• Hewn & Hammered forums

    Our redesign is still a few months away, but we’re slowly introducing new features which we hope will make the site more useful and interesting to you. Chief among those changes is a new forum where you can ask questions and hopefully get advice  on a variety of old-house and design issues.

    Up at the top of this window, on the left hand side, you’ll see a small text link to the forum. Go ahead and click there and post a sample question, show off a recent project, for example, or plans for your dream house, or ask our other readers for advice or feedback. Right now the forums do not require any kind of registration, but if we’re overrun with spam we might require you to register.

  • site additions and changes

    Hi there. I’m midway through a redesign of the site, and have been thinking of incorporating a forum – a simple bulletin board. Do you folks think that would be useful? Any comments on features I should have or that I don’t need? Please let me know in the comments of anything you’d really like to see.

    I tried to incorporate a house registry and calendar into the last version of Hewn & Hammered, but they weren’t that well-thought-out and people didn’t use them (and I hardly ever added events to the calendar). But people are always emailing me questions about remodel projects, or asking to identify a particular maker’s mark, things like that – I thought maybe the forums would be useful. But I’m open to suggestions.

  • Squak Mountain Stone: recycled fibrous-concrete countertops

    Squakcounter

    There are several different commercial formulations of concrete on the market for countertops, flooring and other interior architectural uses. Some are aerated or mixed by varying but mostly-similar techniques, some are molded or installed in different ways, and some are aerated, or treated with dyes or special sealants. But one in particular is as attractive as real stone, is made in a range of mineral shades and has a natural texture from inclusions such as recycled paper, glass and coal fly-ash.

    Squak Mountain Stone’s fibrous-cement material is beautiful and just as visually appealing as real stone – but it’s a truly environmentally-friendly countertop that makes great (re)use of some otherwise-ignored ingredients. It is available both in slabs and as tiles, and the maker is happy to work with clients on custom applications and mixtures. In that respect, it’s even more appealing than real or manufactured stone!

    According to developer and owner Ameé Quiriconi, the ingredients list reads like a how-to book for those interested in establishing a truly green, environmentally-friendly business:

    • Fly-ash is generated at a Washington-state coal-fired electrical generation facility. It’s collected and bagged for sale in Seattle.
    • The mixed waste paper comes from a small home-based document destruction business staffed by four young women with developmental disabilities (with the help of a job coach and the women’s parents.)This business is located in Issaquah, WA.
    • The recycled glass is mainly waste from local window manufacturers that is collected and processed by a local glass recycling company.

    We’ve put together a whole Flickr album of high-res images showing the product in use – if you are planning a kitchen or bath remodel, you really should take a look at this material before you finalize your countertop material plans.

    It is available from retailers up and down the west coast, including Green Sacramento, Ecohome Improvement in Berkeley, Greenspace in Santa Cruz, Eco Design Resources in San Carlos as well as EcoSpaces in Telluride, Colorado.

  • nice table, super cheap!

    31tz7rfe0fl_ss400_
    I don’t want to turn H&H into something especially commercial, and the ads that are here are necessary to pay for our hosting and other such stuff. However, I saw this on one of those "all the deals on Amazon" sites and thought folks here might find it useful or interesting.

    This table, while not spectacularly beautiful, looks sturdy and is certainly fantastically cheap. $20! Looks like it’s going out of stock, so there might not be many available, but if you need something like this, you won’t find a better deal, that’s for sure.

  • “cannibalizing my Craftsman bungalow” on alt.home.repair

    from the Usenet group alt.home.repair:

    I have a modest 90yr. old Craftsman bungalow that I have owned for over 15 years. I recently bit the bullet and took the time (months!) and  money (you don’t even want to know) to have the old composite shingle  siding removed to expose the original redwood clapboard. My
    painter/restorer filled every nail hole, scraped every nook and cranny,  carefully and conservatively sanded off every layer, repaired every  corner of old window frame, etc. and finally completed a new coat of  paint that does my little place justice. It is constructed of solid old  growth redwood and feels like it will go another 90 years, no worries.

    Until today. My roofers came out today. This is a company I have used before – they re-roofed my detached garage a few yers back. I don’t have any leaks, but I’m trying to be proactive and not wait for trouble, so I signed up for a new 30 year shingle. After about two hours of banging I decided to go out and have a look at progress. I was stunned to see two workers in the process of nailing up a dinky piece of pine in the place where my front fascia used to be. This was a 12
    ft. long 2×8 that completed 1/2 of my front roofline – nice and wide with an angled rafter end tail. Gasping, I asked "What have you done with my redwood "Oh, there was some dry rot on the end" Well, I had known about that – my painter had informed me and we felt that during
    the re-roof would be the time to address it, repair and repaint. The involved area was about 1-2" deep along about 6" of the rafter tail.

    For this they removed the WHOLE thing. Just ripped it off – and were nailing up a piece of typical modern day lumber – in other words, too small in two dimensions. A 2×8 doesn’t measure 2×8 these days, but my old one did. Can you imagine how inadequate that was? I felt like someone had cut off my foot – being a preservationist is not easy. They looked at me like I was cockeyed, I was trying not to shoot anyone. 🙂

    My contract specifically notes that the owner is to be informed immediately if any latent damage is discovered, requiring any wood work. What happened!?! They acted as though they were doing me a favor – "Oh, we thought you’d want to go with the lowest cost option" Ack!
    Removing an irreplaceable lengtht of redwood is an option?! Gawd, if they’d only asked me first.

    Read the full article and folks’ advice for fixing this enormous cock-up.

  • Greene & Greene properties: a map

    So, I’ve created a map – using social-mapping tool Platial – of all the existing Greene & Greene properties I’ve been able to find record of. I’ll also be adding a new layer of no-longer-standing Greene & Greene projects, but that’s a few weeks off.Take a look, and let me know if you like this style of map and if the tool is easy to use; if so, I’ll revive our Craftsman Home Registry (above) using this, so you can all add your own homes.

  • Rest & Restoration: Volunteer Vacations at Historic Sites in Need of Some TLC

    Jamie Donahoe at the Heritage Conservation Network sends us the following note on their hands-on building conservation workshops. A number of photographs from recent workshops are available in a special Flickr set. Thanks, Jamie!

    If you had driven by the Francis Mill in Waynesville, North Carolina in July 2003, you might have stopped to take a photo of the picturesque but dilapidated structure nestled in Francis Cove. If you were to pass by the mill this summer, you would see a structure that’s neat and square, strong and weathertight. The difference: volunteers who joined a series of summertime hands-on building conservation workshops organized by Heritage Conservation Network in partnership with the Francis Mill Preservation Society.

    HCN, a Boulder, Colorado-based non-profit dedicated to the conservation of the world’s architectural heritage, specializes in recruiting volunteers to assist with hands-on preservation projects in association with local preservation partners. Volunteers spend a week or more at the site, working under the guidance of a technical expert.

    Back in 2003, with the mill in danger of imminent collapse, Tanna Timbes, great granddaughter of the man who built it and founder of the FMPS, contacted HCN and asked for assistance in saving it. Over the course of three workshops at Francis Mill, a total of 48 volunteers contributed more than 3,700 hours of labor, and that made all the difference.

    HCN volunteers are not necessarily experienced preservationists, with only half having experience in the field. Instruction and supervision are provided by the technical expert leading the hands-on work, and participants – of all ages – quickly find themselves replastering walls,
    documenting decorative paintings, shaping adobe bricks, chiseling mortises and tenons, or chipping out old cement mortar to replace it with lime mortar. The focus is on the use of traditional techniques and materials – the prescription for keeping historic buildings sound for many generations to use and appreciate.

    HCN has organized workshops at more than a dozen historic sites in the past four years. In Oplotnica, Slovenia, last year, volunteers worked painstakingly to discover the original decorative paint scheme of a 17th century chapel. The workshop, led by one of Slovenia’s foremost conservators, brought nationwide attention not only to the project but also to the need to safeguard Slovenia’s cultural heritage.

    HCN will return to Slovenia in 2008, when volunteers will help restore the oldest known vintner’s cottage in the Šmarško-Virštanj wine district; it dates to the 16th century and is in poor condition, much like the Francis Mill was four years ago.

    Volunteer opportunities this year include work at a Queen Anne style parsonage in Jonesboro, Illinois; the Old West town of Virginia City, Montana; and colonial and traditional buildings in Ghana. All still have space available and can also accommodate groups looking for a meaningful way to volunteer. Information about these and other opportunities to help build a future for the past can be found on HCN’s website or by calling HCN at +1 303 444 0128.

  • Gladding, McBean

    The firm of Gladding, McBean has produced materials for hundreds – and probably thousands – of beautiful historic homes here in California. The Greene brothers used their stuccoed planters at the Gamble House, and Bernard Maybeck used their roof tiles, chimney tops, planters and more in both his residential, civic and commercial projects. While it is now a division of Pacific Coast Building Products and no longer independently-owned, they are still making the clay and terra cotta items they’ve become known for since 1874. Today they are the only remaining maker of ornamental hand-made terra cotta in this country.

    The company is still going strong today, producing those items and all sorts of architectural terra cotta work, fire flashed clay floor tiles, and a whole range of garden pottery. Their website has a number of photo galleries; their garden pottery, especially the big oil jars, are beautiful, as are the tiles and decorative chimney tops, the perfect finishing touch to any A & C home.

  • Hewn & Hammered on Flickr

    We have had lots and lots of additions to our photo pool on Flickr; if you want to see pictures of A&C neighborhoods all over the country, interior and exterior remodels, new homes and all sorts of other bits and pieces, please come on over and visit. Flickr accounts are free, too, so feel free to make your own and share your photos with us!

  • Tokyo’s Nihon Mingeikan & Mingei’s relationship to Arts & Crafts

    Japan’s Daily Yomiuri includes an English-language edition, and a recent issue includes a short article by Robert Reed on Tokyo’s Nihon Mingeikan, a small museum celebrating Mingei crafts and the life and work of Soetsu Yanagi, the founder of the Mingei movement. Mingei is sometimes associated with the Arts & Crafts movement by art historians who note both its chronological proximity to European A&C and its similar philosophical underpinnings (the recent International Arts & Crafts show, which originated at the Victoria & Albert and was at San Francisco’s De Young Museum in the middle of 2006, included a model room based on Mingei crafts and made a strong case for that movement’s inclusion as part of the ‘International Arts & Crafts’ milieu).

    From the museum’s website:

    Located
    in Tokyo, the Mingeikan Museum is housed in a beautiful traditional
    Japanese building completed in 1936. Founded in the same year, the
    Mingeikan has over 17,000 items in its collection made by anonymous crafts people mainly from Japan, but also from China, Korea, England, Africa, and elsewhere.

    Yanagi Soetsu
    (1889-1961), the first director and founder of the Museum, coined the
    term Mingei (folk art) in 1926 to refer to common crafts that had been
    brushed aside by the industrial revolution. Yanagi and his lifelong companions,
    the potters Bernard Leach, Hamada Shoji, and Kawai Kanjiro, sought to
    counteract the desire for cheap mass-produced products by pointing to
    the works of ordinary crafts people that spoke to the spiritual and
    practical needs of life. The Mingei Movement is responsible for keeping alive many traditions.