1320 - Classic Interiors and Cabinet Install
January 13-19, 2003 | July 14-20, 2003
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HI, I'M BOB VILA. WELCOME HOME AGAIN
TO OUR BRAND-NEW
COLONIAL CONSTRUCTION HERE,
WHERE THE EXTERIOR IS
LOOKING PRACTICALLY FINISHED.
ON THE INSIDE,
STILL A WAYS TO GO.
TODAY, WE'RE FINISHING OFF
THE KITCHEN CABINETS WITH
A CROWN MOLDING.
AND WE'RE GOING BACK DOWN
TO WINTERTHUR IN DELAWARE
TO LOOK AT THE PORT ROYAL
FRONT HALL AND PARLOR.
STICK AROUND. IT'S GOOD
TO HAVE YOU?HOME AGAIN.
CAPTIONING MADE POSSIBLE BY
SEARS.
WELL, WE'RE GOING
TO TAKE A CLOSE LOOK AT SOME
OF THE FEATURES OF OUR COLONIAL.
THE FRONT DOOR IS
ALMOST COMPLETE.
THE COLOR WORKS VERY
NICELY ON THE OUTSIDE.
THE COLOR ON THE INSIDE
IS CALLED MARSH HAY.
AND WE'VE ONLY GOT
A FIRST COAT ON IT.
AND, OF COURSE,
THE STAIRCASE COMPONENTS
HAVEN'T BEEN PAINTED YET.
NOW, THIS IS ALL
THE KIND OF MILLWORK
THAT YOU ORDER BASICALLY
OUT OF A CATALOG NOWADAYS,
AND A COLONIAL-STYLE HOUSE
BEING PUT UP BY A SPEC BUILDER,
TYPICALLY, YOU'D
FIND THINGS LIKE THIS--
LITTLE TOUCHES LIKE THIS, WHICH
THEY'RE MADE OUT OF HARDBOARD,
BUT STILL THEY HARKEN BACK
TO THE TYPE OF HANDCRAFTING
THAT WENT INTO A LOT
OF COLONIAL STAIRCASES.
MOLDINGS APPLIED BELOW
THE DADO, SO THAT YOU HAVE
THE EF
FECT OF PANELING.
I THINK SO FAR, OUR BUILDER'S
DOING AN INTERESTING JOB
OF CREATING THAT LOOK OF A NICE
COLONIAL CENTER-ENTRY HALL.
BUT IF YOU WANT TO SEE
SOMETHING REALLY ASTONISHING,
WE VISITED WHAT'S KNOWN
AS THE PORT ROYAL HALL
AND PARLOR AT WINTERTHUR.
WE'RE VISITING AT WINTERTHUR,
AN AMERICAN COUNTRY ESTATE,
FORMERLY THE HOME OF
HENRY FRANCIS du PONT
AND, FOR THE LAST
50 YEARS, A MUSEUM OF
AMERICAN DECORATIVE ARTS.
WE HAVE LOTS TO SEE HERE,
BUT TODAY WE'RE
GOING TO BE FOCUSING
ON THE PORT ROYAL ENTRANCE
AND THE PORT ROYAL PARLOR.
OUR HOSTESS AND GUIDE
WILL BE PAULINE EVERSMANN.
LET'S GO IN THE FRONT DOOR.
OH, PAULINE.
A MOST IMPRESSIVE
CENTER-ENTRY COLONIAL
IF EVER THERE WAS ONE.
WELL, BEFORE WINTERTHUR
WAS A MUSEUM, IT WAS
A F A M I L Y H O M E .
IT WAS ONE OF THE GREAT
COUNTRY ESTATES OF AMERICA.
AND THEY ENTERTAINED
ALMOST EVERY WEEKEND.
AND THIS IS HOW
YOU WOULD HAVE BEEN RECEIVED.
YOU WOULD HAVE
WALKED IN--THE DOORS
WOULD HAVE BEEN OPEN.
YOU WOULD HAVE
SEEN THE GARDEN,
WHICH WAS HENRY FRANCIS
du PONT'S PRIDE AND JOY,
AND YOU WOULD HAVE
BEEN SURROUNDED BY
THESE REALLY BEAUTIFUL PIECES
OF AMERICAN FURNITURE.
SO IT'S A SYMPHONY.
YEAH. WE'RE LOOKING
AT IT AS A MUSEUM,
BUT THERE WAS A TIME
WHEN WINDOWS AND DOORS
WOULD HAVE BEEN OPEN
TO THE OUTDOORS,
THE SMELLS AND
THE SOUNDS OF THE GARDEN
WERE WAFTING
THROUGH THE HOUSE.
WHAT A TREAT.
AND TODAY, OF COURSE,
EVERYTHING HAS TO BE
C L I M A T E C O N T R O L L E D
AND SECURITY, ET CETERA,
ET CETERA, ET CETERA.
THAT'S TRUE. IT'S
IMPOSSIBLE TO RECREATE
THAT ATMOSPHERE OF HOME.
BUT WE STILL HAVE
REMINDERS OF IT.
FOR EXAMPLE, YOU'LL
NOTICE THAT THE TABLES IN
THIS ROOM HAVE MARBLE TOPS.
Du PONT CHOSE
THOSE DELIBERATELY
BECAUSE HE WANTED
A SAFE PLACE FOR HIS GUESTS
TO PUT THEIR HATS AND
COATS ON A RAINY DAY.
EXACTLY, AND TO KEEP
JARDINIERES FILLED
WITH FLOWERS.
THE WHOLE ROOM WOULD HAVE
BEEN FILLED WITH FLOWERS.
HE LOVED FLOWERS.
HE WAS FASCINATED BY COLOR.
AND SO THE FLOWERS
WOULD HAVE BEEN
TO COORDINATE WITH
HIS REALLY SIGNIFICANT
CHINESE WALLPAPER.
THEY ARE
VERY, VERY SPECIAL.
WHAT PERIOD ARE THEY?
THIS IS PROBABLY FROM,
THE, OH, THIRD QUARTER
OF THE 18th CENTURY.
AND IT FEATURES VERY
TRADITIONAL CHINESE DESIGNS--
THE CHRYSANTHEMUMS,
THE BIRDS, THE BAMBOO.
ABSOLUTELY FABULOUS.
NOW, THE HOUSE THAT ALL
OF THESE ARCHITECTURAL
ELEMENTS CAME FROM
WAS IN PHILADELPHIA?
IT WAS A PHILADELPHIA
COUNTRY HOUSE.
IT WAS BUILT RIGHT
OUTSIDE OF PHILADELPHIA.
IT WAS CALLED PORT ROYAL.
IT WAS ABOUT TO BE TORN DOWN
IN THE 1920s, AND SO du PONT
PURCHASED THE WHOLE HOUSE,
ALL OF THE ARCHITECTURE
IN IT, FOR $15,000.
AND THEN HE BROUGHT IT TO
WINTERTHUR, AND HE INSTALLED
AT THE ENTRANCE HALL HERE.
WE'RE GOING TO BE
GOING INTO THE PARLOR.
AND THEN THERE ARE
OTHER ROOMS AT WINTERTHUR
THAT ALSO HAVE ARCHITECTURE
FROM PORT ROYAL IN THEM.
SO, THE WAINSCOTING
IN HERE, THE BEAUTIFUL
CORNICE WORK--
THIS IS ALL VERY TYPICAL OF
MID-CENTURY ARCHITECTURE,
IMITATING THE CLASSICAL STYLE
THAT CAME OVER FROM BRITAIN.
I'M FASCINATED BY
THE CONCEPT OF IT JUST
BEING THE COUNTRY HOUSE,
SO THAT YOU COME
IN THIS HALL
AND YOU ARE
BEING WELCOMED
BY THE HOSTESS...
AND THEN YOU'D WALK
INTO THE PARLOR WHERE
YOUR HOSTESS WOULD GREET YOU.
THEY ACTUALLY LIVED
IN THIS ROOM, RIGHT?
ABSOLUTELY. AND THIS
IS WHERE THEY RECEIVED
THEIR GUESTS.
AFTER YOU'D HAD YOUR
LUGGAGE WHISKED AWAY
IN THE ENTRANCE HALL,
YOU'D COME IN HERE
AND YOU'D BE SERVED TEA.
THE OTHER GUESTS
WOULD BE HERE.
YOU'D BE EXPECTED TO
ENGAGE IN SCINTILLATING
CONVERSATION
AND ADMIRE YOUR
SURROUNDINGS.
AND ADMIRE YOUR
SURROUNDINGS INDEED,
'CAUSE THE COLLECTION
OBVIOUSLY IS PRETTY IMPRESSIVE.
BUT WHAT'S THE TIME PERIOD
THAT WE'RE TALKING ABOUT
THEM ENTERTAINING LIKE THAT?
PROBABLY
BETWEEN THE WARS.
BETWEEN ABOUT 1931,
WHEN THE ADDITION TO
THE HOUSE WAS FINISHED,
UNTIL ABOUT 1950,
WHEN IT BECAME A MUSEUM.
SO IT'S AN INTERESTING
TIME IN AMERICAN LIFE,
AND THIS IS
AN ARISTOCRATIC SETTING,
AND THIS IS
THE LIFESTYLE.
THIS IS VERY TYPICAL
OF THE GREAT COUNTRY HOUSES
OF THE UNITED STATES
DURING THIS TIME.
BUT THESE ARE NOT
JUST ANY OLD SOFAS.
NO, THEY'RE NOT.
THEY WERE OWNED BY
JOHN DICKINSON,
WHO, YOU MAY KNOW,
IS AN AMERICAN PATRIOT.
AND WHAT MAKES THEM
REALLY INTERESTING IS
THAT WAS VERY RARE IN
EARLY AMERICAN CABINET MAKING,
TO HAVE TWO SUCH LAVISH
PIECES MADE THE SAME.
ALL OF IT IS
PHILADELPHIA FOR
THE MOST PART, RIGHT?
YES, IT IS.
IT MATCHES THE STYLE
OF THE ARCHITECTURE.
WHAT ABOUT THIS
PERSIAN RUG WITH
SO MUCH YELLOW IN IT
THAT WORKS SO
WELL TOGETHER WITH
THE FURNISHINGS?
WELL, AS WE'VE MENTIONED,
COLOR WAS VERY, VERY IMPORTANT
TO HENRY FRANCIS du PONT.
AND SO THIS ROOM,
AS YOU CAN SEE, IS REALLY
A SYMPHONY OF YELLOW.
DIFFERENT TONES OF
GOLD, NOT ALL THE SAME,
AND YET IT ALL COMES
TOGETHER TO WORK PERFECTLY.
SOMEONE ONCE SAID THAT
HENRY du PONT WAS LIKE
A CONDUCTOR OF MUSIC.
HE MIGHT NOT KNOW HOW TO PLAY
EACH AND EVERY INSTRUMENT,
BUT HE BLENDED THEM
TOGETHER EXQUISITELY.
AND I THINK THIS ROOM IS
A GOOD EXAMPLE OF THAT.
NOW, THIS ROOM
IS ENORMOUS,
AND I'M USED TO
COLONIAL ROOMS NOT
QUITE BEING THIS BIG.
AND THEY WOULDN'T HAVE
BEEN IN THE COLONIAL TIME.
Du PONT MEANT THIS TO BE
HIS ENTERTAINING SPACE.
AND SO HE DELIBERATELY EXPANDED
THE ARCHITECTURE FROM WHAT IT
WAS IN ITS ORIGINAL SETTING.
AND SO HE NOT ONLY LENGTHENED
IT BUT HE WIDENED IT
TO CREATE A ROOM THAT WOULD
ACCOMMODATE HIS FAMILY'S NEEDS.
SO SOME OF THE MILLWORK
THAT WE SEE, LIKE
THE OVERMANTLE,
IS PROBABLY ORIGINAL.
THAT'S ORIGINAL,
BUT A LOT OF THE DETAILING
AROUND THE CORNICE
WOULD HAVE BEEN ADDED.
MM-HMM. TO EXPAND IT.
THAT'S RIGHT.
AND I KNOW THAT THERE
WERE SIGNIFICANT PIECES,
ASIDE FROM THE SETTEES,
THAT WERE BROUGHT INTO
THE COLLECTION HERE.
THIS IS ONE OF THEM?
THIS IS. THIS IS
A REALLY LANDMARK PIECE
OF AMERICAN FURNITURE.
IT WAS PURCHASED
BY du PONT IN 1929
AT A MAJOR SALE
OF AMERICAN FURNITURE.
AND WHAT MADE THE SALE
SO REMARKABLE WAS THAT
HE WAS BIDDING AGAINST
WILLIAM RANDOLPH HEARST.
AND HIS BID SET A RECORD
FOR AMERICAN FURNITURE
T H A T L A S T E D F O R M A N Y Y E A R S .
HE PAID $44,000 FOR
THIS HIGH CHEST IN 1929.
WHAT MAKES THAT SIGNIFICANT
IS THAT IT REALLY CHANGED
THE WAY PEOPLE LOOKED AT
AMERICAN DECORATIVE ARTS.
THEY NOW STOPPED THINKING
THAT IT WAS KIND OF MEMENTOS
OF OUR GLORIOUS PAST
BUT REALLY AS OBJECTS
WORTH COLLECTING IN
THEIR OWN RIGHT AS ART.
SO WHAT AN IMPACT
HE'S HAD.
YES, ABSOLUTELY.
TERRIFIC.
THANKS PAULINE.
YOU'RE WELCOME.
Vila: COMING UP NEXT,
WE'LL LEARN ABOUT THE FINE
POINTS
OF BOOKBINDING
AT THE NORTH BENNET
STREET SCHOOL.
ALL THE COLONIAL DETAILINGS ARE
CONTINUING THROUGHOUT THE HOUSE,
UP AND INTO THE BEDROOM HALL--
THINGS LIKE THE WAINSCOTING
HERE, AND EVEN SOMETHING SIMPLE
LIKE THE CHOICE OF A DOOR.
THIS IS A 6-PANEL DOOR,
WHICH IS MOST APPROPRIATE
IN A C
OLONIAL-DESIGNED HOUSE.
AND WE'VE TAKEN ADVANTAGE
OF NOOKS AND CRANNIES,
LIKE THIS STRUCTURAL AREA
HERE THAT WAS HOLLOW.
WE'VE FITTED IN
SOME BOOKSHELVES
WITH A NICE LITTLE
DETAIL THAT'S PUT IN
THERE WITH THE ROUTER.
BUT, SPEAKING OF BOOKS,
RECENTLY, WE VISITED OUR FRIENDS
AT THE NORTH BENNET
STREET SCHOOL
WHERE, AMONG THE MANY ARTS AND
CRAFTS PROGRAMS THAT THEY HAVE,
ONE INVOLVES BOOKBINDING.
MARK ANDERSON RUNS
THE BOOKBINDING
PROGRAM HERE.
AND, AT ANY GIVEN TIME,
HOW MANY STUDENTS DO
YOU HAVE HERE, MARK?
WE HAVE
12 FULL-TIME STUDENTS.
IT'S A FULL
YEAR'S PROGRAM?
IT'S A TWO YEAR PROGRAM.
TWO YEAR PROGRAM.
SO THIS IS REALLY
AN ART.
AND WHEN THEY FINISH,
WHAT DO THEY DO
WITH THE SKILLS?
MOST OF THE STUDENTS WILL
GO WORK FOR INSTITUTIONS
DOING BOOK CONSERVATION,
BOOK REPAIR.
SOME WILL GO OFF AND DO
OTHER THINGS, BUT PRIMARILY,
WE'RE DOING BOOK CONSERVATION.
I SEE, 'CAUSE
YOU COULD JUST SAY
YOU'RE A BOOK ARTIST,
AND YOU'RE
CREATING BEAUTIFUL
BINDINGS, RIGHT?
ARE THESE SOME
EXAMPLES OF THE WORK?
YEAH. THIS IS
THE FIRST PROJECT
THE STUDENTS DO.
IT'S A COPTIC
BINDING, WHICH IS--
A COPTIC? AS IN
EARLY CHRISTIAN?
COPTIC CHRISTIANS,
AND IT WAS THE FIRST
BINDING DONE
WHERE THE PAGES WERE
FOLDED IN HALF AND
SEWN THROUGH THE FOLD.
AND SO EVEN THE OAK COVER
IS QUARTER SIZE.
VERY PRETTY LITTLE THING.
OF COURSE, IT'S A BANK.
YOU COULD USE IT AS A JOURNAL.
AND ALL OF THESE ARE EXAMPLES
OF THE WORK HERE, RIGHT?
YES. AFTER
THEY DO SEVERAL
NON-ADHESIVE BINDINGS,
THEY GO ON AND DO CLOTH
BINDINGS AND THEN SOME
FULL LEATHER BINDINGS,MAINLY IN
THE SECOND YEAR.
THAT'S GORGEOUS.
WELL, CAN YOU
TAKE US THROUGH
SOME OF THE STEPS OF
WHAT'S BEING DONE BACK HERE?
SURE. HERE ELENORA,
WHO IS A STUDENT
FROM VENEZUELA,
IS SEWING A BOOK
THAT SHE'LL LATER PUT
A COVER ON AND BIND.
SO IT'S HAND-SEWN,
ALL THE BUNCHES OF PAGES?
YES. ALL THE PROJECTS WE
DO HERE ARE HAND-SEWN.
WHAT KIND OF THREAD IS IT?
IT'S LINEN THREAD.
AND WE USE
LINEN PRETTY MUCH
THROUGHOUT THE BOOK.
WHAT'S THIS TOOL SHE'S USING?
THIS IS A BONE FOLDER,
WHICH IS USED TO PRESS
DOWN THE SECTIONS AS
SHE'S SEWING THEM.
FOLDING THE PAPER,
BUT IT'S MADE OF BONE.
YES. AND THE REASON
IT WORKS IS THAT
IT ABSORBS OIL,
SO IT GETS VERY SLICK
AND DOESN'T CAUSE
DAMAGE TO THE PAGES.
INTERESTING.
WHAT'S GOING ON
AT THIS STATION?
HERE JOHANNA IS APPLYING
A LINEN HINGE THAT WILL
LINE TH
E SPINE
BUT ALSO WILL
PROVIDE A HINGE
THAT WILL BE USED
TO ATTACH THE TEXT
BLOCK TO THE COVER.
SO IT'S MADE OF LINEN
AS WELL, BUT YOU NEVER
REALLY SEE THAT.
NO, YOU SHOULDN'T,
BECAUSE IF YOU DO SEE
IT ON THE INSIDE,
THEN WE'LL COVER IT UP
WITH A CAMOUFLAGING
JAPANESE PAPER.
I SEE. WHAT KINDS
OF GLUE ARE USED HERE?
WE USE 3 KINDS
OF ADHESIVES.
WE USE P.V.A.,
WHICH IS A WHITE GLUE--
POLYVINYL ACETATE.
WE ALSO USE
HIDE GLUE, AND WE USE
WHEAT STARCH PASTE.
THOSE ARE
THE OLD-FASHIONED
MATERIALS.
ABSOLUTELY, ABSOLUTELY.
WHAT WE DO HERE
IS NOT AT ALL
FUNDAMENTALLY DIFFERENT
THAN WHAT A BINDER WOULD
HAVE DONE 200 YEARS AGO.
AND THE TOOLS ALSO ARE
PRETTY OLD-FASHIONED,
BUT I LOVE THAT--I GUESS
IT'S A VISE THAT SHE'S GOT
T H E B O O K S S E T U P I N , H U H ?
THAT'S MADE BY
WALTER McDONALD,
WHO'S AN ADMINISTRATOR
HERE AT THE SCHOOL.
FABULOUS.
YEAH, IT WORKS
REALLY WELL.
NOW, WHAT ABOUT WORKING WITH
LEATHER FOR THE BINDINGS?
WE DO A LOT OF THAT.
IN THE FIRST YEAR,
THE STUDENTS
START WORKING WITH
LEATHER AROUND MARCH.
AND THE WHOLE SECOND
YEAR IS ALMOST ALL
LEATHER BINDINGS.
AND HERE AIMEE IS USING
A SPOKESHAVE, WHICH IS
A WOODWORKING TOOL,
TO PARE LEATHER.
LEATHER COMES TOO THICK
TO BE USED IN BOOKS,
SO THERE HAS TO BE A WAY
OF THINNING IT OUT.
AND THIS IS THE WAY
THAT AMERICANS AND
ENGLISH BINDERS
HAVE USED FOR THE LAST
100 YEARS OR SO.
BY HAND.
THEY DO IT ALL BY HAND.
AND WHAT'S THE STONE
THAT SHE'S WORKING ON?
IT'S A LITHOGRAPHY
STONE, WHICH IS
A VERY HARD STONE,
BUT IT'S SOFT ENOUGH
THAT IT DOESN'T
DAMAGE THE BLADE
WHEN IT RUNS OFF
THE EDGE OF THE LEATHER.
GOT YOU. SO THE END
RESULT, OF COURSE, IS THAT
B E A U T I F U L , R I C H L E A T H E R .
VERY, VERY THIN.
IT CAN BE APPLIED
TO THE SPINE.
THAT'S RIGHT.
NOW, THERE ARE
OTHER PROCESSES
LIKE EMBOSSING AND
THE LIKE THAT WE CAN
ALSO SEE, RIGHT?
THAT'S RIGHT.
THAT'S RIGHT.
YOU'VE GOT SOME OLD TOOLS
AROUND HERE, DON'T YOU?
OH, YEAH.
THAT'S BEAUTIFUL.
SO, WHAT'S NEXT HERE?
WELL, AFTER THE LEATHER'S BEEN
PARED, IT'S PUT ON A COVER.
AND AFTER THIS IS DONE,
THEN A DECORATIVE PAPER
WOULD BE PUT ON,
AND IT WOULD BE ATTACHED
TO THE TEXT BLOCK.
OK. SO, NOW WE'RE DEALING
WITH RED LEATHER.
BUT ANYWAY,
THAT'S LEATHER
THAT'S BEEN SHAVED
LIKE YOU SAW
A MINUTE AGO.
AND WE'D END UP WITH
SOMETHING SIMILAR TO THIS.
THIS HAS A DECORATIVE
ENDPAPER IN IT.
OH, BEAUTIFUL.
BUT ALL ENDPAPERS ARE
FUNCTIONALLY THE SAME.
THERE'S JUST DIFFERENT WAYS OF
DOING THEM, DEC O R A T I V E O R N O T .
AND I THOUGHT WHAT I'D DO
IS THEN PUT GOLD ON THE SPINE.
MARVELOUS.
SO TO DO THAT, WE'LL...
PUT THE BOOK IN
THE WINE PRESS.
THERE ARE SO MANY STEPS.
YEAH, LOTS OF STEPS.
IT COULD BE A LOT
OF FUN THOUGH.
IT'S A LOT OF FUN.
IT'S ALSO VERY
FRUSTRATING AT TIMES.
SO THE GOLD LEAF WE'LL
USE ON THIS IS 23-KARAT
ITALIAN GLASS GOLD.
GLASS GOLD?
I DON'T QUITE
UNDERSTAND.
GLASS IS THE SURFACE.
IT'S JUST VERY SHINY GOLD.
AND IT'S A LITTLE HARD TO DO.
NORMALLY WHEN ONE DOES THIS,
THERE'S A SCREEN AROUND
TO KEEP WIND FROM AFFECTING
IT BECAUSE IT'S SO THIN.
SO THIS MAY TAKE A MINUTE.
AND WE USE TWO LAYERS
BECAUSE IT MAKES THE GOLD
A LITTLE RICHER.
OH, THAT'S WHY YOU
FOLDED IT UP. OK.
YEAH. THAT'S WHY
I FOLDED IT UP.
SO, NOW WE'LL JUST CUT OFF
STRIPS THAT WE'LL USE.
THIS IS A BRASS
LETTERING PALLET,
AND WE'LL HEAT IT UP
ON THIS TO THE POINT
WHERE WATER SIZZLES
ON IT, AS YOU CAN SEE.
AND WE DO IT SO IT SIZZLES
SO WE KNOW THAT THE HEAT
HAS PENETRATED INTO
THE CORE OF THE TOOL
SO IT DOESN'T LOSE
ITS HEAT TOO QUICKLY.
THEN WE'LL TAKE IT OFF
AND COOL IT A LITTLE BIT.
PUT A LITTLE BIT
OF GREASE ON IT SO
PICK IT UP
AND GO OVER HERE...
AND LAY IT ON LIKE THAT.
AND THEN WE'LL GET...
EXCELLENT.
YEAH. WOULD YOU
LIKE TO TRY IT?
YEAH, ACTUALLY.
BOOKBINDING AT THE NORTH
BENNET STREET SCHOOL.
SO, YOU HAVE TO HEAT IT
UP AGAIN EACH TIME?
YEAH, BUT LAY
IT FLAT ON THE...
Vila: WHEN WE COME BACK,
WE'LL INSTALL MORE KITCHEN
CABINETS AT OUR BUILDING SITE.
DON'T GO AWAY.
Vila: NEXT TIME ON
BOB VILA'S?HOME AGAIN:
WORK ON OUR CENTER-ENTRY
COLONIAL PROJECT
IS NEARING COMPLETION.
WE'LL BE INSTALLING
KITCHEN CABINETS
AND DRESSING THEM UP WITH
A PRE-FINISHED CROWN MOLDING.
AND WE'LL LOOK AT A BUILT-IN
BOOKCASE IN ONE OF THE BEDROOMS
AND VISIT THE BOOKBINDING
PROGRAM AT THE NORTH
BENNET STREET SCHOOL
IN THE HISTORIC
NORTH END OF BOSTON.
ALSO, WE'LL LEARN MORE
ABOUT AMERICAN ANTIQUES
AT THE WINTERTHUR MUSEUM
IN DELAWARE,
WHERE WE'LL SEE THE PORT ROYAL
PARLOR AND ENTRY HALL.
DON'T MISS IT.
THAT'S NEXT TIME ON HOME AGAIN.
Vila: NEXT TIME ON
BOB VILA'S HOME AGAIN:
WE'RE INSTALLING
KITCHEN CABINETS
AND VISITING AN ELEGANT
COLONIAL PARLOR AT
DON'T MISS IT.
OK. PAUL ANDERSON
AND I ARE BRINGING
IN THE CORNER CABINET,
THE OVERHEAD CABINET,
WHICH IS ACTUALLY
A LITTLE AWKWARD AND HEAVY,
BUT IT ACTUALLY COMES ALL
THE WAY DOWN TO THE COUNTER.
WE DON'T WANT
TO SCRATCH THE COUNTER.
PAUL, HAVE YOU TRIMMED?
YEAH, YOU TRIMMED
A COUPLE INCHES--
THIS IS TRIMMED DOWN
SO THAT THE MOLDING WILL
FIT IN THE RIGHT SPOT...
JUST BY A COUPLE
OF INCHES.
THERE IT IS. ALL RIGHT.
AND THIS IS A KIND OF
INNOVATION IN KITCHEN DESIGN.
IT'S VERY NICE.
AND THIS TAMBOUR DOOR,
WHICH IS VERY HANDY
TO HIDE APPLIANCES.
SO, PAUL, DO YOU HAVE TO PUT
A LEVEL ON IT OR WHAT?
WELL, LET'S CHECK
AND SEE HERE.
WE'VE GOT IT
LEVEL THAT WAY.
NICE AND PLUMB.
IT LOOKS
REALLY GOOD.
AND YOU'VE GOT THESCREWS
READY TO GO ON IN THERE.
THOSE ARE ALREADY
PRE-DRILLED AND
SET TO GO.
[POWER TOOL BUZZES]
WHAT WE'LL HAVE TO DO IS...
STRAIGHTEN THAT OUT
RIGHT THERE.
AND WE'VE CUT SOME
2x4 LENGTHS TO HOLD
THIS IN PLACE.
[POWER TOOL BUZZES]
GOOD. THAT HOLDS IT UP.
LOOKS GOOD.
NEXT, WE'LL BE READY
F O R T H E C R O W N M O L D I N G S .
Vila: NEXT, WE'LL DRESS UP
THESE WELLBORN CABINETS WITH
A PRE-FINISHED CROWN MOLDING.
STICK AROUND.
SO, WHEN THE CABINET
MANUFACTURER SUPPLIES
THESE CROWN MOLDINGS,
NOT ONLY DOES IT GIVE
IT A DRESSIER LOOK,
BUT IT ALSO MAKES IT
A LITTLE BIT EASIER
FOR THE INSTALLER
'CAUSE YOU DON'T HAVE
TO BE SCRIBING THINGS TO
FIT PERFECTLY UP THERE,
YOU DON'T HAVE TO BE
HIDING ANYTHING.
YOU JUST GOT A LOT
OF ROOM TO WIGGLE.
WHAT'S THE ANGLE
OF THAT CUT, PAUL?
WELL, WE STARTED OUT
WITH 22 1/2 DEGREES
ON EITHER SIDE.
AND THIS IS PRETTY CRITICAL
BECAUSE THERE'S ALREADY
FINISH ON THE MOLDING,
SO I CAN'T FUDGE THE MOLDING.
SO THESE JOINTS HAVE
TO BE NICE AND TIGHT.
AND I WEASEL IT DOWN JUST
A LITTLE BIT ON EACH SIDE
UNTIL IT'S JUST RIGHT.
I THINK WE'RE
RIGHT ON RIGHT NOW.
AND WHEN YOU'RE DOING
TURNS LIKE THIS
AND YOU'VE GOT ODDBALL
MITER CUTS ANGLEWISE,
YOU ALWAYS START FROM
THE CORNERS, RIGHT?
THE CORNER'S THE BEST BECAUSE
THAT'S GOING TO BE WHERE ALL
THE SEAMS SHOW UP THE MOST.
[NAIL GUN FIRES]
ALL RIGHT, LET'S
SEE HOW THAT'S
GOING TO FIT THERE.
WE GOT A GOOD START.
THIS IS AWFULLY
WIDE MOLDING, TOO.
THIS MIGHT BE A LITTLE
TOUGH TO GET IN HERE.
Vila: NOW, THESE ARE
PRE-FINISHED MOLDINGS,
THEY'RE MAPLE, WHICH
MEANS THEY'RE HARDWOOD,
SO YOU HAVEN'T BEEN
PUTTING ANY COPING CUTS.
YOU'RE JUST CAREFULLY
MITERING THEM, RIGHT?
THAT'S CORRECT.
WE GET A MUCH
CLEANER CUT.
THERE WE GO.
EXCEPTIONAL FIT.
[NAIL GUN FIRES]
AND THEN ONCE THAT'S
IN PLACE, THE FINAL STEP
IN THIS BUILT-UP CORNICE
INVOLVES A PRE-CUT
DENTAL MOLDING,
WHICH GIVES IT
A VERY, VERY FANCY LOOK.
OUR FRIENDS DOWN AT
WELLBORN CABINETS IN ALABAMA
HAVE DO
NE A BEAUTIFUL JOB.
WE'RE RUNNING OUT OF TIME.
COME HOME AGAIN NEXT WEEK.
WE'RE GOING TO SPEND
A LOT OF OUR TIME
DOWN ON THE FLOOR.
WE'RE GOING TO HAVE OUR
FRIEND HOWARD BRICKMAN HERE
TO SHOW US HOW TO PUT
A BEAUTIFUL SANDING
AND FINISHING JOB
ON ALL THESE GORGEOUS FLOORS.
AND WE'RE ALSO
TAKING YOU ON A TOUR
OF A FOREST IN CASCO, MAINE,
TO LEARN ABOUT
SUSTAINABLE FORESTRY.
TILL THEN, I'M BOB VILA.
IT'S GOOD TO HAVE
YOU HOME AGAIN.
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