Saturday, December 28, 2024

Timber - from The Ten Books of Arcitucture

As we work in wood, one can not help but find reference to renesance woodworkers. “There is a tendency to dismiss Roman architecture as a shallow derivative of what the Greeks had previously invented, but to the contrary, there was a revolution in architectural thought taking place about two thousand years ago that undermines this mythology. These Romans had developed fresh ideas about spatial planning, ornamental technique, grandiosity in scale, and new kinds of materials to use for construction (like concrete). Many were discussed by Marcus Vitruvius Pollio, who, after retiring from Julius Caesar's vanquishing army, changed careers and became an architect.




We know him as Vitruvius, and he wrote Ten Books on Architecture, which became a comprehensive guide of tips and techniques needed to solve all sorts of thorny problems in construction. By the early 1400s, Ten Books on Architecture had become compulsory reading for aspiring architects and builders everywhere.

https://www.gutenberg.org/files/20239/20239-h/20239-h.htm#Page_29

In Book II, Chapters IX and X, discuss timber used, and some interesting details about choosing timber/wood for tasks.  The other Books and Chapters offer much to the curious,

CHAPTER IX

TIMBER

1. Timber should be felled between early Autumn and the time when Favonius begins to blow. For in Spring all trees become pregnant, and they are all employing their natural vigour in the production of leaves and of the fruits that return every year. The requirements of that season render them empty and swollen, and so they are weak and feeble because of their looseness of texture. This is also the case with women who have conceived. Their bodies are not considered perfectly healthy until the child is born; hence, pregnant slaves, when offered for sale, are not warranted sound, because the fetus as it grows within the body takes to itself as nourishment all the best qualities of the mother's food, and so the stronger it becomes as the full time for birth approaches, the less compact it allows that body to be from which it is produced. After the birth of the child, what was heretofore taken to promote the growth of another creature is now set free by the delivery of the newborn, and the channels being now empty and open, the body will take it in by lapping up its juices, and thus[59] becomes compact and returns to the natural strength which it had before.

2. On the same principle, with the ripening of the fruits in Autumn the leaves begin to wither and the trees, taking up their sap from the earth through the roots, recover themselves and are restored to their former solid texture. But the strong air of winter compresses and solidifies them during the time above mentioned. Consequently, if the timber is felled on the principle and at the time above mentioned, it will be felled at the proper season.

3. In felling a tree we should cut into the trunk of it to the very heart, and then leave it standing so that the sap may drain out drop by drop throughout the whole of it. In this way the useless liquid which is within will run out through the sapwood instead of having to die in a mass of decay, thus spoiling the quality of the timber. Then and not till then, the tree being drained dry and the sap no longer dripping, let it be felled and it will be in the highest state of usefulness.

4. That this is so may be seen in the case of fruit trees. When these are tapped at the base and pruned, each at the proper time, they pour out from the heart through the tapholes all the superfluous and corrupting fluid which they contain, and thus the draining process makes them durable. But when the juices of trees have no means of escape, they clot and rot in them, making the trees hollow and good for nothing. Therefore, if the draining process does not exhaust them while they are still alive, there is no doubt that, if the same principle is followed in felling them for timber, they will last a long time and be very useful in buildings.

5. Trees vary and are unlike one another in their qualities. Thus it is with the oak, elm, poplar, cypress, fir, and the others which are most suitable to use in buildings. The oak, for instance, has not the efficacy of the fir, nor the cypress that of the elm. Nor in the case of other trees, is it natural that they should be alike; but the individual kinds are effective in building, some in one way, some in another, owing to the different properties of their elements.[60]

6. To begin with fir: it contains a great deal of air and fire with very little moisture and the earthy, so that, as its natural properties are of the lighter class, it is not heavy. Hence, its consistence being naturally stiff, it does not easily bend under the load, and keeps its straightness when used in the framework. But it contains so much heat that it generates and encourages decay, which spoils it; and it also kindles fire quickly because of the air in its body, which is so open that it takes in fire and so gives out a great flame.

7. The part which is nearest to the earth before the tree is cut down takes up moisture through the roots from the immediate neighbourhood and hence is without knots and is "clear." But the upper part, on account of the great heat in it, throws up branches into the air through the knots; and this, when it is cut off about twenty feet from the ground and then hewn, is called "knotwood" because of its hardness and knottiness. The lowest part, after the tree is cut down and the sapwood of the same thrown away, is split up into four pieces and prepared for joiner's work, and so is called "clearstock."

8. Oak, on the other hand, having enough and to spare of the earthy among its elements, and containing but little moisture, air, and fire, lasts for an unlimited period when buried in underground structures. It follows that when exposed to moisture, as its texture is not loose and porous, it cannot take in liquid on account of its compactness, but, withdrawing from the moisture, it resists it and warps, thus making cracks in the structures in which it is used.

9. The winter oak, being composed of a moderate amount of all the elements, is very useful in buildings, but when in a moist place, it takes in water to its centre through its pores, its air and fire being expelled by the influence of the moisture, and so it rots. The Turkey oak and the beech, both containing a mixture of moisture, fire, and the earthy, with a great deal of air, through this loose texture take in moisture to their centre and soon decay. White and black poplar, as well as willow, linden, and the agnus[61] castus, containing an abundance of fire and air, a moderate amount of moisture, and only a small amount of the earthy, are composed of a mixture which is proportionately rather light, and so they are of great service from their stiffness. Although on account of the mixture of the earthy in them they are not hard, yet their loose texture makes them gleaming white, and they are a convenient material to use in carving.

10. The alder, which is produced close by river banks, and which seems to be altogether useless as building material, has really excellent qualities. It is composed of a very large proportion of air and fire, not much of the earthy, and only a little moisture. Hence, in swampy places, alder piles driven close together beneath the foundations of buildings take in the water which their own consistence lacks and remain imperishable forever, supporting structures of enormous weight and keeping them from decay. Thus a material which cannot last even a little while above ground, endures for a long time when covered with moisture.

11. One can see this at its best in Ravenna; for there all the buildings, both public and private, have piles of this sort beneath their foundations. The elm and the ash contain a very great amount of moisture, a minimum of air and fire, and a moderate mixture of the earthy in their composition. When put in shape for use in buildings they are tough and, having no stiffness on account of the weight of moisture in them, soon bend. But when they become dry with age, or are allowed to lose their sap and die standing in the open, they get harder, and from their toughness supply a strong material for dowels to be used in joints and other articulations.

12. The hornbeam, which has a very small amount of fire and of the earthy in its composition, but a very great proportion of air and moisture, is not a wood that breaks easily, and is very convenient to handle. Hence, the Greeks call it "zygia," because they make of it yokes for their draught-animals, and their word for yoke is ξυγἁ. Cypress and pine are also just as admirable; for although they contain an abundance of moisture mixed with[62] an equivalent composed of all the other elements, and so are apt to warp when used in buildings on account of this superfluity of moisture, yet they can be kept to a great age without rotting, because the liquid contained within their substances has a bitter taste which by its pungency prevents the entrance of decay or of those little creatures which are destructive. Hence, buildings made of these kinds of wood last for an unending period of time.

13. The cedar and the juniper tree have the same uses and good qualities, but, while the cypress and pine yield resin, from the cedar is produced an oil called cedar-oil. Books as well as other things smeared with this are not hurt by worms or decay. The foliage of this tree is like that of the cypress but the grain of the wood is straight. The statue of Diana in the temple at Ephesus is made of it, and so are the coffered ceilings both there and in all other famous fanes, because that wood is everlasting. The tree grows chiefly in Crete, Africa, and in some districts of Syria.

14. The larch, known only to the people of the towns on the banks of the river Po and the shores of the Adriatic, is not only preserved from decay and the worm by the great bitterness of its sap, but also it cannot be kindled with fire nor ignite of itself, unless like stone in a limekiln it is burned with other wood. And even then it does not take fire nor produce burning coals, but after a long time it slowly consumes away. This is because there is a very small proportion of the elements of fire and air in its composition, which is a dense and solid mass of moisture and the earthy, so that it has no open pores through which fire can find its way; but it repels the force of fire and does not let itself be harmed by it quickly. Further, its weight will not let it float in water, so that when transported it is loaded on shipboard or on rafts made of fir.

15. It is worth while to know how this wood was discovered. The divine Caesar, being with his army in the neighbourhood of the Alps, and having ordered the towns to furnish supplies, the inhabitants of a fortified stronghold there, called Larignum, trusting in the natural strength of their defences, refused to obey his command. So the general ordered his forces to the assault.[63] In front of the gate of this stronghold there was a tower, made of beams of this wood laid in alternating directions at right angles to each other, like a funeral pyre, and built high, so that they could drive off an attacking party by throwing stakes and stones from the top. When it was observed that they had no other missiles than stakes, and that these could not be hurled very far from the wall on account of the weight, orders were given to approach and to throw bundles of brushwood and lighted torches at this outwork. These the soldiers soon got together.

16. The flames soon kindled the brushwood which lay about that wooden structure and, rising towards heaven, made everybody think that the whole pile had fallen. But when the fire had burned itself out and subsided, and the tower appeared to view entirely uninjured, Caesar in amazement gave orders that they should be surrounded with a palisade, built beyond the range of missiles. So the townspeople were frightened into surrendering, and were then asked where that wood came from which was not harmed by fire. They pointed to trees of the kind under discussion, of which there are very great numbers in that vicinity. And so, as that stronghold was called Larignum, the wood was called larch. It is transported by way of the Po to Ravenna, and is to be had in Fano, Pesaro, Ancona, and the other towns in that neighbourhood. If there were only a ready method of carrying this material to Rome, it would be of the greatest use in buildings; if not for general purposes, yet at least if the boards used in the eaves running round blocks of houses were made of it, the buildings would be free from the danger of fire spreading across to them, because such boards can neither take fire from flames or from burning coals, nor ignite spontaneously.

17. The leaves of these trees are like those of the pine; timber from them comes in long lengths, is as easily wrought in joiner's work as is the clearwood of fir, and contains a liquid resin, of the colour of Attic honey, which is good for consumptives.

With regard to the different kinds of timber, I have now explained of what natural properties they appear to be composed,[64] and how they were produced. It remains to consider the question why the highland fir, as it is called in Rome, is inferior, while the lowland fir is extremely useful in buildings so far as durability is concerned; and further to explain how it is that their bad or good qualities seem to be due to the peculiarities of their neighbourhood, so that this subject may be clearer to those who examine it.


CHAPTER X

HIGHLAND AND LOWLAND FIR

1. The first spurs of the Apennines arise from the Tuscan sea between the Alps and the most distant borders of Tuscany. The mountain range itself bends round and, almost touching the shores of the Adriatic in the middle of the curve, completes its circuit by extending to the strait on the other shore. Hence, this side of the curve, sloping towards the districts of Tuscany and Campania, lies basking in the sun, being constantly exposed to the full force of its rays all day. But the further side, sloping towards the Upper Sea and having a northern exposure, is constantly shrouded in shadowy darkness. Hence the trees which grow on that side, being nourished by the moisture, not only themselves attain to a very large size, but their fibre too, filled full of moisture, is swollen and distended with abundance of liquid. When they lose their vitality after being felled and hewn, the fibre retains its stiffness, and the trees as they dry become hollow and frail on account of their porosity, and hence cannot last when used in buildings.

2. But trees which grow in places facing the course of the sun are not of porous fibre but are solid, being drained by the dryness; for the sun absorbs moisture and draws it out of trees as well as out of the earth. The trees in sunny neighbourhoods, therefore, being solidified by the compact texture of their fibre, and not being porous from moisture, are very useful, so far as durability goes, when they are hewn into timber. Hence the lowland firs,[65] being conveyed from sunny places, are better than those highland firs, which are brought here from shady places.

3. To the best of my mature consideration, I have now treated the materials which are necessary in the construction of buildings, the proportionate amount of the elements which are seen to be contained in their natural composition, and the points of excellence and defects of each kind, so that they may be not unknown to those who are engaged in building. Thus those who can follow the directions contained in this treatise will be better informed in advance, and able to select, among the different kinds, those which will be of use in their works. Therefore, since the preliminaries have been explained, the buildings themselves will be treated in the remaining books; and first, as due order requires, I shall in the next book write of the temples of the immortal gods and their symmetrical proportions.

 https://www.chenarch.com/images/arch-texts/0000-Vitruvius-50BC-Ten-Books-of-Architecture.pdf

 

Friday, December 27, 2024

One of the world's largest log cabins.

I came across the following article and thought it to be interesting.

 

One of the world's largest log cabins. Portland, Oregon, 1938. Built in 1905, burned down in 1964.

The Forestry Building in Portland, Oregon, was known as a "temple of timber" and was once one of the largest log structures in the world. Built for the 1905 Lewis and Clark Exposition, it showcased the Pacific Northwest's rich forestry resources. The building was made with huge Douglas fir logs, some reaching up to six feet in diameter and fifty-four feet in length. Its design featured towering columns, detailed wooden arches, and a vast, cathedral-like interior that amazed visitors.

 

Inside, the building displayed exhibits celebrating the region's forestry industry, including giant logs, handcrafted furniture, and various types of wood. These displays highlighted both the natural beauty and economic value of Oregon's timber. The exterior was just as impressive, with a log facade that blended with the surrounding forest, reflecting the region's strong connection to nature.

 

Sadly, on August 17, 1964, the iconic Forestry Building was destroyed by a fire that quickly consumed the entire structure. This blaze erased an architectural marvel, leaving behind only memories and black-and-white photos. The loss of the building deeply affected the community, as it symbolized Portland's history and natural heritage and was a stunning example of early 20th-century log architecture. Today, it is remembered as a grand monument to Oregon's timber past, a structure that, for a brief time, stood as a testament to the strength and beauty of the state's forests.

 

Credits: Historys Mysteries


 

Thursday, June 6, 2024

Echoes of the Past: The Fall of the American Chestnut in Appalachia

The American chestnut tree (Castanea dentata) was once a dominant species in the Appalachian forests, making up an estimated 25% of the hardwood canopy. These majestic trees, which could grow over 100 feet tall and live for centuries, were a cornerstone of the ecosystem and a vital resource for both wildlife and human communities. However, the arrival of the chestnut blight in the early 20th century led to one of the most devastating ecological disasters in American history.


Click here to read the rest of the story.

Thursday, May 30, 2024

NATIONAL HOLE IN MY BUCKET DAY

On May 30th of each year, National Hole in My Bucket Day is observed. This wacky holiday is in honor of the fun children's song; There's a Hole in My Bucket.

From <https://www.nationaldaycalendar.com/national-day/national-hole-in-my-bucket-day-may-30>

NATIONAL HOLE IN MY BUCKET DAY

On May 30th of each year, National Hole in My Bucket Day is observed. This wacky holiday is in honor of the fun children's song; There's a Hole in My Bucket.

The song which has its origins in 1700 Germany, is about a back and forth conversation between Henry and Liza.  Henry needs to fix his leaky bucket.  In each stanza, Henry asks Liza for advice. In the end, he needs a bucket to carry water to repair his bucket.

While this annual event was inspired by a song concerned with fixing a leaky bucket, there are other ways to celebrate this day. We all know it's a bit of a bummer when a once serviceable bucket gets a hole. But not all is lost. Holey buckets still serve a purpose. While they may no longer hold liquids (or hold them well), they do still maintain volumes of mass. Depending on where the hole is, it can do many jobs.

  • Buckets of many sizes make excellent planters, especially for garden vegetables that sow deep roots.
  • Fill it with concrete to hold a PVC pipe. Then you'll have a sturdy umbrella stand.
  • Make a garden seat for weeding the flower beds, and you'll have storage for your tools, too. It doesn't take a lot of skill to make a padded covered seat out of the lid.
  • Create a compost bin. Even with a hole in it, you'll be able to make terrific, nutrient-rich compost for your garden.
  • Old galvanized buckets make excellent décor on the patio or in your home. Use them as light shades or side tables.
  • Build a birdhouse, bird feeder, bird or butterfly bath.
  • Storage, storage, storage. Buckets of all kinds can be dressed up and used to store tools, outdoor toys, and gear.

So sing the song while you repurpose your leaky bucket.

HOW TO OBSERVE HOLE IN MY BUCKET DAY

How many ways can you reuse a leaky bucket? 

 

1.  Show us how by using #HoleInMyBucketDay to post on social media. 

2.  Perhaps sing the song 

There's a hole in my bucket, dear Liza, dear Liza,

There's a hole in my bucket, dear Liza, a hole.

 

        Then mend it, dear Henry, dear Henry, dear Henry,

        Then mend it, dear Henry, dear Henry, mend it.

 

With what shall I mend it, dear Liza, dear Liza?

With what shall I mend it, dear Liza, with what?

 

        With straw, dear Henry, dear Henry, dear Henry,

        With straw, dear Henry, dear Henry, with straw.

 

The straw is too long, dear Liza, dear Liza,

The straw is too long, dear Liza, too long.

 

        Then cut it, dear Henry, dear Henry, dear Henry,

        Then cut it, dear Henry, dear Henry, cut it.

 

With what shall I cut it, dear Liza, dear Liza?

With what shall I cut it, dear Liza, with what?

 

        With a knife, dear Henry, dear Henry, dear Henry,

        With a knife, dear Henry, dear Henry, a knife.

 

The knife is too dull, dear Liza, dear Liza,

The knife is too dull, dear Liza, too dull.

 

        Then sharpen it, dear Henry, dear Henry, dear Henry,

        Then sharpen it, dear Henry, dear Henry, sharpen it.

 

With what shall I sharpen it, dear Liza, dear Liza?

With what shall I sharpen it, dear Liza, with what?

 

        With a stone, dear Henry, dear Henry, dear Henry,

        With a stone, dear Henry, dear Henry, a stone.

 

The stone is too dry, dear Liza, dear Liza,

The stone is too dry, dear Liza, too dry.

 

        Then wet it, dear Henry, dear Henry, dear Henry,

        Then wet it, dear Henry, dear Henry, wet it.

 

With what shall I wet it, dear Liza, dear Liza?

With what shall I wet it, dear Liza, with what?

 

        With water, dear Henry, dear Henry, dear Henry,

        With water, dear Henry, dear Henry, with water.

 

In what shall I fetch it, dear Liza, dear Liza?

In what shall I fetch it, dear Liza, in what?

 

        In a bucket, dear Henry, dear Henry, dear Henry,

        In a bucket, dear Henry, dear Henry, in a bucket.

 

But there's a hole in my bucket, dear Liza, dear Liza,

There's a hole in my bucket, dear Liza, a hole. 

 

Saturday, April 13, 2024

Transferring Patterns to Wood

For pattern-transferring advice, we consulted professional decorative painter Jackie Shaw, whose methods you'll find easy to master. Use them and your painted pieces will win compliments as never before.

Patterns are key to painting success. Whether you're transferring the main outline of a design or adding intricate details, the pattern guides you to picture-perfect results. In her book, The Big Book of Decorative Painting (Watson-Guptill Publications, 1994), author Jackie Shaw includes a chapter with tips and techniques for copying patterns and transferring designs to base-coated projects.

We'll give you four foolproof methods for transferring patterns -- along with a few tips from Jackie. But first, before you transfer a pattern, copy the outlines of the design on tracing paper. Jackie encourages painters to take the liberty of re-creating the pattern while they copy it. "Move the tracing paper around the pattern so you can rearrange, add, or subtract elements as you go along," Jackie says. Next, using one of the four methods following below, transfer the design onto the base-coated wood. These techniques require simple tools like chalk, a No. 2 pencil, tracing paper, and commercial transfer paper.
 
Method 1
Retrace the pattern lines or rub the back of the pattern with chalk. Turn the traced pattern face down, and retrace the lines with a chalk pencil or rub the back with chalk. Then position the pattern, chalk side down, on the base-coated surface. Using a stylus, retrace the lines. Apply very little pressure, or you'll make grooves on the wood surface. "Chalk is my personal choice for transferring patterns because it's easy to remove, and it allows for creativity and alterations without ever leaving behind a 'ghost' of the pattern," Jackie says.

Method 2
Rub the back of the pattern with a No. 2 pencil. With the traced pattern face down, hold the pencil horizontally on the paper while applying the graphite. Lightly wipe off the excess graphite dust. Then place the pattern, treated side down, on the base-coated surface and retrace the lines with a stylus.
 
Method 3
Apply the pattern with commercial transfer paper. Check at local crafts stores or art-supply stores for special artist's transfer paper -- several brands are available. Slide the sheet of transfer paper, treated side down, between the pattern and the base-coated surface, and trace over the lines as directed above. Although it might be tempting to substitute carbon paper for the transfer paper, "it's best not to use it because over time it will bleed through paint," Jackie says.
 
Method 4
Make your own transfer paper. You'll need tracing paper and several pieces of chalk, both white and colored. To make light sheets of transfer paper (to use on medium- and dark-colored surfaces), rub one www.MyShedPlans.com side of each piece of tracing paper completely with a piece of cheap white chalk. (Do not use artist's pastel chalk because its wax base can mar your painting.) Rub the chalk into the paper with your fingers. Then shake off any excess chalk. For dark sheets of transfer paper, use colored chalk or a pencil. Shake off any excess chalk or graphite. Store the sheets by folding the treated sides together.
 
Transferring Tips
  • When transferring a pattern, place a sheet of waxed paper on top of it to help you keep track of lines already traced. The stylus will etch the wax paper as you work, showing clearly where you've traced.
  • To remove chalk or transfer-paper pattern lines after painting, rub off marks with a soft cloth dampened with clean water. Graphite or other commercial transfer papers may require mineral spirits.
  • Transfer as little of the design as possible to the wood. This will allow you to be more creative with painting.

Sunday, March 24, 2024

Pilot Hole Sizes For Wood Screws

 




Pilot Hole Sizes For Wood Screws

Screw
  Gauge #  

  Shank  
Hole

Pilot
  Soft Wood  

Pilot
  Hard Wood  

0

1/16

1/64

1/32

1

5/64

1/32

1/32

2

3/32

1/32

3/64

3

7/64

3/64

1/16

4

7/64

3/64

1/16

5

1/8

1/16

5/64

6

9/64

1/16

5/64

7

5/32

1/16

3/32

8

11/64

5/64

3/32

9

3/16

5/64

7/64

10

3/16

3/32

7/64

11

13/64

3/32

1/8

12

7/32

7/64

1/8

14

1/4

7/64

9/64

16

17/64

9/64

5/32

18

19/64

9/64

3/16

20

21/64

11/64

13/64