Supplier's Viewpoint:
A Shopper's Guide to Antique Flooring
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Supplier's Viewpoint:
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by Pete Caminiti and Bob DiNello Antique & Specialty Flooring Company, Southington, Conn.
As a manufacturer of both new and antique flooring for over twenty years, we know that specifying and selecting new wood flooring is fairly straightforward. We can show an architect, designer, builder, or homeowner a single board or even a 1-ft. piece of 7-in. clear white oak flooring, and they can readily see what their floor will look like. Most new wood species are quite homogeneous, changing little from piece to piece; there might be some color variation depending upon, for example, whether it is a Northern or Southern oak. If length is important, one will specify custom plank; if not, the shorter commodity plank will do. A few well-placed questions about drying, milling, price, delivery, etc., and you're out the door. Simply put, it's a "no brainer." However, the scenario changes dramatically with antique flooring.
Great Expectations
When a customer decides to "go rustic," we are presented
with a whole new set of circumstances. As anyone in the construction
and design fields knows, building and remodeling is a game of
expectations. Everyone involved tries to give the client what
he or she expects in the final product -- the completed home.
When deviating from the norm, as with antique flooring, the goal
of meeting the client's expectations becomes more difficult. But
if approached properly, armed with a knowledge of what antique
flooring is and is not, one can end up with a beautiful and unique
floor, truly unlike any other.
Apples and Oranges: How To Compare Suppliers
Many reputable antique-flooring manufacturers are located in the
South and the Northeast, out to Pennsylvania (and probably further).
But there also exists a virtual cottage industry of numerous small
sellers, who make a business of acquiring and reselling "barnboard-cum-flooring,"
usually with little or no professional drying or milling. Some
producers will specialize in a specific antique wood, such as
heart pine; others will manufacture numerous varieties of antique
woods. Needless to say, it is wise to stay with an outfit that
has been around awhile, and, among other things, does its own
kiln-drying and manufacturing. There is no grading system for
antique woods as there is with new lumber. That's not necessarily
a bad thing, since appearance is much more meaningful than grade.
Besides, our antique oak may not look like some other supplier's
antique oak. Interestingly enough though, the very things that
are considered defects in new lumber (e.g. checking, cracked knots,
worm holes, and other "bug tracks") are exactly what
makes antique flooring so attractive. We are frequently amused
to see that what one person loves can send someone else screaming
from the room. So it can be a daunting task to compare, say, antique
heart pine, when the names of the different "grades"
range from descriptive ("Clear," "Naily,"
etc.) to the names of dead presidents. Brochures and pictures
can help to some extent, but it is a very rare photo that will
show the true color of a finished antique floor; slight errors
in lighting, developing, and color printing takes their toll (just
ask any owner of an antique flooring company who is trying to
put an ad together). Which brings us to the question of samples.
When is a Sample Truly a Sample?
Not often enough. The very nature of antique lumber is that it
varies from piece to piece, which one should view as part of its
appeal. We're dealing with boards and beams up to 250 years old,
which have been subjected to the elements and used in the construction
of buildings. When a potential customer specifies, for example,
antique white oak, we try to explain that when an 18th-century
farmer built a barn on his property, generally he used the lumber
available on his property; he may have used all oak, but more
often than not there were numerous sub-species involved, some
of which may no longer be available. It is a rare load of antique
lumber that is all the same. Some suppliers may try to sort by
oak species, or more realistically, by color. The point being
that while the lumber may vary in color, density, etc., it should
be viewed as a whole; if you don't find this appealing, staining
is always an option. Failing that, you might want to consider
new-wood flooring.
After we send samples, we always encourage the specifier and/or client to visit our operation and actually see a whole lot of whatever antique woods they may be interested in. We find that most people find the trip informative and enjoyable, leaving with yet more samples in tow. This works as a day-trip, but if the party is in California and we're in Connecticut, it's not very feasible (although, surprisingly, it has happened). Before we take a deposit on a long distance order, we will send numerous samples to be certain the customer knows exactly what the shipment will look like. Again, it's all about expectations, and no reputable supplier wants to disappoint (or pay for return freight).
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We also make it a point to put one coat of finish on half of each sample; the color of all the antique woods changes dramatically with that first coat. We use oil-based satin polyurethane, which is the most common finish used by flooring contractors.Some companies will charge for samples and then apply a credit to a subsequent order; some do it for free. Certainly all would agree that accurate and representative sample-making is difficult, time consuming, expensive, and a bit of a pain. So ask only if you're serious. And don't expect too much from one sample. The More You Know |
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Some antique lumber, such as heart pine, is rarely available in anything but beams, which were used to support many of the factories built in the Northeast, South, and Midwest during the industrial expansion in the last half of the 19th century. Sadly, many of these buildings are now going the way of the wrecking ball -- to make way for yet another mall. But the demolition process does put some beautiful lumber back into circulation. A secondary source of heart-pine lumber is from river recovered logs -- "sinkers" -- that went down as they were being floated to the sawmill. While this wood is free from age-related "defects" that are normally encountered when sawing a 100-year-old beam, the resulting floor will have a newer look. As with any flooring, it boils down to preference.
Antique distressed Eastern white pine and hemlock are examples of woods that, while still as plentiful today as new lumber, bear little resemblance to their current counterparts. The years of rain, sun, and general neglect impart colors and markings that simply can't be duplicated with stains and chains. Most people are aware that these are softwoods, and as such will dent, scratch, etc., more readily than other species. But we feel that the question of hardness is more relevant to new flooring than to antique. Let's face it, if you wanted your floor to maintain a pristine appearance, you would not -- nor should not -- be considering antique lumber in the first place. Antique pine and hemlock certainly will not wear out, they are "pre-dented," and most scratching is visible in the finish, to which any dog owner with hardwood floors will attest.
Form, Function, Punk
First and foremost, any flooring, new or old, must be able to
support human weight and activities. While that seems pretty intuitive,
it comes into play in antique flooring because we are dealing
with very old lumber that might be "punky" due to rot,
insect damage, etc. Ideally, you want flooring that has been ravaged
by weather and eaten by bugs only to a certain extent, and you
want the bugs to have vacated the premises (more on that later).
It is the manufacturer's job to cut out and discard any lumber that has cell damage sufficient enough to allow it to crush when walked on. While this increases the already sky-high waste factor, it is another mark of a good producer.
Kiln-Drying and Milling
We are constantly asked the question "Why kiln dry the wood;
if it's so old, isn't it dry already?" Well, yes and no.
If the old barn or outbuilding was dismantled when rainsoaked,
or allowed to get wet during handling or transit (which is usually
the case), the lumber will have a high moisture content.
More importantly, it will have an uneven moisture content, causing a finished plank to shrink more in one place than in another. Even properly stickered and air-dried, lumber will not usually dry to less than 15% moisture content in most parts of the country. Which brings us to the subject of bugs. According to the scientists at the Forest Products Laboratory of the USDA in Madison, Wisc., carpenter ants, powder post beetles, and other wood consuming/burrowing insects need moisture to live and work; something in the range of 15-20%.
Since kiln drying will leave the wood with an average of around 8% moisture content, you don't have to worry about the little critters crawling out of the woodwork. Most of the antique and new flooring we manufacture is milled to a tongue and groove, which allows for ease of installation by blind nailing through the tongue. Under normal conditions, this is all the attachment needed with narrower widths (up to 5 or 6 in.). Wider boards, while installed the same way, will require fasteners on the face or flooring mastic on the back. Interestingly, we have found that antique flooring is much more stable in use than its counterpart in new flooring. "Reaction wood" -- called "compression wood" in softwoods and "tension wood" in hardwoods -- is the abnormal tissue growth in trees that is the main culprit in causing warp in lumber, especially during the milling process. When straight-line ripping a piece of new oak, it is not uncommon to see the finished board go right and the edge rip head left. This very rarely happens to antique lumber. (We're not sure why, but we figure stress can't possibly last more than a hundred years or so). The result is an antique floor that expands and contracts more evenly over the heating and cooling seasons than a similar-size new floor.
There are always customers who will specify "square-edge" planking, without the tongue and groove. With no means of blind nailing, the boards are not forced tightly together. This gives the planking a more relaxed fit that is seen in most older, original floors. Of course, some means of attachment is needed on the face. Be sure to ask your supplier if he end-squares his flooring. This will not only speed up installation, but will also leave the brunt of the waste in his dumpster. A 10% waste factor is sufficient for most installations.
On the Job Site
Invariably, the subject of "acclimation" rears its head.
We have found a great deal of confusion and disagreement on this
subject. Acclimation is the process in which the flooring is stored
on the job site for some period of time to allow it to reach the
ambient humidity (which translates to moisture content) of the
site. We feel that whether or not to do this depends on many things,
such as the time of year the installation is taking place, whether
or not the space is currently being heated or cooled (regulating
the humidity), whether or not air conditioning will even be used,
how your supplier stored your flooring, etc. If we deliver flooring
during a hot, humid week in July and the HVAC isn't installed
(or isn't running), does it make sense to allow the wood to gain
moisture and expand? Conversely, we don't think that leaving the
unfinished flooring stacked in an unheated room in December makes
much sense either. And if acclimation is a good idea (which certainly
it is in specific situations), it does little good to "dead-stack"
a pile of lumber with no thought of airflow; the only thing acclimating
will be the ends of the boards. Talk with your supplier to find
out if his warehouse is heated and/or dehumidified, think about
current and future conditions at the site, then make an intelligent
decision.
Contrary to what you may hear or read, there is no pat answer. As far as the actual installation is concerned, there should not be (and if properly milled, there will not be) any difference between antique and new plank flooring. There are, however, some differences in the sanding and finishing. Some of the antique woods should never see a coarse "cutting" grit of sandpaper; distressed chestnut and pine are two examples. Sanding off the beautiful patina easily ruins antique floors -- new or original.
Then there is the "nature/nurture"question of using a stain. On some antique floors, a stain can be used to "even" the color, rather than change it. We always suggest a test corner with just a natural finish first; it can easily be re-sanded later. Lastly, some types of antique flooring may require the judicious use of wood filler. More often than not, this is purely a point of preference. We have customers who would not even think of filling a nailhole, while others will instruct the finisher to fill every minuscule cavity or dent. We have learned not to question matters of taste. In any case, the installer/finisher should discuss this with the decision-maker to be sure they are on the same page.
A.W.A and the A.M.A. We have had quite a few experiences with a phenomenon that we call "A.W.A." ("Antique Wood Anxiety"). While not yet recognized by the medical community, A.W.A. may strike when antique flooring is delivered to a job site, where the owner might overhear an inexperienced or insensitive worker say something like, "What are they using for flooring, pallet lumber?" Sometimes, after the installation has begun, a nervous owner will call us and ask, "Are you sure that this will look like what you showed us?" Our response is always the same: Relax, wait until there is a finish on it, and then tell us what you think. Invariably through our follow-up or their call or letter we find they just love their new antique floor. Old is new again.
Pete Caminiti, born and raised in New
York, was exposed to woodworking at an early age by a father who
was an accomplished cabinetmaker, carpenter, and clockmaker. After
college and graduate school, Caminiti worked in the corporate
world for several years before making his escape in 1976. He traded
tie and jacket for noise and sawdust and self-employment, starting
his own flooring-manufacturing business. He has looked back only
sometimes.
Bob DiNello, a native of Southington, was a journeyman stonemason
and bricklayer before partnering-up with Caminiti in 1979. After
having worked with stone during the day, he would retire to his
home woodshop at night, making Shaker-style furniture and Victorian
birdhouses. He decided his true love was woodworking. Some say
he is still looking back.