMES

(BY

JACK PLANE)

THE NEW BATHROOM Most women cherish in the back of their minds the dream of a perfect bathroom, but often it is not until a new and. modern home is acquired that there is a chance to make this dream a wonderful reality. In the old-fashioned house the bathroom is almost invariably so small, so tucked away, and so dark that it reduces the most optimistic housewife-to despair, so impossible is it to use half the devices that are available to-day for making bathrooms pleasant, and saving unnecessary work. But let us plan the dream bathroom in a moderate-sized home. It will of course be light and properly ventilated, and prepared with electrical power, and probably gas, too, will be laid on. If the room chances to face the sun, a scheme of black and white is one that always 'looks fresh, and is not readily tired of. A black and white squared rubber or linoleum flooring, black and white bath mats, and white curtains, with drawn thread work stitched in black, or black curtains bordered and embroidered in white, make a distinctive treatment. _ Towels are preferably plain white in such a case, with monograms in black. The walls would be tiied'in white. The same scheme can be equally attractive in blue and white, in which case towels would be of jaquard blue and white. But in a great number of bathrooms .the real fly in the ointment from a decorative point of view is the wall treatment. The truth is that it is extremely hard to find anything very attractive and original in bathroom wallpapers. The designers complain that the ptulic are conservative, but after looking through a number of the season’s current designs one could but feel that the public is offered no great temptation to be anything else. Picture, for instance, the deliciously revolutionary effect of a bathroom with a frieze of marigolds, placed at the traditional level, or considerably lower! Tiles, however, have moved considerably from their one-time austerity, and from this idea we are led to the consideration of coloured water glass panels, which are made in various shades and can be cut to any size. There is definitely a leaning towards more colour in bathroom decorative schemes, and the result is certainly more cheerful and homely. ' Once we get thus far there seems no reason why our bathroom furniture should not borrow from some of the French Canadian ideas, which offer such alternatives as gay little painted posies on white woodwork, or, again, a similar decorative touch, for instance, on tlie centre back of a bright-coloured bathroom chair.

The effect produced is of an ingenuous countrified air, happy in an informal type of home, and” it could be deftly echoed by the use of a honey soap, and kindred details. Primrose yellow might well be made the note of colour "in such a bathroom, with curtains of..plain.or sprigged fadeless casement cloth.—“ The Ideal Home.”

An appraiser for one of the large building associations of New York City makes this interesting observation:— “I can nearly always tell from the appearance of a house and its surroundings, whether it is rented or owned. If it is occupied by the owner it almost invariably presents a more attractive appearance outside and inside than if occupied by tenants. I have noticed that when a man with the aid of a loan from the association becomes the owner of the house which, as a tenant, he has occupied for years, he and his family immediately seem to develop a new pride in the appearance of the place. When vou look at it the next year it often presents an agreeable transformation.” Home ownership evidently develops character. It strengthens individual self-respect and dignity, increases self-reliance and improves family life. ..

STRAY NOTES PLYWOOD IN FURNITURE Perhaps one of the most powerful influences on the design and construction of modern furniture is the introduction of plywood, au oversea writer observes. It is, as these things go, a new'material in the art of cabinet-making, providing light and strong wooden panels, remarkable for their great width and length, which, though comparatively thin, are practically non-liable to warp or wave. These latter good points are, of course, due to the fact that the three or more paper-thick sheets of wood are each sawn from the balk of timber at a different angle, and cemented together in such a way that the grain of each lies opposed to the other, so that the stresses of compression and stretching are equalised, with the result that splitting and warping are avoided. For these reasons plywood suggested itself as specially adapted for the makof of drawers, sliding shelves, and the backs of wardrobes, closets of drawers, bookcases, and so on. All of these are apt to be weak points in furniture, where warping and splitting are likely to appear. In practice the application of plywood to such purposes have proved admirable.

Plywood, however, being an intimate indeed an inseparable union of several thin sheets of wood, the analogy of this form of construction with ordinary veneering practice was too obvious to be overlooked, and so experiments were made of using the material for all panels in large pieces of furniture. This gave equally satisfactory results, and now plywood is very largely used both in factories organised for mass production and in the workshops of the leading master craftsmen whose aim it is to turn out unique pieces of distinction. While really good plywood cannot be a cheap material, it is economical, because it makes the best use of wood, reduces bulk and minimises labour where it can be safely reduced. With plvwood it is possible to have a tough, hard backing, a tough but light core and a surface veneer selected solely for its artistic merit. Having a composite backing of adjustable qualities, it is possible to have a very choice wood for veneer, even if it be exceptionally dear, brittle, or handicapped by other drawbacks.

This veneer can be of the thinnest, and as its stability is safeguarded by the cross-graining of the other plies, it will not blister or pee], as is the case with ordinary hard, brittle veneers. In this way a much wider field has been opened out for the cabinetmaker in which to select? his timber. He can produce panels with remarkably beautiful natural figuring, including novel types of oystering, or carry out strongly marked quartering, in a great _ variety of grain and colouring. This in itself is a marked gain.

Another noteworthy characteristic is that it is now possible to obtain as a matter of course panels of uniform quality in unbroken widths and lengths, such as were formerly got only as exceptional rarities. _ Nothing more suitable could be imagined for the plain-sur-faced, rectangular-framed furniture so much sought after to-day. Having described in detail some choice examples of plywood furniture, the writer adds: All these are the products of art craftsmanship, work which may well eventually rank with the finest examples of Chippendale or Hepplewhite. They possess the stamp of individuality, of ideas brought to bear on the material handled, so that its best features should be utilised and made to emphasise design We may now turn to a more’ general class, to expert factory work, such as supplies us with well-designed, carefully made furniture at economic prices. Much furniture of this kind is manufactured both in London and the provinces. \ It has plywood panels, linings, and fit-

tings, and like most furniture of this form of construction is strong yet. remarkably light in weight, so particularly adapted to present conditions. Briefly stated, the use of plywood in cabinetmaking, while extending the possibilities of beauty in form, figuring, and colour, tends to meet those requirements of the age: plain, smooth surfaces, good contours, compactness and lightness of weight, therefore ease in handling, combined -with strength and ability to resist wide atmospheric variations.

PAPER OR DISTEMPER? Touching on -the relative merits of paper and distemper as a medium for decorating the plastered walls of a new house, an oversea technical writer says that this question, like most others of the kind, must be decided largely by the individual taste of the owner or occupier. “In most new plaster,” he adds, “there is a certain amount of free alkali which becomes neutral in the course of two years or so. The question arises as to what should be done with the walls in the meantime. They cannot be left bare with any degree of comfort, and if they are either distempered or paper there is a strong likelihood of the colours fading or being seriously affected by such alkali, unless proper precautions are taken to prevent it. If distemper is used care must be taken to select only those colours which the manufacturers state are safe on new plasters. In most of the pattern books those colours which cannot be so used are distinctly marked. This is not done, however, with wallpapers, which, excepting in the case of “sanatories,” are always printed in distemper, and therefore may he affected by fresh plaster. Now, as to the precautions to be taken in either case tp prevent the discolouration, lhe first,, and best, is unfortunately the most expensive. and is to line the walls with a good, stout lining paper. The free alkali, if it exists, will not strike through this, so that both distemper and wallpaper can safely be applied, and vjll remain unchanged exactly as though the house were fifty years old. Needless to say, in hanging the paper the joints must not be lapped, as they would show up conspicuously and spoil the job. Some varieties of lining paper shrink when hung, and if butted joints are used they may open slightly and prove very objectionable. The simplest way of dealing with the job is to lap the joints, say, »in., and when perfectly dry rub down level with a piece of fine sandpaper. The less expensive, and in some cases almost as effective a method, is to give on the fresh plaster two coats of sulphate of zinc dissolved in hot water, but applied cold. About Jib. to the gallon may be used, and this will be found to neutralise the alkali and in most cases prevent the discolouration referred to. As to the relative merits of distemper and .vallpaper much may be said, and in a large number of cases both may be used with excellent effect in the same house, but everything depends upon the size, the light, the purpose for which the room is to be used, and the individual ttste of the occupier. If there are many pictures to be placed upon the wall, a plain distempered background is excellent, particularly if a neat paper border is used in addition, either under the picture rail or above the skirting or both. It may also be used around the door and window frames, and, if it is desired, in each corner of the room in addition. In a dining or siltingroctn, where there are very lew pictures, a nice pattern paper of a design which suggests a tapestry or fabric may be used with advantage;. In a bedroom a primrose yellow or rose pink distemper will be found very cheerful and acceptable, particularly if a suitable border is used in addition.

THE VOGUE OF CRYSTAL Crystal is again to the fore as a medium for decoration, but the modern trend of artistic thought makes it altogether different from that of Victorian days. In Victorian days crystal was commonly used for decorative purposes, but these principally took the form of massive chandeliers or mantelpiece vases hung with long crystal drops, triangular in shape, aud glowing with facets. The heavy chandelier has now given place to heavily cut electric light diffusers, which are very handsome and effective, also wall brackets designed to suit any and all types of rooms. Crystal flowers of all descriptions “planted” and arranged in bowls and pots designed to set off their especial points of beauty are the latest thing for house decoration. The crystal for table decoration is striking-a distinctive note. One perfectly delightful scheme has white crystal flowers set in jars of a curiously vivid green. Candlesticks of the same green have shades composed of clear crystal beads strung in tiers, which tend to diffuse the light in gleams of prismatic colours. Quaint little green troughs, containing glistening baby trees of sparkling dark green glass, and exquisite little menu holders are set about at intervals to complete the picture. Quaint little fruit trees are other variations. Even the cigar and cigarette boxes are of crystal, the green glass leaves on the flower-topped lid adding their quota of appropriateness to the whole idea. Birds, large and small, composed of crystal beads, is yet another idea for’ a unique table decoration. Peacocks with outspread tails, pheasants realistically posed in the act of picking up a grain of corn, are two very attractive carried out in white and ruby colored, crystal. SIMPLE MANTELPIECES Not so many years ago, the mantelpiece fitted into the small house was of a somewhat elaborate nature, with a profusion of ornament and mouldings, which were unfortunately oftinies lacking in good taste awing to their being carried to excess. Nowadays, however, either owing to the necessity of keeping down costs, or to a better appreciation of the artistic, a greater simplicity of style has been evolved, and, happily, one which is more pleasing to the eye, and which also harmonises with the plain nature of the finishings commonly used at the present time in the small house. A tile and wood surround is still the commonest form of decorative treatment for the fireplace. In selecting tiles for the surround, their colour will, of course, depend upon the scheme of decoration to be carried out in the room, but with regard to appearance, hand-made tiles are to be recommended in preference to those made by machine which, with their mechanical appearance and dull regularity of surface, compare very unfavourably with the texture and reflecting glare of the handmade tile. - ■

The effect of an attractive mantelpiece cal be readily spoilt i'y the use of an ill-proportioned or badly designed grade, and, in this connection, it behoves one to make a careful selection and to avoid those over-ornamental patterns which are familiar to us all. CEILING DECORATION There is not the slightest doubt, a British authority observes, that ■ it is high time we. started to get some style into our ceilings. But by “style” I do not necessarily mean brilliant colours, because for a brightly coloured ceiling to be really happy, it must have some claims to height and the room some claims to proportion. For instance, I would never advocate bright green, Italian blue and. vivid orange shades of ceilings in an average-sized home of to-day. Although 1 have seen such strong colours put to admirable ceiling use in certain lofty Georgian and Victorian interiors.

To quote one ... a dining-room with antique ivory scumbled walls, a plain grassy-green carpet, woodwork in black relieved with scarlet and the ceiling a pond-watery green coarsely ‘‘combed” to give an irregular waterwave effect. With furniture in black and scarlet lacquer and a certain amount of green glass, the result was distinctly good, even if somewhat bizarre—on paper. Another rather delightful idea is" to have the ceiling glazed in an ivory shade by a reliabile decorator who can just tinge it with a suspicion of sunset-pink or palest sky-blue and finish it off in such a way as to give a picturesque cloud-like effect. This can be very charming, particularly for the gracefully furnished drawing-room or boudoir, which, say, is a study in soft pinks and ma lives . . . perhaps an amethyst carpet, curtains of cream with one of the many delightful modern designs introducing a medley of mauves and ap-ple-blossom pink. The . simple pinklinged ceiling will immediately respond to such a scheme, lifting it right out of the rut of the commonplace. Or similarly, too, the ceiling may be glazed in ivory and tinged with softest azure. An equally effective notion this, and one which happily gives a very charming out-of-doors appearance. With a deep blue carpet, it is invariably exquisite, but with plain beige, sandcolour or grey it looks equally well. But perhaps the most practical treatment of all for the modern home isthe papier-mache interpretation of the late eighteen century plaster composition known as “cartonpierre,” a means whereby ornament was cast in moulds to present the appearance of delicate carving. We are told that “compo” or “cartonpierre” was “precisely the medium for which the famous Adam Brothers craved,” and it is interesting to note that now’ just as modern taste seems so desirous for the aestheticism which was so characteristic of the brothers Adam, that there should come the timely reappearance of this pseudocarving. It is more often referred to as “vellum enrichments.” There is quite a wide range of designs in these ceiling ornaments, some of which are sold by the yard and others sold in sections for the construction of complete designs. OIL POLISHING Oil polishing consists of well rubbing either raw or boiled linseed oil with a soft rag into the wood. The rubbing at each application of the oil must continue until dry. This shotild continue daily for a fortnight or so. The surface should then be most durable with an egg-shell gloss. This is a good finish for counter, table-tops, etc. Some prepare oil by putting the required quantity into somq vessel and letting it gently simmer over a fire (do not let it boil), then take off and add a little turpentine in proportion (about ten of oil to one of turpentine) ; this is added to help the oil to dry. A lead weight or similar object may be enclosed in the polishing rag to relieve the pressure of the polisher. The wood should not be flooded with oil. An oiled surface can always be rubbed over again at any time with oil, which always improves it. This method of polishing needs a great deal of patience in order to get the best results, ■