Thursday, July 29th

Chapter 4 Index

Preserving significant exterior features

Once you've attended to serious exterior building threats, it's time to consider problems with the skin or envelope of your house. Wooden cladding, masonry, windows, doors, and porches are some of the character-defining details of your home that may need work. Since many contractors unnecessarily encourage replacement materials that are inappropriate and inferior to those already in place, we offer the following maintenance and repair tips.

 

Siding

Maintaining the original siding of your home is extremely important. Replacing or covering your siding with vinyl, aluminum, Masonite hardboard, Textured-lll, or any material different from the original, severely compromises the architectural integrity and can lower the value of your house.

The siding and various other elements original to your home define its special historic character and style. When a house is covered with substitute siding, the original siding will be hidden, removed, or sometimes ruined forever. In the process, other important elements such as brackets, window or door pediments, and porch details are often removed and discarded. The result is an historic structure, stripped of its charm and rendered bland and unappealing with low quality, modern materials.

Perhaps one of the worst myths of synthetic siding is that it protects your property. To the contrary, siding often hides problems that aren't discovered until severe damage occurs-problems that can only be repaired at great expense. Whether you are a homeowner or a potential buyer, remember that inner wall condensation, ice dam damage, insect infestation, and rot can all be hidden by substitute siding.

And if anyone tells you that substitute siding is maintenance-free, don't believe it. All varieties of siding have their special weaknesses. Aluminum and steel siding dent and fade. One of the biggest markets for house painters today is repainting "maintenance-free" aluminum siding. Vinyl siding shatters in cold weather, fades and slowly deteriorates from the ultra-violet light. Unlike aluminum siding, vinyl siding does not hold paint well and is a problem when fading, graffiti, or replacement dictate a new coating.

Don't be fooled by exaggerated claims of big energy savings from new siding and the thin layer of styrofoam that is often installed behind it; savings are minimal. The best way to weather-proof your house is with attic insulation, quality storm windows, caulking around openings, and weatherstripping.

Few older homes require complete replacement of the original clapboard siding. Houses that have not been painted for 50 years or longer often can be rescued with judicious repairs and a good coat of paint. Neglected houses typically exhibit the most deterioration on the south side, so you might have to replace most of the siding on the south and only a few pieces on other sides. Also, carefully inspect clapboards abutting lower roofs and those near the ground.

Replace all original siding with materials similar in design, composition, and installation. For example, don't substitute clapboards for shingles or board and batten for clapboards. Backprime all replacement boards, seal cut joints with primer and fasten with hot-dipped galvanized, stainless, or aluminum nails. Caulk all vertical joints that are vulnerable to moisture penetration, but don't caulk or seal the horizontal seams under the clapboard edge; this crack provides a thin opening for moisture vapor trapped in the wall.

 

Historic masonry

REPOINTING: Repointing is the process of removing deteriorated mortar from the joints of a masonry wall or foundation and replacing it with new mortar. Properly done, repointing restores the visual and physical integrity of the masonry. Improper repointing detracts from the appearance of the building and may cause physical damage to the masonry or to a substantial portion of the structure.

The decision to repoint is most often related to some obvious sign of deterioration such as disintegrating mortar, cracks in mortar joints, loose bricks, etc. Determine the cause of the deterioration before beginning repointing work. Repair old gutters and leaking roofs, and attend to rising damp and grade problems before repointing.

An important rule is to mix mortar that is slightly softer than the adjacent masonry unit. Formulas must be adjusted for different materials. For example, granite requires a harder mortar than sandstone, especially our soft, brown Medina sandstone.

Repointing soft 19th-century brick is particularly troublesome. The original lime mortars were compatible with the brick because they were slow-drying and allowed slight movement of the masonry without affecting the bond with the individual unit. Conversely, Portland cement mortar drys extremely hard and restricts any movement of the wall or individual unit. If the mortar is harder than adjacent stone, brick, or block, a crack often occurs between the dry mortar and the masonry, allowing moisture in and increasing the chance of spalling. If the mortar fails, it cannot safely be removed from units where it is firmly attached.

Matching new mortar to old is tricky, but with a little research and the correct ingredients, you can get a good match. First, determine what materials were used in the original mortar. To do this, dissolve a sample of soft mortar in water or harder mortar in a dilute solution of muriatic acid. When the sample has completely broken down, pour off the liquid, let the residue dry, and determine the size and color of the aggregates. Call local quarries or sand and gravel suppliers to find sand in the color and size that matches the original. A less satisfactory method involves tinting the mortar with masonry pigments. Should you choose this method, make your final choice from dry samples only. You can purchase pigments from most masonry suppliers.

Whenever possible, remove old mortar a minimum depth of 2-1/2 times the width of the joint. This usually means removal of 1/2 to 1 inch of mortar. Only use hand tools for removing deteriorated mortar. Power tools such as saws with diamond- edged blades and impact hammers always damage the adjacent stone or brick by breaking edges and overcutting.

Fill deep voids in layers, not all at once. To prevent excessive absorption of moisture from the fresh mortar, mist or dampen dry brick or stone just before packing in the mortar. Reinstate original joint detailing. Brick mortar must not protrude beyond the face of the unit, but should be recessed into the joint. Wipe off excess mortar with a dampened bristle or fiber brush before it gets hard. Never clean sloppy workmanship with an acid etch.

WATERPROOFERS AND WATER REPELLANTS ON HISTORIC MASONRY: Don't use waterproof sealers or coatings on your historic masonry surfaces. Although believed by many people to protect the surface, these products often trap moisture in the wall, creating a problem that cannot be repaired. Unsightly stains, discoloration of the masonry, and thin paper-like spalling are symptoms of failed waterproofing methods.

Water repellants that allow a degree of vapor transmission through the wall have been used with success in some applications, but are unnecessary unless the masonry is deteriorated to the point of requiring replacement. Water repellants require frequent applications and their long-term effects are unknown.

STRIPPING PAINT AND STAINS FROM HISTORIC MASONRY: If you are thinking about stripping old paint from your masonry, consider why it was painted originally. For example, some brick was always painted. Early brick varied in quality and hardness as it came from the kiln. If a soft porous brick was used on exterior walls, it was painted for protection. In this case, it is a mistake to strip the brick. Also look carefully for interruptions in the brick coursing-filled-in windows or openings and other imperfections hiding under multiple coats of paint that will be unsightly if the surface is stripped.

Be careful when hiring a mason who also promotes and provides sandblasting services. Old masonry should never be sandblasted-especially old brick. Most old brick is extremely soft on the inside with a harder outer layer-similar to the crust on a loaf of bread. If this harder exterior layer is blasted away, the porous inner layer will absorb moisture, collect dirt, and rapidly deteriorate. In extreme cases, walnut shells, ground corn cobs, and soda are sometimes successfully used to abrasively clean painted or dirty masonry. As with any technique, the success or failure of these methods depends on the skill and patience of the person performing the work and careful job oversight. Always test any products and methods in an inconspicuous area of the building before determining their appropriateness.

High pressure water strippers (power washers) can be as abrasive and damaging as sandblasting. Operating pressures ranging from 2500 - 5000 psi can etch the face from masonry or score multitudes of ugly circles all over the surface. Besides destroying the surface of the masonry and vulnerable mortar, water trapped in the masonry can spall if the temperature drops below freezing. Medium pressure water blasting (500 - 1000 psi) is appropriate for dust, dirt, chalk, mildew, and cobweb removal, but never for complete paint removal.

Chemical stripping is expensive, messy, toxic, and often deteriorates building materials. Most advertisements and promotional literature for chemical strippers exaggerate the product's ability. When chemicals are used, they must be carefully chosen for the type of masonry and stain that needs cleaning. Some surfaces are seriously affected by acidic cleansers, others by alkaline cleansers. Before undertaking any stripping project, always refer to Keeping It Clean: Removing Exterior Dirt, Paint, Stains and Graffiti from Historic Masonry Buildings, Anne Grimmer, U.S. Department of the Interior, Washington, D.C., 1988.

Although various chemicals are available for cleaning dirty masonry, the best method is a prolonged water mist or spray. To do this, a hose or pipe is punctured with small holes that will direct the mist toward the building. Eventually, the dirt will loosen and wash away; scrubbing with hemp brushes speeds up the process.

TYPICAL 19TH AND EARLY 20TH-CENTURY SOFT BRICK MORTAR FORMULA

Mortar must be softer than the brick or stone for an average soft mortar:

1 part Portland cement (to improve workability and drying)

4 parts hydrated lime

10 parts sand

 

 

Stucco

Stucco is a versatile masonry material that was applied in a variety of decorative finishes from smooth to rough. Most mid-19th-century examples in this area were smooth, lime-based stuccos scored to look like stone. Although popular throughout the 19th century, stucco reached its greatest use in this area from about 1910 to 1940.

After the 1880s, various formulas of Portland cement and lime were used for stucco. It was usually applied in three coats over stone, brick, or terra cotta, and over wood and wire lath. Stucco was popular for new construction and also used to modernize older homes.

Although durable, stucco is vulnerable to moisture damage. Problems range from hairline cracks to large bulges. Before mending damaged stucco, always determine the reason for failures and make suitable repairs. Cut or chisel damaged areas out to a sound surface. Dampen adjacent stucco and the lath or base to prevent excessive moisture absorption from the new mixture. Determine how the original mixture was formulated using the same methods recommended for historic masonry repointing earlier in this chapter and make your patch with similar materials and ratios. If the textured finish of your stucco appears difficult to match, contact a mason who specializes in stucco repairs.

If your house was built in the 20th century, chances are the stucco is a Portland base. To analyze the materials in your stucco, drop a small piece in a dilute solution of muriatic acid. Lime-based stucco will dissolve; Portland cement will not. If part of your sample dissolves, the dissolved part was lime, the remainder is Portland and aggregate. Never formulate a stucco that is harder than the adjacent material or substrate. As in repointing, the harder stucco patch will crack away from the older, softer material.

Unpainted stucco in good condition is difficult to match with a patch. The aggregates (sand, pebbles or stones) must match the original as closely as possible. If your stucco is painted, repaint with a material compatible with the last coat that was applied. If you are painting new or unpainted stucco, use an acrylic latex or special masonry paint. For more specific painting information, refer to the painting section later in this chapter.


STUCCO

MID-NINETEENTH- CENTURY LIME STUCCO FORMULA

l part by volume hydrated lime

3 parts by volume sand

6 lbs. animal hair per cubic yard of stucco, 1/2"-2" long

Water to form a workable mix

Omit hair from finish coat To increase workability and setting time, add 1 part white Portland cement to 12 parts lime and sand.

TYPICAL EARLY TWENTIETH-CENTURY PORTLAND STUCCO FORMULA

1 part Portland cement

2-1/2 parts sand

Hydrated lime - not more than 10% of the cement's volume

Water to form a workable mix

Finish coats generally contained more lime than undercoats but not more than 25% of the cement's volume.

Pigment as needed in finish coat

 

Chimneys and flues

Chimneys are often "out of sight and out of mind," but they can be an important architectural element of your home. Whether your chimney is easily visible or not, it must be inspected regularly and maintained.

If you burn wood or coal fires, use a woodstove, or vent your heating and hot water systems through the chimney, it must be lined. A deteriorated brick flue can leak deadly carbon monoxide fumes or flames back into the living space. Clean and inspect your chimney yearly. This is particularly important if you consistently maintain a woodstove fire. Low or cool fires greatly increase the accumulation of creosote, the leading fuel of chimney flue fires. For a fair evaluation of your chimney, it's best to choose a chimney sweep who is not also a masonry contractor.

Over time, the condensation of flue gases will deteriorate the interior of a brick or tile-lined chimney. Bits and pieces of fallen masonry can clog the chimney or the pipe leading into your chimney. If yours is not lined, ask your HVAC (heat, ventilation and air conditioning) contractor to inspect your flue when your furnace is inspected.

Inspect the exterior of your chimney with binoculars. Look for loose bricks, missing pointing, rusty or tarred flashing, and deteriorated caps or copings. Loose bricks or masonry copings (the protective cap) can fall and damage the roof and gutters and leave a vulnerable spot in the chimney face that will deteriorate rapidly. Chimneys should be repaired just as you would the foundation, by repointing. Parging, a heavy coat of cement stucco, is a poor way to repair a deteriorated chimney, because the condition of the old pointing is ignored and simply covered up; the chimney will still be structurally weak.

Finally, never attach your television antennae to your chimney; the swaying motion of the antennae and fasteners located in the mortar will eventually undermine its integrity.


CHIMNEY MASONRY

 

Windows

Windows Window style and placement are two of the most important character-defining features of any structure, and often one of the few clues to the age and evolution of a building. For example, multi-paned sash and mottled glass usually indicate a pre-1850 construction date; larger panes were not available until later in the century. Uneven spacing of upper and lower windows can reveal that a front porch has been removed.

Wooden window sash were made with the precision of fine cabinetry. Joints were morticed and tenoned and sometimes pegged for added strength. This is why the typical window can withstand decades of use and abuse. Unfortunately, when the remodeler arrives, windows are often the first feature to be thrown away-usually for no reason. The savings realized from an average double-glazed, insulating replacement window does not warrant the cost when compared to the energy performance of a properly functioning prime sash with a quality storm window. Furthermore, wood sash are far more efficient than most metal replacement sash.

If your windows are drafty and don't function properly, adjust and weatherproof them for better performance. One of the biggest problems with any window system is the thick accumulation of paint that prevents the sash from moving and closing correctly. Prior to making adjustments, remove this build-up of paint with sandpaper, stripper, or a rasp. To do this on double-hung windows, remove the stop, then remove the sash from the frame, taking care to tie a knot in the sash cords to prevent them from flying back into the wall pocket.

Strip thick accumulations of paint from the sash and the face of the stop and parting rail that meets the sash. When repositioned, the sash should glide easily but not fit loosely between stops. Paraffin is a good lubricant for the face of the stop that abuts the sash and the channel. With the sash in a closed position (and all the paint removed), try using the lock. This should pull the upper and lower sash firmly together at the meeting rails. If your windows are exceptionally loose and drafty, install weatherstripping in the sash channels and between the meeting rails. In the past, spring-metal type weatherstripping was used successfully but now sophisticated channel weatherstripping systems in both metal and vinyl are available from hardware stores and home centers. You may purchase high quality weatherstripping supplies from The Accurate Metal Weatherstrip Company, 725 South Fulton Avenue, Mt. Vernon, NY 10550-5086. Phone (914) 668-6042 for their catalogue.

Casement windows are often drafty, but their efficiency can usually be improved. Begin by removing excessive paint build-up and check the locks to see if they pull the sash tightly into the frame. If not, repair or replace handles and locking hardware. Install weatherstripping or a home-made silicone gasket around the contact points. You may purchase weatherstripping supplies for casement windows from the above mentioned Accurate Company or replacement parts from Hopes Architectural Products Inc., 84 Hopkins Avenue, P.O. Box 580, Jamestown, NY 14702-0580. Phone (716) 665-5124 for their catalogue.

The glass in your window sash is held in place with glazing points and glazing compound (usually called putty). Reglaze windows by removing as much of the old material as possible without breaking the glass. Dust off the rebate or putty channel and prime it with a thin coat of boiled linseed oil or exterior oil-based primer. When the oil dries (about 24 hours), apply new glazing compound, taking care to keep the level even with the inside part of the muntin. When the glazing compound begins to harden (usually about 3 days), repaint the sash, slightly lapping your paint upon the glass to create a seal between the glass and glazing compound. If you must scrape excess paint from the glass, protect the putty and the paint seal with a wide blade putty knife.

When replacing glass, remove the old glazing compound with a putty knife, heating element, or pencil-point nozzle propane torch. Clean out the rebate, sand it smooth, and prime it with boiled linseed oil. After the primer coat of linseed oil has dried, back-putty the glass by applying a small amount of glazing compound in the rebate just before pushing in the glass. Secure the glass with glazing points, reglaze, and paint.

If window replacement is necessary (and it seldom is), always purchase units that match the originals. This includes the size of the unit, the number of window panes, muntin profiles, and material. Never install a unit that is smaller or larger than the opening; exact copies of unusual sizes can be duplicated by many millwork companies. Don't try to match your original windows with replacements that have snap-in muntins. False muntins create a shallow, inappropriate appearance.

 

 

 

 

Storm windows

After the prime sash has been renewed, it's time to consider storm windows. Storms are not only another method of energy conservation, they also protect the more expensive prime sash. If you want the most efficient, best-looking storm windows, wooden storm sash are a great choice. Wooden storms can be fabricated to fit any location and, because wood is an outstanding insulator, they are more efficient than aluminum sash. Wooden storms should have meeting rails that line up with those of the prime sash and they should be fabricated from high quality, paint grade 5/4 (1" thick) pine. All glass should be double-strength, the joinery mortice and tenon, and each unit should have adjustable fasteners that hold it tightly to the window frame. Well-maintained wooden storms easily last 100 years-you'd purchase three or four sets of aluminum units in that time.

The Marvin Window Company manufactures a storm and screen combination window that is attractive and well-made. For more information about Marvin windows, call Morse Sash and Door, 475-1010.

Aluminum storms (often called triple tracks) come in a variety of qualities. They are popular because the storm sash and summer screen are all part of the same unit; there is no need to seasonally remove one or the other. One problem with most aluminum sash is that the metal conducts as much energy out as it saves in energy efficiency. If you choose aluminum storms, insist on a low-profile design and a good quality window. Low-profile units have thinner frames that hide less of your prime sash. Don't buy models that are light and flimsy. Meeting rails should line up with those of the prime sash; install the frames within the perimeter of the window casing, not on the outside of the casing. Aluminum storm windows usually fit tighter than wooden storms; look for vents that allow an escape for moisture or condensation. Caulk the frame on the top and sides, but leave the bottom open to prevent an excessive accumulation of moisture from condensation or rain.

 

Doors

Many houses built from the Federal period until now were designed with few stylistic features except those around the front door. Side lights, fan lights, pediments, and pilasters are typical details of a house's entrance.

Doors often reflect a particular style or the craftsmanship indicative of the period or locality. Pointed arched panels of the Gothic Revival, heavy curved moldings from the Second Empire, or an oaken plank door from the Craftsman period are all important elements of a house's basic character.

To replace an inappropriate door with something that better matches the period of your house, study designs from old pattern books and catalogues; the Landmark Society has an excellent collection in its library. Once you settle on a specific type, contact local salvage dealers or restoration contractors who might have one tucked away in storage. Many millwork shops also can construct a new door in any design you need. This might seem like a lot of trouble since the local lumber company sells a variety of modern doors, but think about it-what single element of your house is more important than the front door?

 

Porches

A properly maintained porch is a credit to any house. Because they are extremely vulnerable to every whim of the weather, porches usually require more maintenance than the rest of your house. Piles of melting snow saturate intricate joinery, torrential rain blows into obscure crevices, and summer sunlight bakes the paint and bare wood. Thus, deteriorated porches are often removed, enclosed or unsympathetically repaired. Below are a few suggestions for caring for each element of your porch.

ROOF: Inspect your porch roof yearly for worn shingles and flashing. Never apply a second or third layer of shingles; the extra weight and height might create problems. The flashing at the junction between your porch and house is important and should be replaced if deteriorated.

GUTTERS: Porches shed an enormous amount of yearly rain and snow. Deterioration usually follows the outer perimeter that is most often wet. Unfortunately, this includes the banister, balusters (spindles), and the tongue-and-groove floor-three important elements that are expensive to replace. Properly installed gutters will direct excessive moisture away from these vulnerable elements and the foundation.

FOUNDATION: Many porches droop from the settling of inadequate pier footings. Cracked and warped floors, deflected horizontal lines, leaning columns, and sagging gutters are the common results. If extreme settling is evident, excavate footings below the frost line and reuse the historic materials (stone, brick, block, etc.) above grade. To correct minor settling, jack the porch into level and install shims between the framing and the piers.

FRAMING: Use pressure-treated lumber for the framing under the porch. If joists must be doubled up or layered, use a spacer to maintain an airspace between boards and to prevent moisture from being trapped between them. Always use a spacer between the rim joist and the finish apron or skirting.

FLOOR: Porch decks are traditionally constructed with tongue-and-groove planks inclined away from the house. 5/4 tongue-and-groove flooring is best-anything thinner might be springy and doesn't look authentic. (5/4" is the dimension before planing; it's actually about 1" thick as purchased.) Backprime new decking and seal the tongues and grooves and all end grain as new boards are installed. On existing lumber, remove failing paint and recoat immediately.

COLUMNS: Replace rotting column bases before deterioration moves up column shafts or into the deck and framing. Backprime all base parts and end grain cuts and install columns on lead shims or metal plinths to allow air circulation under and up through the column.

RAILINGS: When reconstructing an entire section, balusters and the lower rail can be designed to shed water away from the joinery. Although seldom seen today, most late Victorian porch rails continued in design down the steps and terminated into a newel that was similar to the columns. Prime all parts on every side before assembly. If your rail sags, use a small painted block between the lower rail and the floor to support the center. Monitor the block to ensure that trapped moisture doesn't deteriorate paint and rot the floor

SKIRTING: Decorative skirting around the porch keeps animals out but allows essential air circulation under the deck and stairs. This circulation is crucial in preventing dampness that attracts carpenter ants, termites, and fungus, and contributes to peeling paint. Lattice and intricate cutout designs in a sturdy frame were used throughout the 19th and early 20th century. If the grade around your porch has risen, there might be a depression under the porch. If this is the case at your house, back-fill this area or remove earth from the lawn to prevent ponding water from accumulating under the porch.

Porch replacement and repair parts should match the original as closely as possible in size, scale, and materials. Don't use "Victorian" stock lumber yard components on your house unless they are appropriate for the period of the house. Don't use pressure-treated decking boards in place of tongue-and-groove porch flooring.

 

Exterior painting

Whether you are painting yourself or hiring it out, ask yourself if your house really needs painting. If there is no obvious peeling, the appearance of your house might be drastically improved by washing off the dirt, grime, or mildew. Needless painting just to freshen up the house or to switch to a new color scheme is counter-productive, because excessive layering of paint is a prime cause of paint failure. For the same reason, consider touching up minor problems or painting only the areas that have obviously failed. For example, the south sides of most houses usually need painting long before the north sides. If you paint from corner to corner, it is difficult to see that the other side was not done.

If complete painting is necessary, determine if there is some reason for premature paint failure. You don't want to begin an expensive or time-consuming paint project if there are extenuating problems. Look for pattern failure-excessive peeling around outside walls of the kitchen or bathroom might mean these rooms need better ventilation; peeling and brown stains under the soffits indicate ice damming; peeling around porches and lower areas of the house might be remedied by gutters; general all-encompassing paint failure, revealing bare wood, might mean that your entire house needs better moisture/vapor ventilation.

Preparing your house for painting is the most important part of the job. Generally, hand-scraping and light hand-sanding is adequate for removing old paint. Heat guns and heat plates are a more aggressive method, but must be used with caution. Wash off accumulated dirt and chalking paint with detergent, a hemp brush or sponge, and a garden hose. Spic and Span or tri-sodium-phosphate substitute are both good detergents for this purpose. Use commercial pressure washers cautiously. If you rent one, use the wide-fan tip only and maintain at least one foot between the house and the sprayer nozzle.

To work effectively, keep several sharp scrapers on hand. If you use one scraper, it must be sharpened several times each day-maybe every hour or so if you're working with thick, hard paint. You'll need smaller scrapers for window and trim work and wider scrapers for clapboards. Most paint stores sell special, shaped scraper sets for working in fluted or hard to reach spots.

Once you begin scraping and preparing the surface, prime it as soon as possible. A recent multi-year study by the USDA Forest Service concluded that premature paint failure can be directly related to allowing wood to weather before it is finished. Wood that has severely weathered must be sanded by hand or with pad sanders until all of the deteriorated surface is removed.

Changing environmental regulations and their effect on the coating industry makes choosing primers and paints more complicated every year. One constant remains: it's best to paint over oil with oil and latex with latex. But, if you decide to switch from an oil system to latex, extra measures should be taken to ensure that the new paint lasts.

There are basically two methods to make the change. The safest choice is to completely prime the old surface with an oil primer that is compatible with your top coat of latex paint. The oil primer bonds to the old surface and provides a flat surface for the next coat. The second method is to use an appropriate latex primer. Whenever latex is used over oil, take extra care to remove all dirt, grime, and chalk and to degloss any remaining sheen with sandpaper.

Even if you decide to paint with latex, it's wise to use oil on windows, doors, columns, or areas that receive hard use. When choosing paints, always buy top-of-the-line products. They will cover better, last longer, and look great.

There are several methods of cleaning and preparing painted surfaces that you should avoid. Never use pressure washers to remove sound or peeling paint. The intense blast of water can destroy wood, masonry, and mortar joints.

Sandblasting, whether with sand, walnut shells, carbide chips, glass beads, or ground corncobs, is abrasive and deteriorates the surface. This abrasion is subsequently sanded smooth, which further removes the building material. In the future, the abraded surface will attract dirt and moisture that could lead to premature paint failure. Nail heads that were once galvanized or countersunk under lead putty will be exposed. Unless properly contained, toxic lead dust will contaminate the area.

Rotary sanding grinders often leave unsightly swirl marks over the surface, remove delicate details, round right angles, and also release lead dust into the environment.

Chemical stripping is expensive, messy, toxic, and often deteriorates building materials. Any chemical removal must be done by experienced professionals after testing random areas to determine if the substrate will be harmed.

Don't even consider open flame torches; they start fires.

 

 

Choosing appropriate lumber

Most of the 19th-and early 20th-century siding used in the western New York area was softwood, usually white pine. Although expensive, white pine is still available and a superior choice for siding; it is stable, holds paint well, and resists rot and insects. Western cedar, redwood and clear spruce are acceptable substitutes. Fir is the preferred choice for tongue-and-groove porch floors and stair treads. If installed and painted correctly, a fir deck can last 50 years or longer. White pine, fir, western cedar, redwood, spruce, and sometimes mahogany are all good trim woods provided they are knot-free. Redwood and cedar hold paint well but are notorious for extractive discoloration of the painted surface, a problem usually controlled with special primers. Avoid using yellow pine, poplar, and most hardwoods for exterior applications. Yellow pine is usually low in quality, resinous, and the summer grain is too hard to hold paint. Poplar has no natural resistance to rot; don't use it outside. Hardwoods such as oak make good door sills, but are generally too dense to absorb primer or first coats of paint. When possible, all splice and dutchman repairs should be the same variety of wood as adjoining or surrounding fabric. Vertical grain lumber provides maximum warp resistance and paint longevity. Often referred to as quarter sawn, rift sawn, straight grain, or edge grain, vertical grain lumber exhibits a close, uniform grain pattern running the length of the board. Avoid using boards that exhibit a V-shaped pattern; this is cheaper, less durable plain-sawn lumber.

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