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Home > Bob on TV > Home Again > Modern Colonial > Interior Design Projects > 1323 Transcript
1323 - Interior Design Projects
February 3-9, 2003 | August 3-10, 2003
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HI, I'M BOB VILA.
WELCOME HOME AGAIN
TO OUR CENTER ENTRY
COLONIAL PROJECT.
TODAY WE'RE ACTUALLY TAKING
YOU ON A LITTLE TRIP
TO PORTLAND, MAINE
TO VISIT THE McLELLAN HOUSE,
RECENTLY RESTORED, 1801,
BEAUTIFUL INTERIORS
AND FANTASTIC COLORS.
ALSO HERE WE'LL BE DEALING WITH
THE DRAPER'S ART,
PUTTING UP SOME CURTAINS
IN ONE OF THE ROOMS,
AND WE'LL BE ASSEMBLING
SOME PICTURE FRAMES
THAT GET MOUNTED ONTO THE WALLS
TO HIGHLIGHT SOME PAPER.
STICK AROUND. IT'S GOOD
TO HAVE YOU HOME AGAIN.
CAPTIONING MADE POSSIBLE BY
SEARS
WELL, WE'RE STARTING TODAY
WITH LESLIE CURTIS,
OUR INTERIOR DESIGNER.
HI, LESLIE, HOW ARE YOU?
OH, YOU'RE HOLDING
A FINIAL AND A CURTAIN ROD,
AREN'T YOU?
AND KEVIN MURPHY,
WHO'S HERE FROM SMITH
& NOBLE. HOW ARE YA?
SO THE IDEA HERE IS TO
CHOOSE THE RIGHT KIND
OF WINDOW TREATMENTS.
WHAT HAVE YOU CHOSEN
FOR US?
I CHOSE THE MAHOGANY
FINISH ON THE TWISTED ROD
WITH THIS LONDON COURT
FINIAL,
BECAUSE WE ARE IN
THE DINING ROOM
AND WE WANT TO ADD
A LITTLE DIGNITY
TO THIS ROOM.
SO IT IS MORE FORMAL
THAN, SAY, THE FAMILY ROOM
OR THE KIDS' ROOM.
ABSOLUTELY, IT IS.
AND THE BRACKETS, KEVIN,
ARE THESE ALSO WOOD?
NO, THOSE ARE
A POLYMER PRODUCT
THAT'S VERY LIGHTWEIGHT,
VERY DURABLE.
VERY STRONG.
VERY STRONG.
AND YOU'VE PROBABLY
GOTTEN RIGHT INTO
A JACK STUD THERE
SO YOU'RE GONNA
HAVE A GOOD GRIP.
HOW DO YOU MEASURE
AND FIGURE OUT HOW
BIG TO MAKE THESE?
WELL, IN THIS ROOM,
WE'VE CHOSEN TO PUT
THE BRACKETS OUTSIDE
THE WINDOW
BECAUSE WE WANT
TO HAVE THE VIEW
ACCESSIBLE
TO THE PEOPLE
IN THE DINING ROOM
AND I THINK, MOST TIMES,
YOU HAVE TO TAKE INTO
CONSIDERATION WHAT
YOUR ROOM IS USED FOR.
RIGHT. SO ONE OF
THE BIG PROBLEMS WITH
GETTING CUSTOM DRAPERIES
IS THAT THEY TAKE FOREVER
AND THEY COST A FORTUNE
AND HERE, YOU'RE ORDERING
IT FROM THE CATALOG, RIGHT?
YES, AND DELIVERY
IS QUITE SPEEDY
AND THE DIRECTIONS
ARE VERY CLEAR
AND THEY HAVE A HOTLINE
IF YOU NEED HELP.
SO YOU'VE GOT ALL SORTS
OF DIFFERENT OPTIONS,
COLORS, FABRIC.
I KNOW THEY SEND YOU
THE FABRIC SAMPLES.
THEY SEND YOU SAMPLES,
WHICH IS WONDERFUL.
YOU CAN TOUCH THEM.
YOU'VE GOT THE CURTAINS
READY TO GO UP HERE TODAY?
WE'VE GOT THE CURTAINS
RIGHT IN THE BOX.
IT'S A BEAUTIFUL
WAY THEY ARRIVE.
I LOVE IT.
YOU'LL SEE THE RODS
ARE ALREADY ATTACHED.
YEAH, LOOK AT THIS.
IT'S LIKE GETTING
A DOZEN ROSES HERE.
THEY'RE ALREADY ATTACHED,
SO YOU DON'T HAVE TO
GO THROUGH THE TROUBLE
OF PUTTING ALL THE...
AND THEY'RE WRAPPED,
SO YOU DON'T HAVE
TO IRON THEM.
...THE RINGS. REALLY?
UH, WELL WE BETTER
LET KEVIN CATCH UP.
ALL RIGHT, SHOULD WE
PUT A ROD THROUGH THIS?
HERE, YOU HOLD THESE.
ATTACH THE FINIAL
ON ONE SIDE.
THAT'S AN IMPORTANT
THING TO REMEMBER,
NOT TO PUT BOTH
FINIALS ON...
BEFORE YOU PUT
YOUR CURTAINS ON.
VERY ELEGANT, WITH A LITTLE
BIT OF GOLD TRIM ON IT.
ALL RIGHT, AND THEN...
HERE WE GO.
LET'S SEE.
I NEED YOU TO HELP
ME WITH THIS, KEVIN.
AND I'LL DO THIS ONE.
GET THAT FINGER
OUT OF THERE.
SORRY. [CHUCKLING]
THERE WE GO.
ONE MORE,
THEN THE OTHER
FINIAL.
Kevin: FINIALS MOUNT
NICE AND EASILY.
THE HOLES ARE PRE-DRILLED
INTO THE ROD.
THERE YOU GO.
THAT'S GREAT.
NOW LESLIE, ANY IDEA
WHAT IT COSTS
TO GET A LITTLE PACKAGE
LIKE THIS?
CAN YOU IMAGINE?
WE'RE DOING THIS
WINDOW FOR UNDER $200.
INCLUDING HARDWARE.
THAT'S NOT BAD.
INCLUDING THE HARDWARE
200 BUCKS,
AND THEY'RE COMING
READY TO HANG.
LET'S PUT THE OTHER ONE UP.
ALL RIGHT, KEVIN,
LET'S SEE HOW
THAT LOOKS UP HERE.
AND THE LENGTH
IS RIGHT, IS IT?
YES, THE LENGTH HAS
A SLIGHT PUDDLE.
A SLIGHT PUDDLE,
YOU SAY. OK, VERY NICE.
NICE CHOICE, LESLIE.
KEVIN, THANKS A LOT.
THANK YOU, BOB.
BYE, KEVIN.
THANK YOU SO MUCH.
THEY LOOK GREAT.
WHEN WE COME BACK, WE'LL SEE
AN UNUSUAL FLYING STAIRCASE
AT THE McLELLAN HOUSE
IN PORTLAND, MAINE.
WE'RE IN PORTLAND, MAINE,
TO VISIT THE PORTLAND
MUSEUM OF ART
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AND TO HELP CELEBRATE
THE REOPENING OF ONE OF
PORTLAND'S GRANDEST HOUSES.
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THE McLELLAN HOUSE,
BUILT IN 1801,
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IS A NATIONAL HISTORIC LANDMARK
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THAT HAS JUST UNDERGONE
AN $8.6 MILLION RESTORATION.
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LET'S MEET CHIEF CURATOR,
JESSICA NICOLL,
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AND GET A LOOK INSIDE.
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HELLO, HOW ARE YOU,
JESSICA?
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FINE. WELCOME TO
McLELLAN HOUSE.
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THANK YOU SO MUCH.
IT'S A PLEASURE
TO BE HERE.
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NOW THERE'S SO MUCH TO
SEE AND TALK ABOUT HERE
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BUT I KNOW THIS IS
THE THIRD COMPONENT
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IN THE ENTIRE
MUSEUM COMPLEX.
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SO TELL US A LITTLE BIT
ABOUT HOW THAT WORKS.
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THE PORTLAND MUSEUM OF ART
IS AN INTERESTING CONTINUUM
OF BUILDINGS.
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WE ARE IN
THE EARLIEST BUILDING,
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WHICH IS A FEDERAL ERA HOUSE
BUILT IN 1800.
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IT IS PHYSICALLY ADJACENT
TO A GRAND SET OF
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BEAUX ART GALLERIES
BUILT IN 1911,
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AND THEY ATTACH TO AN I.M. PEI
DESIGNED BUILDING THAT
WAS OPENED IN 1983.
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SO THE McLELLAN HOUSE,
IN A WAY,
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REALLY IS THE ROOT
OF THE INSTITUTION
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IN TERMS OF
THE OLD CITY HERE.
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THAT'S ABSOLUTELY TRUE.
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IT'S GOT DEEP ROOTS
IN THE HISTORY OF
PORTLAND
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AND IT'S AN AMAZING SITE
FOR UNDERSTANDING
THAT HISTORY
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THROUGH A PHYSICAL
MANIFESTATION OF
A MOMENT IN THE PAST.
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EXACTLY, AND IT'S
A FEDERAL HOUSE,
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AND IT WAS GIVEN TO THE CITY
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AND IT WAS THE FIRST
MUSEUM VENUE, RIGHT?
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THIS IS WHERE THEY
FIRST HUNG UP THE PAINTINGS.
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BUT, BOY, WHAT A CHANGE.
NOW THE RESTORATION--
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AND I SHOULD CALL IT
A RESTORATION, RIGHT?
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YES, YES.
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WE APPROACHED IT AS
A PRESERVATION PROJECT,
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BUT WE ARE RESTORING IT
TO THE FIRST MOMENT OF
ITS HISTORY, 1800.
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IT HAS A HISTORY OF
HABITATION RIGHT
THROUGH THE 19th CENTURY
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BUT WE CHOSE
NOT TO SHOW IT IN
ITS VICTORIAN GARB,
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BUT RATHER TO COMPLETE
THE ARCHITECTURAL SETTING
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WITH FURNISHINGS THAT
WOULD BE APPROPRIATE TO
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THE MOMENT WHEN
IT WAS BUILT.
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AND THE MOMENT IS
THE FEDERAL PERIOD,
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THE NEW REPUBLIC,
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THE FIRST 20-30 YEARS OF
THE LIFE OF OUR COUNTRY.
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AND IT COINCIDES WITH
WHAT THEY CALL
NEOCLASSICISM,
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SO A LOT OF DETAILING
THAT WE SEE HERE IS KIND
OF CLASSICALLY BASED.
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TELL ME ABOUT
THE WALLPAPER.
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THE WALLPAPER IS
AN AMERICAN MADE
WALLPAPER,
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BUT IN THE FRENCH STYLE,
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AND IT'S A REPRODUCTION,
SPECIFICALLY, OF A PAPER
THAT WAS HUNG
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IN A HOUSE IN SUTTON,
MASSACHUSETTS IN
THE 1790s.
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DO I SEE
HORIZONTAL SEAMS?
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YOU DO. ONE OF THE THINGS
THAT WAS A REVELATION
IN THIS PROJECT
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IS THAT THE COMMERCIALLY
MANUFACTURED REPRODUCTION
WALLPAPERS
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HAVE ACHIEVED
AN EXQUISITE QUALITY.
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THIS IS A FAITHFUL
REPRODUCTION WITH
BLOCK PRINTED DESIGN
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ON JOINED SHEETS
OF PAPER.
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BUT THEY'RE NOT
CUSTOM MADE FOR
THE MUSEUM?
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THEY'RE SOMETHING
THAT ANYBODY
CAN ORDER.
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THEY'RE COMMERCIALLY
AVAILABLE.
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NOW THE WAINSCOTING
IS ALL THE ORIGINAL
WOOD AND CARVED WOOD,
RIGHT?
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IT IS. AND IT IS PAINTED
THE ORIGINAL COLOR.
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THE ONLY EXPLICIT EVIDENCE
WE HAD FOR WHAT THE HOUSE
LOOKED LIKE
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WAS IN THE PAINT COLORS,
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AND THEY HAVE BEEN
FAITHFULLY RECREATED
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RIGHT DOWN TO THIS
BEAUTIFUL MAHOGANIZED
GRAINING WE DISCOVERED
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IN THE SCIENTIFIC ANALYSIS
OF THE PAINTED SURFACES.
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SO YOU DISCOVERED THAT
THE ORIGINAL WOOD,
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PROBABLY EASTERN PINE
FROM MAINE,
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WAS GRAINED TO LOOK
LIKE MAHOGANY.
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THAT'S RIGHT.
FABULOUS.
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BUT THE CARVING
IS EXQUISITE.
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THROUGHOUT THE HOUSE.
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THEN, OF COURSE, THIS
REALLY CATCHES YOUR EYE.
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THIS IS A FLOOR CLOTH
THROUGHOUT THE ENTIRE
CENTER HALL.
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AND THIS IS PAINTED OILCLOTH,
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WHICH REALLY IS LIKE
19th CENTURY LINOLEUM.
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WE HAD VERY GOOD EVIDENCE
THAT THERE WAS A FLOOR CLOTH
LIKE THIS IN THE HOUSE.
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AND IT'S KIND OF
HINTING AT WOOD GRAIN.
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IT'S MADE TO LOOK LIKE
THE ILLUSION OF A PARQUET
OR MARQUETRY FLOOR.
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NOW THIS IS
A FLYING STAIRCASE.
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YES, AND AS WAS
OFTEN THE CASE,
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THE STAIRCASE IS THE MOST
SIGNIFICANT ARCHITECTURAL
FEATURE IN THE INTERIOR.
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THIS ONE, WE THINK,
WAS IMITATED MANY TIMES
OVER IN PORTLAND HOMES,
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AND HAS BEEN CAREFULLY
PRESERVED IN THIS
RESTORATION PROJECT.
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IT'S AMAZING.
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IN FACT, I'D LIKE TO
INTRODUCE YOU TO BOB CARIDDI,
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THE MASTER CARPENTER
WHO WORKED ON THIS.
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HI, BOB.
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HI, WELCOME TO
THE McLELLAN HOUSE.
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THANK YOU. NOW THERE'S
MORE TO IT THAN JUST
THE FLYING STAIRCASE
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AND THE STEPS UNDERNEATH.
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THERE'S THIS WHOLE LANDING
AND THIS WHOLE BALUSTRADE.
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SO, DID YOU HAVE TO TAKE
THE WHOLE THING APART?
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WE DISASSEMBLED
IT COMPLETELY.
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NUMBERED AND LABELED
ALL OF THE PARTS,
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AND PUT THEM
IN SAFE STORAGE,
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THEN STARTED WITH
THE STRUCTURAL REPAIRS.
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WE KEPT THE BALUSTRADE
OFF THE STAIR
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WHILE THE CONSTRUCTION
WAS UNDERWAY
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TO PROTECT IT AS
MUCH AS ANYTHING ELSE,
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BUT ALSO TO
GIVE US ACCESS TO
THE CEILING WORK.
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STRUCTURALLY, WHAT DID
YOU HAVE TO DO TO
THE STAIRCASE ITSELF?
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WHAT WE DID WAS WE
BEEFED IT UP WITH LVLs,
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LAMINATED VENEER LUMBER.
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THE STAIR STRINGERS WERE
LESS THAN 5 INCHES SQUARE
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AND THAT WAS NOT
NEARLY ENOUGH WOOD
FOR A PUBLIC SPACE.
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THIS IS NOW A PUBLIC
SPACE, YEAH.
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BUT THIS IS
VERY, VERY STURDY.
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YES. IT REALLY WAS
QUITE RESONANT.
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WHEN WE STARTED,
YOU COULD REALLY JUMP
UP AND DOWN ON IT.
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NOW THIS IS ALL
MAHOGANY, ISN'T IT?
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YES, IT'S SANTO
DOMINGO MAHOGANY.
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AND WHAT ABOUT
THE LOWER EDGE?
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THAT IS A FAUX FINISH.
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THAT IS A PAINTED FINISH
THAT MATCHES THE MAHOGANY.
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SO JESSICA, AGAIN,
THIS IS PART OF
THE DETECTIVE WORK.
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Jessica: THAT'S RIGHT, BOB.
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NOW WHAT OTHER ELEMENTS
HAD TO BE RESTORED UP HERE?
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THE PALLADIAN WINDOW
UP HERE?
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YES. THE PALLADIAN WINDOW
WAS TOTALLY ROTTED.
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ALL OF THAT WOOD WAS
UP AGAINST BRICK SURFACES.
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IT REALLY HAD TO BE
DISASSEMBLED,
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ALL THE PARTS LABELED,
BROUGHT BACK TO THE SHOP,
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AND THEN CHEMICAL
CONSERVATION WAS DONE
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ON ALL OF THE WOODEN
ELEMENTS BEFORE THEY
WERE REINSTALLED.
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THERE ALSO HAD TO BE
SOME BRICKWORK DONE
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BECAUSE THE ARCH
WAS COLLAPSING.
SUBTITLE: 220 TIMEIN: 01:11:52:05 DURATION: 02:10 TIMEOUT: --:--:--:--
THE WHOLE THING WAS
REALLY COMING APART.
SUBTITLE: 221 TIMEIN: 01:11:53:25 DURATION: 02:20 TIMEOUT: --:--:--:--
HOW MANY YEARS HAVE YOU
BEEN WORKING HERE?
SUBTITLE: 222 TIMEIN: 01:11:55:15 DURATION: 01:00 TIMEOUT: --:--:--:--
STARTED IN 1976.
SUBTITLE: 223 TIMEIN: 01:11:56:21 DURATION: 01:10 TIMEOUT: --:--:--:--
OH, WOW.
CONGRATULATIONS, BOB.
SUBTITLE: 224 TIMEIN: 01:11:58:01 DURATION: 00:20 TIMEOUT: --:--:--:--
THANK YOU.
SUBTITLE: 225 TIMEIN: 01:11:59:25 DURATION: 01:20 TIMEOUT: --:--:--:--
WELL, JESSICA,
WHERE TO NEXT?
SUBTITLE: 226 TIMEIN: 01:12:01:10 DURATION: 01:21 TIMEOUT: 01:12:03:01
I'D LOVE TO SHOW
YOU THE PARLOR.
SUBTITLE: 227 TIMEIN: 01:12:06:20 DURATION: 03:10 TIMEOUT: --:--:--:--
BOY, THIS IS A BRIGHT
GREEN YOU HAVE IN HERE.
SUBTITLE: 228 TIMEIN: 01:12:08:11 DURATION: 01:00 TIMEOUT: --:--:--:--
ISN'T IT SOMETHING?
SUBTITLE: 229 TIMEIN: 01:12:09:20 DURATION: 04:00 TIMEOUT: --:--:--:--
I GUESS IN A ROOM
THIS SIZE YOU CAN
CARRY IT OFF.
SUBTITLE: 230 TIMEIN: 01:12:12:01 DURATION: 03:10 TIMEOUT: --:--:--:--
IT IS A LARGE SPACE.
IT'S ALMOST 30 FEET LONG.
SUBTITLE: 231 TIMEIN: 01:12:14:02 DURATION: 03:00 TIMEOUT: --:--:--:--
WE HAVE ABOUT 12 1/2 FOOT
CEILINGS IN HERE.
SUBTITLE: 232 TIMEIN: 01:12:16:17 DURATION: 01:20 TIMEOUT: --:--:--:--
AND WHAT RICHNESS
OF DETAIL.
SUBTITLE: 233 TIMEIN: 01:12:18:10 DURATION: 04:10 TIMEOUT: --:--:--:--
NOW THE GREEN IS ACTUALLY
A COLOR THAT IS SIMILAR
TO MT. VERNON.
SUBTITLE: 234 TIMEIN: 01:12:22:11 DURATION: 04:00 TIMEOUT: --:--:--:--
THE DINING ROOM
MT. VERNON, WHICH
WAS DECORATED IN
THE LATE 1780s.
SUBTITLE: 235 TIMEIN: 01:12:25:13 DURATION: 03:00 TIMEOUT: --:--:--:--
THIS WAS A SURPRISINGLY
POPULAR COLOR IN
THIS PERIOD,
SUBTITLE: 236 TIMEIN: 01:12:27:28 DURATION: 03:20 TIMEOUT: --:--:--:--
AND I DON'T KNOW
IF YOU NOTICE THIS
IS NOT PAINT.
SUBTITLE: 237 TIMEIN: 01:12:30:01 DURATION: 01:00 TIMEOUT: --:--:--:--
IT'S ACTUALLY WALLPAPER.
SUBTITLE: 238 TIMEIN: 01:12:31:15 DURATION: 03:20 TIMEOUT: --:--:--:--
OH, YEAH, LOOK AT THAT.
SO THESE WERE SQUARES
OF PAPER,
SUBTITLE: 239 TIMEIN: 01:12:33:18 DURATION: 02:20 TIMEOUT: --:--:--:--
AND THIS IS SOMETHING
THAT IS STILL AVAILABLE.
SUBTITLE: 240 TIMEIN: 01:12:35:10 DURATION: 02:10 TIMEOUT: --:--:--:--
IT IS. THIS IS A MODERN
REPRODUCTION,
SUBTITLE: 241 TIMEIN: 01:12:37:01 DURATION: 02:00 TIMEOUT: --:--:--:--
AS ARE THE OTHER
WALLPAPER ELEMENTS.
SUBTITLE: 242 TIMEIN: 01:12:39:00 DURATION: 04:20 TIMEOUT: --:--:--:--
I DON'T KNOW IF YOU
SAW THE BORDER UP HERE...
HARD TO MISS.
SUBTITLE: 243 TIMEIN: 01:12:41:29 DURATION: 01:20 TIMEOUT: --:--:--:--
...FRENCH BLOCK
PRINTED BORDER,
SUBTITLE: 244 TIMEIN: 01:12:43:17 DURATION: 02:00 TIMEOUT: --:--:--:--
AGAIN, A FAITHFUL
REPRODUCTION OF SOMETHING
SUBTITLE: 245 TIMEIN: 01:12:45:28 DURATION: 03:10 TIMEOUT: --:--:--:--
VERY LIKE ONE FOUND
IN A HOUSE IN
THOMASTON, MAINE.
SUBTITLE: 246 TIMEIN: 01:12:48:24 DURATION: 03:10 TIMEOUT: --:--:--:--
VERY EXCITING, BUT LET'S
TALK ABOUT THE ACTUAL
ARCHITECTURAL ELEMENTS.
SUBTITLE: 247 TIMEIN: 01:12:51:23 DURATION: 03:20 TIMEOUT: --:--:--:--
I MEAN, THAT CORNICE
HAS SO MANY DIFFERENT
PARTS TO IT.
SUBTITLE: 248 TIMEIN: 01:12:54:11 DURATION: 04:00 TIMEOUT: --:--:--:--
YEAH, AND I THINK
AS YOU LOOK AT
THE WOODWORK ALL AROUND
SUBTITLE: 249 TIMEIN: 01:12:56:20 DURATION: 03:00 TIMEOUT: --:--:--:--
YOU SEE THE IMPORTANCE
OF CLASSICISM IN
THIS PERIOD,
SUBTITLE: 250 TIMEIN: 01:12:58:22 DURATION: 02:00 TIMEOUT: --:--:--:--
IN THE ORGANIZATION,
THE CROWN MOLDING,
SUBTITLE: 251 TIMEIN: 01:13:00:27 DURATION: 02:20 TIMEOUT: --:--:--:--
WITH ITS DENTILLING
AND ALL OF ITS DETAILS
SUBTITLE: 252 TIMEIN: 01:13:03:09 DURATION: 01:20 TIMEOUT: --:--:--:--
DERIVED FROM
A CLASSICAL VOCABULARY,
SUBTITLE: 253 TIMEIN: 01:13:04:15 DURATION: 02:10 TIMEOUT: --:--:--:--
AND WE'VE USED THAT
AS OUR GUIDE
SUBTITLE: 254 TIMEIN: 01:13:06:10 DURATION: 02:20 TIMEOUT: --:--:--:--
IN THE OTHER DECORATING
CHOICES IN THIS ROOM.
SUBTITLE: 255 TIMEIN: 01:13:08:14 DURATION: 01:20 TIMEOUT: --:--:--:--
YEAH, SO THEY'RE
GRECIAN MOTIFS,
SUBTITLE: 256 TIMEIN: 01:13:10:13 DURATION: 03:00 TIMEOUT: --:--:--:--
BUT IN TERMS OF
THE SYMMETRY OF THE ROOM
SUBTITLE: 257 TIMEIN: 01:13:12:10 DURATION: 02:20 TIMEOUT: --:--:--:--
WOULDN'T YOU CALL IT
A LITTLE BIT GEORGIAN?
SUBTITLE: 258 TIMEIN: 01:13:13:25 DURATION: 02:00 TIMEOUT: --:--:--:--
IT IS A LITTLE
BIT GEORGIAN.
SUBTITLE: 259 TIMEIN: 01:13:15:00 DURATION: 03:00 TIMEOUT: --:--:--:--
I'D GUESS THAT WE CAME
IN THROUGH THAT DOOR
SUBTITLE: 260 TIMEIN: 01:13:16:21 DURATION: 01:20 TIMEOUT: --:--:--:--
BUT THIS DOESN'T GO ANYWHERE.
SUBTITLE: 261 TIMEIN: 01:13:18:05 DURATION: 01:00 TIMEOUT: --:--:--:--
NO. GOOD EYE.
SUBTITLE: 262 TIMEIN: 01:13:19:19 DURATION: 03:00 TIMEOUT: --:--:--:--
THIS IS ACTUALLY A FALSE
DOOR THAT IS HERE
SUBTITLE: 263 TIMEIN: 01:13:21:15 DURATION: 02:00 TIMEOUT: --:--:--:--
PURELY FOR THE PURPOSES
OF SYMMETRY.
SUBTITLE: 264 TIMEIN: 01:13:23:12 DURATION: 02:00 TIMEOUT: --:--:--:--
BUT IT HAS BEEN
FAITHFULLY REPRODUCED
SUBTITLE: 265 TIMEIN: 01:13:25:12 DURATION: 02:10 TIMEOUT: --:--:--:--
RIGHT DOWN TO THE CARVED
WOODEN HINGES.
SUBTITLE: 266 TIMEIN: 01:13:27:15 DURATION: 02:10 TIMEOUT: --:--:--:--
AND THE EXPENSIVE
HARDWARE. THIS IS REAL--
SUBTITLE: 267 TIMEIN: 01:13:29:17 DURATION: 01:20 TIMEOUT: --:--:--:--
THIS IS SILVER-PLATED
ENGLISH HARDWARE.
SUBTITLE: 268 TIMEIN: 01:13:31:26 DURATION: 02:10 TIMEOUT: --:--:--:--
THEY SPARED NO EXPENSE
IN THIS HOUSE.
SUBTITLE: 269 TIMEIN: 01:13:33:18 DURATION: 02:20 TIMEOUT: --:--:--:--
PERIOD ACCOUNTS REPORT IT
COSTING ABOUT $20,000,
SUBTITLE: 270 TIMEIN: 01:13:36:02 DURATION: 03:00 TIMEOUT: --:--:--:--
WHICH WOULD HAVE BEEN
AN ENORMOUS SUM IN 1800.
SUBTITLE: 271 TIMEIN: 01:13:38:13 DURATION: 03:00 TIMEOUT: --:--:--:--
IT WAS A TROPHY HOUSE.
WHAT ABOUT THE CARPET?
SUBTITLE: 272 TIMEIN: 01:13:41:13 DURATION: 03:10 TIMEOUT: --:--:--:--
IS THIS ALSO
A REPRODUCTION OF
SOMETHING FROM THAT TIME?
SUBTITLE: 273 TIMEIN: 01:13:43:23 DURATION: 03:10 TIMEOUT: --:--:--:--
THIS IS AN ENGLISH CARPET
FROM A COMPANY IN ENGLAND
SUBTITLE: 274 TIMEIN: 01:13:45:25 DURATION: 02:10 TIMEOUT: --:--:--:--
THAT'S BEEN IN CONTINUOUS
OPERATION SINCE 1790.
SUBTITLE: 275 TIMEIN: 01:13:47:25 DURATION: 03:10 TIMEOUT: --:--:--:--
I WOULD NEVER HAVE THOUGHT
TO MIX THE BRIGHT GREEN,
SUBTITLE: 276 TIMEIN: 01:13:50:23 DURATION: 03:10 TIMEOUT: --:--:--:--
THE BLACK, THE ORANGE,
THE TAN THAT'S ON
THE WOODWORK,
SUBTITLE: 277 TIMEIN: 01:13:54:00 DURATION: 02:20 TIMEOUT: --:--:--:--
WHICH I IMAGINE IS HISTORIC,
WITH THIS CARPET.
SUBTITLE: 278 TIMEIN: 01:13:56:18 DURATION: 02:00 TIMEOUT: --:--:--:--
BUT, AGAIN, HISTORY'S
BEEN OUR GUIDE,
SUBTITLE: 279 TIMEIN: 01:13:58:02 DURATION: 02:10 TIMEOUT: --:--:--:--
AND HAS LED US TO
THESE CHOICES.
SUBTITLE: 280 TIMEIN: 01:14:00:03 DURATION: 03:20 TIMEOUT: --:--:--:--
THEY DID SOME WILD
THINGS BACK THEN.
THANKS FOR THE TOUR.
SUBTITLE: 281 TIMEIN: 01:14:02:18 DURATION: 03:10 TIMEOUT: --:--:--:--
IT'S BEEN A PLEASURE
HAVING YOU HERE.
THANK YOU.
SUBTITLE: 282 TIMEIN: 01:14:04:20 DURATION: 03:20 TIMEOUT: --:--:--:--
COMING UP NEXT, WE'LL SHOW YOU
HOW TO ASSEMBLE AND FINISH
SUBTITLE: 283 TIMEIN: 01:14:08:10 DURATION: 02:06 TIMEOUT: 01:14:10:16
YOUR OWN PICTURE FRAMES.
STICK AROUND.
SUBTITLE: 284 TIMEIN: 01:14:33:20 DURATION: 00:00 TIMEOUT: --:--:--:--
SUBTITLE: 285 TIMEIN: 01:14:34:20 DURATION: 01:00 TIMEOUT: --:--:--:--
NEXT TIME ON...
SUBTITLE: 286 TIMEIN: 01:14:36:05 DURATION: 03:10 TIMEOUT: --:--:--:--
WE'LL HAVE MORE DESIGN PROJECTS
AT OUR CENTER ENTRY COLONIAL.
SUBTITLE: 287 TIMEIN: 01:14:38:21 DURATION: 02:10 TIMEOUT: --:--:--:--
WE'LL SHOW YOU AN ECONOMICAL
DECORATING FEATURE
SUBTITLE: 288 TIMEIN: 01:14:40:18 DURATION: 01:10 TIMEOUT: --:--:--:--
USING HISTORIC
REPRODUCTION WALLPAPERS.
SUBTITLE: 289 TIMEIN: 01:14:42:22 DURATION: 03:00 TIMEOUT: --:--:--:--
WE'LL MAKE OUR OWN PICTURE
FRAMES WITH STOCK MOLDINGS
SUBTITLE: 290 TIMEIN: 01:14:45:08 DURATION: 02:00 TIMEOUT: --:--:--:--
AND ADD A SIMPLE
ANTIQUED FINISH.
SUBTITLE: 291 TIMEIN: 01:14:47:01 DURATION: 03:00 TIMEOUT: --:--:--:--
ALSO WE'LL BE HANGING CURTAINS
IN THE DINING ROOM,
SUBTITLE: 292 TIMEIN: 01:14:49:00 DURATION: 02:00 TIMEOUT: --:--:--:--
AND WE'LL BE IN PORTLAND, MAINE,
AT THE McLELLAN HOUSE,
BUILT IN 1801.
IT HAS AN UNUSUAL
FLYING STAIRCASE
AND FABULOUS COLORFUL INTERIORS.
SO DON'T MISS IT.
THAT'S NEXT TIME ON...
NEXT TIME ON...
WE'LL BE HANGING CURTAINS,
ASSEMBLING PICTURE FRAMES,
AND TOURING THE McLELLAN HOUSE
IN PORTLAND, MAINE.
DON'T MISS IT.
WELL, IN A SMALL
ROOM LIKE THIS
YOU HAVE A LOT OF
CHOICES FOR INTERIOR
DESIGN FLOURISHES.
AND LESLIE, YOU'VE GOT
A FLOURISH HERE RIGHT
IN FRONT OF ME.
TELL ME ABOUT IT.
YES, WE HAVE A MONEY-
SAVING FLOURISH HERE.
WE DECIDED TO USE
A COUPLE OF PIECES
OF HISTORICALLY
DOCUMENTED WALLPAPER
FROM THE SPNEA COLLECTION,
WHICH IS MADE BY
BRUNSCHWEIG AND FILS.
WE TOOK THEM TO
RON AND TRACY LINDHOLM
OF CAPE COD PICTURE FRAMING
AND WE FRAMED THEM OUT
AND THEY WILL BE HUNG HERE.
SO THE IDEA IS TO USE
A VERY SPECIAL WALLPAPER
BUT INSTEAD OF JUST
USING IT ON EVERY SQUARE
FOOT OF WALL SURFACE,
JUST FEATURE THEM
FRAMED AS ARTWORK
IN THE ROOM.
HE'S MAKING
ANOTHER ONE FOR US?
HE IS, RIGHT OUT
IN THE GARAGE.
RON'S WORKING IN
THE GARAGE?
I'LL GO JOIN HIM.
WELL, RON, THOSE
MOLDINGS YOU CREATED
LOOK STRAIGHT OUT
OF THE FRAME SHOP.
THANK YOU, BOB.
VERY NICE.
NOW THIS IS THE
KIND OF STUFF YOU
NORMALLY LOOK AT
WHEN YOU GO TO
A FRAMING STORE.
RIGHT. THIS IS PRE-FINISHED
FRAME MOLDING THAT WE
CUT AND JOIN FROM LENGTH.
AND THE PRE-FINISHED
MATERIAL USUALLY RUNS
A LOT OF MONEY,
SOME 10, 15, 20
DOLLARS A FOOT.
: 330 TIMEIN: 01:17:54:26 DURATION: 02:10 TIMEOUT: --:--:--:--
AND EVEN HIGHER, RIGHT?
THAT'S RIGHT.
SO SHOW US HOW YOU'VE
MADE THIS ALTERNATIVE.
IT'S BASICALLY THIS.
THIS IS A SAMPLE OF IT,
CORRECT?
THAT'S CORRECT. THIS IS
WHAT WE CAME UP WITH.
I WENT TO THE LUMBER YARD
AND SELECTED A COUPLE OF
MOLDINGS
THAT I COULD PUT TOGETHER
TO CREATE A RABBET
FOR THE GLASS AND PICTURE
TO GO INTO.
SO THE RABBET IS
THIS KIND OF CORNER
WHERE THE ARTWORK AND
THE GLASS HAVE TO SIT.
HOW DID YOU DO THAT,
WITH LUMBER YARD
MOLDINGS?
RIGHT. I SELECTED
THESE TWO MOLDINGS,
WHICH, WHEN COMBINED,
CREATE THE RABBET
AND GIVE THE FRAME
A NICE PROFILE.
I SEE. SO DO YOU
GLUE THEM UP
TOGETHER FIRST?
YES. GLUE THEM
AND TACK THEM TOGETHER
WITH SMALL NAILS
THAT CAN BE REMOVED
SO THAT I CAN CUT THEM
BOTH AT THE SAME TIME.
START WITH A 45 DEGREE
ANGLE CUT ON THE END.
AND WE WANT THIS RAIL
TO BE 36 INCHES.
WE'LL MEASURE THAT OFF
INSIDE THE RABBET
OF THE FRAME
AND MARK IT.
NOW NAILING AND
GLUING TOGETHER
THE MITERED CORNERS
CAN BE THE TRICKY
THING, RIGHT?
THAT'S RIGHT. THAT'S WHY
WE USE THIS CORNER CLAMP
THAT'S PERMANENTLY AT
A 45 DEGREE ANGLE.
SO THAT YOU JUST FIT THEM
INTO THE CORNER CLAMP.
I ALWAYS PUT THE SHORT
ONE WAY, LONG THE OTHER
SO THAT WHEN I PUT
MY FRAME TOGETHER
IT ENDS UP FITTING
TOGETHER PROPERLY.
BRING THE CORNERS
TOGETHER IN THE CLAMP
AND THEN TIGHTEN THEM
INTO POSITION
BEFORE I GLUE.
SO THAT I HAVE IT...
BEFORE YOU GLUE.
RIGHT, SO I CAN
LINE UP THE MITER.
THEN I APPLY GLUE
TO ONE SIDE...
JUST REGULAR
CARPENTER'S GLUE, RIGHT?
A GOOD WOOD GLUE IS FINE.
GET PLENTY OF GLUE ON THERE.
THE GLUE DOES
A LOT OF THE WORK.
AND THE EXCESS GLUE
CAN BE WIPED OFF.
AND THEN WHAT WILL YOU
USE FOR FASTENERS?
I USE 3/4 BY 18 WIRE BRADS
AND THESE ARE
INCH AND 1/4 BY 17s.
USUALLY THOSE TWO SIZES
WILL BE SUFFICIENT FOR
ANYTHING THAT I'M DOING.
BUT WE'LL PRE-DRILL, RIGHT?
PRE-DRILL SO THAT
I DON'T SPLIT THE WOOD.
AND WHEN I NAIL,
I WANT TO GET--
I USUALLY PUT IN 3 NAILS,
2 ONE SIDE, AND ONE THE OTHER,
IN ORDER TO GIVE IT
THE MOST STRENGTH.
YOU CAN SEE THE 3/4 INCH
NAILS WILL BE LONG ENOUGH
FOR THE TOP TWO.
WE'LL SET THESE IN
WITH A NAIL SET.
NOW YOU USE A VERY
LIGHTWEIGHT HAMMER.
I DON'T NEED A LOT
OF WEIGHT IN THE HAMMERHEAD.
AND I'LL USE A LONGER
NAIL DOWN HERE.
SO RON, ONE TRICK
FOR MAKING IT EASIER
IS TO DO TWO SIDES,
GLUE THEM, LET THEM
SET UP,
AND THEN THE NEXT DAY
ASSEMBLE THE FRAME ITSELF.
RIGHT. THAT WAY YOU
WON'T LOOSEN UP THE CORNERS
THAT YOU'VE ALREADY
PUT TOGETHER
WHILE YOU'RE
COMPLETING THE FRAME.
AND DO THE SAME THING
OVER IN THE SAME MANNER.
WE'VE BUILT THE FRAME
AND PRIMED IT FRONT
AND BACK.
SO THE WHITE PRIMER
IS JUST AN OIL-BASED
SPRAY PRIMER.
THAT'S CORRECT, AND
MY DAUGHTER TRACY DOES
THE FINISHES ON THE FRAMES.
SHE'S NOW SPRAYING IT
WITH A GOLD SPRAY PAINT.
SO THIS IS JUST
STANDARD STUFF YOU CAN BUY
AT A HARDWARE STORE
OR PAINT SUPPLY.
RIGHT. THERE ARE A FEW
DIFFERENT SHADES AVAILABLE.
Bob: TRACY, HOW MANY
COATS DO YOU PUT ON?
USUALLY TWO.
IF THERE'S STILL SOME
PRIMER SHOWING THROUGH
THEN OBVIOUSLY
YOU SHOULD DO MORE.
AND WE'VE FOUND THAT
THE 18 CARAT GOLD PLATE
COLOR IS THE BEST ONE.
OK.
AFTER YOU'VE SPRAY PAINTED
IT WITH THE GOLD PAINT,
WHAT DO YOU DO TO GET
THIS ANTIQUED FINISH?
WELL, WHAT WE DO IS WE
MIX UP OUR OWN ANTIQUING
OUT OF A PASTE WAX BASE
AND PIGMENTS.
YOU CAN USE JAPAN PAINTS
OR DRY EARTH PIGMENTS.
AND YOU SPREAD A THIN LAYER
SO YOU ONLY GET A LITTLE
BIT ON YOUR BRUSH,
WHICH--YOU WANT TO START
WITH A DAMP BRUSH.
AND JUST GET A LITTLE
BIT ON THERE.
SO YOU DAMPEN IT WITH
A LITTLE WATER AND THEN
YOU JUST STIPPLE IT ON.
YEAH, JUST STIPPLE IT
RIGHT ON.
JUST MAINLY WORRY ABOUT
THE AREA THAT YOU WANT
TO GET THE ANTIQUING.
BECAUSE WE'LL BE WIPING
OFF SOME OF THE FRAME
TO GET SOME HIGHLIGHTING.
YOU WANT TO WET
YOUR RAG A LITTLE BIT
AND THEN YOU WIPE OFF
YOUR HIGHLIGHTS.
AND THIS STUFF DRIES
PRACTICALLY IMMEDIATELY,
DOESN'T IT?
YES, WITHIN 10 MINUTES,
AND YOU'LL KNOW IT'S DRY
BECAUSE IT HAS
A DUSTY LOOK TO IT.
VERY NICE! RON AND TRACY,
THANK YOU VERY MUCH.
THANK YOU.
YOU'RE WELCOME.
WE'LL BE BACK IN A MOMENT
WITH A PREVIEW OF OUR NEXT SHOW.
DON'T GO AWAY.
LOOK AT THAT. HAVEN'T
THEY DONE A WONDERFUL JOB
OF FRAMING THIS FOR US?
AND I THINK LESLIE'S
IDEA IS GREAT,
ANTIQUE, EXPENSIVE-LOOKING
BUT QUITE A NICE
DESIGN STATEMENT
HERE IN OUR DINING ROOM.
THAT LOOKS PRETTY STRAIGHT.
AND WE'RE OUT OF TIME.
COME HOME AGAIN NEXT WEEK.
WE'RE GOING TO BE PAINTING
A MURAL ON THE WALL IN
THE KITCHEN AREA.
WE'LL BE TAKING YOU BACK
TO WINTERTHUR,
TO TAKE A LOOK AT THE PARLOR
THAT'S COVERED IN AN ANTIQUE
CHINESE WALLPAPER,
AND WE'LL BE SHOWING YOU HOW
TO PAINT AND PIERCE LAMPSHADES.
UNTIL THEN, I'M BOB VILA,
IT'S GOOD TO HAVE YOU
HOME AGAIN.
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