BUILDING AND HOMES

Dominion, Volume 22, Issue 218, 11 June 1929, Page 7

BUILDING AND HOMES

(By

“JACK PLANE.”)

PLYWOOD A VALUABLE FINISHING MATERIAL SOME OF ITS MANY USES The use of plywood in buildings is not yet so common in GreaX Britain as in some European countries, says a writer in the "Timber Trades Journal.” It is rather surprising to find a large number of builders who have a hazy idea that there is a flimsy product known as "three-ply” which "may be used - for the cheapest and thinnest kind of partitions,” but who are profoundly ignorant of modern developments in the manufacture of high-grade plywood in substantial thicknesses, and also of the uses to which it can be put with advantage. This lack of appreciation is not confined to the small provincial jobbing builder, but is still sometimes to be found, unfortunately, in large organisations quite alive to modern developments- and practice in most things concerning their trade, but whose attention has not been called sufficiently to the true economic position of plywood in building construction. Here and there, however, is to be found a builder of vision who has extended his use of plywood with advantageous results, both as regards cost and efficiency. In one case recently, where a ceiling was required to hold heavy fittings in irregular positions, the builder employed laminated Gaboon plywood instead of the usual lath-and-plaster ceiling. The cost, taking into consideration the saving on labour charges, was found to compare favourably with that of the ordinary plaster ceiling, while the advantage of a strong base, to which heavy fittings could be screwed in any position, was a large consideration in the final cost of the fittings. ' In other instances, where woodblock flooring has been required to be placed over irregular and old board floors, it has been found to be a considerable economy to cover the old flooring with a base of thick plywood to give an even surface for the wood blocks. In all cases where large surfaces are to be dealt with—wall linings, ceilings, floors, and partitions —there would appear to be considerable room for the development of the use of plywood. In the first cost of materials it may not show any saving, but taking into consideration the very heavy labour cost of plastering, and the even finishing of large surfaces, the advantages of plywood in the large dimensions in which it is now obtainable become apparent from even a casual estimate, and are. confirmed by the actual experience of the builders who have been sufficiently enterprising to break away from traditional methods and materials and give plywood a trial. Perhaps the best assurance of this is to be found in the greatly extended use of plywood in building construction in Germany and other parts of the Continent. - For wall linings and ceilings the problem of joints has to be dealt with.. It is quite practicable to make sufficiently good butt joints which will be almost invisible where the lining is to be papered, painted, or distempered. In other cases very effective panelled effects can be obfained by breaking up the wall surface with narrow slats covering the joints. Where this is done the plywood may be Stained to any desired finish, the subsequent: : cast-’of decorative upkeep.' being practically nil. - It is true that the general adoption of plywood in all the uses-for which it is particularly suitable in building construction would result in speeding up building and some reduction of highly-paid labour, the realisation of this circumstance being, perhaps, not the least of the. reasons for the slow development of its nse in the industry, though it is also, at the same time, the chief argument in its favour. It is certainly rather inconsistent that, while on the one hand the use of mMe-up joinery by the building trade. is now practically universal, because of its great saving in labour cost, on the other hand the use of plywood is restricted for exactly the same reason. In no industry ■ has the claim on behalf of threatened labour been able to hold back for long the introduction of more economic methods,and 'it would appear probable that a little wider education of the building trade, generally in the Use of plywood will establish it in a better position. The principal point which needs emphasis is that it does represent a great saving in labour cost, and that it is a mistake to measure its actual cost against the first cost ;of materials requiring much more labour for erection and finishing. STRAY NOTES ' A USEFUL STOPPING "Whether for white woods or darker ones of any tone, in preparation for varnishing or polishing in their natural colour, or for stained wood or painted work, a quick-drying, hard and durable “putty” is a boon. The following simple mixture serves not only as a tough stopping for nail-holes, knot-holes, and other blemishes, but also as a grain-filler for exceptionally porous stuff and a reliable flatting. The “putty” sets in from two to twenty-four hours to a condition of hardness approaching that of bone. In its natural condition the stopping dries pure white, and as (when'set) it is very largely absorbent, it is necessary to gtain in.' before use, to the general tone of a natural wood or to that of a stained wood, which is to be varnished or polished. The tinting of the putty to any desired shade is effected by the addition of a few drops of (water) wood stain of suitable tone, when working up the mixture on the palette. A little experience of colour-match-ing must - be gained by preliminary tests. (1) The putty will be lighter when set than when freshly mixed. (2) It must be tinted to the shade that the wood will assume after varnishing or polishing. (3) When set, therefore, and after final glass papering, the putty should appear a shade darker than raw wood, the latter coming down to matching tone on application of the varnish or polish. (4) If, however, the work is to be sized before varnishing, the stopping may be very barely if at all darker than the raw wood. , . , . The “putty”. consists merely of best quality (white) plaster of Paris worked un with a very weak solution of best Scotch glue (i.e., hide-glue and not boneglue). The glue being heated in its pot and stirred to a consistency as for ordinary use, take one teaspoonful and stir into one teacupful-of boiling water. The pale amber-coloured liquor, being cold, should not set as a jelly, but should pour sluggishly, like thin glycerine. Mix the plaster with this (tinting if required), work up briskly with the knife on the palette. Apply promptly, smooth off flush; leave no superfluity on the surface of the work. Mix no more stopping at one time than can be applied with three minutes at the most. Set aside in a warm and dry (but not hot) situation to set bone-hard before finally glass papering to a dead smooth finish. —“Joiner,” in the “English Mechanic.”

After many years of period, productions, a new style of furniture has been evolved in Great Britain which is sufficiently good and sufficiently beautiful to take its place among the famous seventeenth and eighteenth century designs. A totally new and original style has been built up, and is gradually nearing perfection. Just as Chippendale and Sheraton allowed their work to be influenced by French, and- early classical designs respectively, so the modern craftsmen have evolved their new style along traditional lines; that new .style is, however, as oilginal- as any of the work that came from the workshops of the famous eighteenth century master*

INTERIOR DECORATION Colour and light! These words might well be termed the heart’s desires of the modern home-maker, a London authority observes. Never before in the history ot interior decoration had there been such a wealth of colour, such a display of wide windows flung open at the merest hint of sunlight and mild weather. The days of stuffy apartments, of dustcollecting carpets and upholstery, and carefully shrouded glass, are past, lhe present generation insists on brightness and fresh air in the home, declaring that these are the right of every householder. The uses of mirrors to add to the impression of light in a room have long been recognised, and many will remember the attempts, in Victorian, rooms, to lessen the gloom of an interior by hanging a mirror in its darkest corner in a vain effort, it would seem, to attract and rey tain some of the light flooding the outer world. That the effort served only to intensify the dreariness of the room is recognised now. . Yet it may be said that the Victorians with their mirrors placed in vain attends tq attract the sunshine, pointed out the path so eagerly followed by -modern house-builders and decorators. More and more glass is being used in the home to-day. Wide windows, window-ledges of glass, tops for dining and boudoir tables and in the kitchen glass sinks and cupboards and towel rails, are but a few of the uses to which modern glass can be pp.L In a dining room as fully supplied with, glass as possible, the light coming through the wide windows of the apartment would be reflected in a deep window sill of black glass. On this could be displayed pots of bulbs and indoor plants, while a long mirror let into the wall furthest from the light would repeat the charming picture of blossom-starred win-dow-ledge, blue sky of the outer world and gaily coloured window hangings. Glass on the dining room table would prevent' its polished surface from scratching, while the overhanging lamp of leaded glass, while casting a richly-glowing light, could be chosen to harmonise with the colour scheme of the room. In the bedrooms the use of glass is practically confined to the windows, though here again it can be utilised to "panel the walls, mirrors taking the place of glass at intervals. Supposing the colour scheme were lemon-yellow with ivory-white paint work and painted furniture picked put in harmonising tones of yellow, the deep window sill might be covered with coloured glass to match the wall. The doors of the hanging cupboards on the wall would be coloured glass and lined with mirrors. The effect would be not only novel but charming, the hangings of net and shot silk in tones of deep yellow and ivory completing a very attractive interior.'" ;. 1 ' '

Year by year the kitchen sees improvements by means of labour-saving devices and bright colour schemes. It benefits, together with the bathroom, more than any other corner of the home, by the lavish use.of glass. Thus tables, Jressers, and cupboards, plate-racks and drains can all be improved. Work is economised by the use of glass tops on tables, dressers and cupboards. It means easier cleaning and the absence of stains and scars on the paintwork, while a glass drainage board is much to be preferred to the usual sort made of wood, generally damp, and, however much scrubbed, difficult to keep spotless. ' , . , The fact that thick glass can be had in a variety of colours aids the interior decorator. There is no need for any kitchen to be drab, where shades ranging from blue to rose and green are used to make gay the tables and cupboards, harmonising with brightly tinted curtains, wall-papers, oilcloths, etc. In the bathroom, which the' modern decorator treats so lavishly, often spending on it more care and forethought than on any ether room in the home, glass is of supreme importance. From the. mirrored walls to the towel rails all should be of glass, white or coloured, according to individual taste. Here, as in the kitchen, work is saved and a bright atmosphere, in keeping with modern tendencies, is achieved. Tire uses of glass in the home are innumerable. From the glass baking dish found in all modern kitchens to the deli-cately-coloured opalescent lamp-shades., bowls, and rare modern vases in the draw-ing-room, all are'either practical or beautiful, and not rarely, both. COLOUR SCHEMES IN PAINT Some years back conspicuous colours bn the exteriors of buildings were not popular, but nowadays they are greatly in vogue, just as are bright colours on automobiles. Nobody will deny (says an American writer), that the latter look prettier in their various colourings than they did formerly in their all black coats; and it is just as true" that houses are more attractive when painted in somewhat gay colours. There are a few rules which govern the selection of exterior colour schemes, and which will enable one to paint the buildings in a correct and pleasing manner. hirst must be taken in consideration the size of the house. It is well known that certain colour tones make objects appear larger than they really are, and that other tones make them look smaller. In general, light colours create the illusion of enlarging .the buildings to which they are applied, and dark colours'have a tendency to make them look smaller. Therefore, one should avoid using, on a small building, such tints as will cause it to appear still smaller, or to apply to a large house colours which will make it appear larger.. A great, bulky structure; unless it is artistically planned, and built, does not look so attractive and homelike anyway as a smaller one whose outward appearance is carefully maintained. Colours which, through actual experience, have been found suitable for small houses, are yellow, white, ivory, cream, and lighter buff. For large houses, grey, green, and buffi are appropriate. Dark colours have a tendency to make any kind of house look gloomy and forbidding, and their use should be avoided except in cases where it is plainly evident that they will serve the purpose b£st. Light tints may be used even on a large house, where this is surrounded by a grove, because the shadows cast by the trees chequer the colour surfaces and thus help to break up the spaciousness of the structure. Besides, dark colours on a building so situated merge it too much with the shadows, and make it obscure, or stuck away in the dark. Of course, where there are only two or three trees about the place, these will merely enhance the' beauty of the house, and this should be if it is a large one, paipted in the darker, tints. In the city one must take into consideration the predominating colour tones of the surrounding buildings. It is an unpleasing feature tq have all the residences which stand together decorated in almost identical colour schemes. If a person gives the matter a little thought he can give bis home a distinctive colour

plan and thus make it more original. For instance, if most of the houses in the immediate neighbourhood are white with yellow trim, you can use cream and brown, cream and blue, ivory and blue green, or ivory and gray green. This will give the house individuality, without making it so different that it will look ludicrous. With the correct use of stains and paints it is possible to achieve very beautiful colour combinations on any house. The siding should be given a distinct tonality, and the trim colour should be such that it throws this tonality into relief. Muddy colours should always be avoided, as they make a house look old and dull instead of and bright. Further, every building should be painted with due consideration of the architectural effect. Overstressing of certain mouldings, corner boards, etc., may give the building an entirely different character than its builder intended it to have.

Divided views on the utility of prescribed uniform height for city buildings are expressed by members of the Melbourne Institute of Architects. Supporters of the regulation restricting the maximum height to 132 ft. state that this is fair to all parties, and tends to produce a level skyline. Opponents declare that uniformity of skyline is monotonous, and in any case is not attainable, because Melbourne has not a level ground line, but is built in hollows and upon eminences, so that the buildings up to the height limit at the corners of Russell and Collins Streets, and at the corner of Bourke and Queen Streets, must tower above central Collins, and central Bourke Streets, and the intervening buildings must show a series of “steps and stairs.”