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 Monday, November 05, 2007
Glen-Drake Wild West Joinery Saw-New Idea in Sawing
I’m confident with most hand tools, except for the saw. I can go months without using a plane or chisel, pick one up and get the results I want. Not so with the saw. I don’t get enough practice to begin with so I make warm up cuts before making a critical cut, and then sweat my way through it. More often than not, I deliberately cut wide and then adjust with a chisel, shoulder plane or rasp. I envy woodworkers who can put joints together right off the saw.
Kevin Drake, of Glen-Drake Tool Works tells me I’m not alone, and that the problem isn’t with me, it is with the design of most woodworking saws. Kevin is no stranger to reinventing the wheel. His Tite-Mark marking gauge and line of hammers are evidence that many of the tools we take for granted can be improved. 
When I visited Glen-Drake last February, I saw a prototype of this saw and was sworn to secrecy. I wasn’t quite sure what to think of it at the time. This is such a radical change from what I’m used to that it’s going to take a while to decide if this is the saw for me. I can say without reservation that it is extremely well made, a tremendous amount of thought has gone into it, and it works as advertised. The teeth on any saw do the work, but on conventional saws they also cause some problems. The first issue is in getting the cut started. The set of the teeth tend to pull the saw blade off the line, and the resistance of the teeth makes it difficult to gain momentum without straying from the target. At the end of the stroke, the teeth tend to grab. This slows things down and is another opportunity to get off course. 
Glen-Drake’s solution is to eliminate the teeth at the very front and very back of the saw. This radical approach solves both the problems mentioned above. Instead of starting a cut tentatively at the back of the blade, you start at the front. A line from the marking knife helps, but using the Glen-Drake Kerf-Starter is even better. The Kerf-Starter is the same thickness as the saw blade, and as its name implies it establishes a slot for the blade to ride in as the cut begins. 
The teeth are also filed progressively, finer at the front and back, and more aggressive in the middle of the blade. If you think about the physics of a saw stoke, you start, speed up and then slow down to make the return stroke. The peculiar grind of this blade makes each of these actions easier and more natural. The brass back is also heavy enough to provide all the downward force you need. The old saying is to “let the saw do the work” and this saw has been designed to do just that. Making a cut with the Wild West Joinery saw is almost effortless, just push, hang on and steer. 
What you hang on to is the most radical feature. Instead of one handle, there are two, and the saw is used with a two-handed grip, standing directly behind it. This makes it easier to push the saw and to control it. It is much like steering a motorcycle by leaning, a little pressure from one thumb makes a big difference. After lining up the front of the saw, it is pushed forward one complete stroke. At the end of the stroke, the back edge of the saw is compared to the layout line, any needed corrections to course made, and then the saw is drawn back and pushed forward for another stroke. 
After a few strokes, I started to get the hang of it and began to saw continuously, stopping now and then to check my progress. The technique works well and the only real problem I had with it was unlearning old habits. I imagine that someone just starting out might be able to significantly shorten the sawing learning curve. It is very easy to get this saw started on the right track, and once started it is easy to continue. Momentum, gravity, body position and movement are all on your side. Glen-Drake has a free video available (call 800-961-1569) that details using the saw as well as the company’s other tools. It’s worth taking a look and giving some thought. This is a premium quality saw, and an interesting new method.
--Bob Lang
Read other entries by Robert W. Lang | Read other Tool Tests
Monday, November 05, 2007 9:13:52 AM (Eastern Standard Time, UTC-05:00) 
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Wednesday, October 31, 2007
Greene & Greene: Final Report From Pasadena
Popular Woodworking contributor David Mathias wraps up his coverage of Craftsman Weekend in Pasadena, California.Wednesday October 24 I planned my trip to Craftsman Weekend for about a year and a half. That creates a lot of anticipation and expectations. And expectations sometimes lead to disappointment. Not so for this trip. It has exceeded every expectation. By far. About the only way it could be better would be to win the lottery. And I haven’t yet checked my numbers. The success of my trip is due, in no small measure, to my friend Tom Moore. Tom did a lot of legwork to make sure that we were able to maximize the Greene & Greene content of my time in Pasadena. He and his wife Jenny even opened their home to me for several nights. By the way, Tom and I didn’t meet in person until last week. Many times, on my blog and in this space, I’ve mentioned the Greene-style-furniture group on Yahoo. Founded by Darrell Peart, the group includes a who’s who of Greene & Greene luminaries. Tom and I “met” there and became good friends. Spending time with Tom and a number of other guys from the group contributed significantly to the memories. On the Gamble house Details & Joinery tour, today’s main attraction, members of that forum, including Tom, Darrell and Gary Hall, Peter Hall’s grandson, dominated the group. 
David Mathias & Darrell Peart are on the right in the front row. Jim Ipekjian is trying to hide on the left in the back.
A regular tour of the Gamble house is a wonderful experience. For a furniture maker it is also a torment. At every turn there is another beautiful piece, exquisitely crafted. The natural urge of a woodworker is to touch and examine, to try to unlock the secrets of construction and finish. All of these acts are forbidden and for good reason. As Bobbi Mapstone, PR Director for the house, points out, if all 30,000 annual visitors were allowed to touch the furniture it would be damaged. At the very least the finish would wear away. So, no touching. Understandable but torturous. The Details & Joinery tour goes a long way toward relieving our suffering.
Leading the Details & Joinery tours is Jim Ipekjian. Jim is probably the world’s foremost expert on and craftsman of, Greene & Greene furniture. Having now seen some of his pieces, I don’t think I could distinguish them from the originals. As I mentioned in a previous entry, Jim is a generous, friendly man happy to share his knowledge with others. Participants on a D&J tour are not allowed to touch the furniture (or much else). But Jim is. Want to see the undersides of drawers? (I did) Ask Jim to remove it. Want to know how the upstairs hall closet doors open? (It’s really cool) Ask Jim to open one. Want to see the inside of the chiffonier? (We all did) Ask Jim to open it. I don’t think he refused a single request. And there are other ways to unlock secrets. After this tour the floors of the house are spotless – we spent a lot of time sliding around on our backs shining flashlights under the furniture. This is THE tour for Greene & Greene furniture fanatics. I would gladly have paid to stay on that ride for a second round. 
One interesting nugget, among many, from the tour: the indexing pins between the two halves of the dining room table are highly polished ebony. I suspect that only the servants ever saw that detail yet the Greenes and Halls put a lot of effort into it. In a week like I just had, it would be very difficult to choose a favorite moment or event. And I’m not one for making such choices. I don’t have a favorite song or a favorite food. If I were to try to choose a favorite event, however, the last one of the week would certainly be a candidate. I was given special permission to take photographs inside the Gamble house for an upcoming project. It was a privilege I will never forget. My only regret is that I am not a better photographer. We’ve all seen interior photos by Alexander Vertikoff and Marvin Rand, photographers with great talent and experience. I have neither but think that I was able to capture something usable. It was an amazing experience. My sincere thanks to the staff of the Gamble house for the opportunity. 
During this past week I joked that I could never again attend Craftsman Weekend because no subsequent trip could meet the high standard of this one. Of course, given the chance I’d go in a heartbeat. Next year is the Gamble house centennial. Hmmm… --David MathiasThanks again to David for sharing his trip. Look forward to an article by David next spring about the construction of a Greene & Greene style project. --Bob Lang
Read other entries by Robert W. Lang
Wednesday, October 31, 2007 1:20:10 PM (Eastern Standard Time, UTC-05:00)
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Workbenches Book: Printed and Shipping Soon
Shipping begins very soon for my new book "Workbenches: From Design & Theory to Construction & Use" (Popular Woodworking Books). The book has arrived in our warehouse from the printer and will be shipping out soon to bookstores and specialty retailers during the next two weeks.
The book features plans for two old-school workbenches (a French and an English bench), but those aren't the core of the book in my opinion. The central idea in this book is that there is no such thing as a perfect workbench – there are hundreds of them.
But before you can make a good workbench, you have to understand the different kinds of workholding devices – from single-point planing stops to Emmert patternmaker's vises – and what they are useful (and not useful) for. Then you can select the vises and devices that suit the tasks that you want to accomplish.
The two workbench plans in the book are merely the simple skeletons that you can then flesh out to your satisfaction. These two benches are easy to build. And while they are far less complex than most modern benches, they are just as effective.
The book is going to be available in at many bookstores, online retailers, in the WoodWorker's Book Club and directly from the publisher, F+W Publications Inc. (though it is not live on the site as of this posting on Oct. 31). You can even pre-order copies in advance right now from some online sellers, including Amazon and Books A Million.
In addition to those traditional sellers, you will soon be able to buy the book with a companion CD from four specialty woodworking sellers: Lee Valley Tools, Lie-Nielsen Toolworks, Tools for Working Wood and from my own site, where I sell books and DVDs (pardon the digital dust; it's still under construction).
The companion CD includes 3D electronic models of the workbenches in the books, slideshows of the construction process and a searchable, electronic version of the book so you can print out construction drawings for the shop or find sections that interest you.
If you want a signed edition of the book, the easiest way to get one is to buy the book from my site. I sign all the copies I ship out (unless you tell me not to!).
One final note: I'd like to thank the readers here who encouraged me to write the book, plus the staff at Popular Woodworking magazine and Woodworking Magazine that endured my bleary eyes during the writing process and my company, F+W Publications, that had faith enough to actually print the thing.
— Christopher Schwarz
Read other entries by Christopher Schwarz
Wednesday, October 31, 2007 7:34:24 AM (Eastern Standard Time, UTC-05:00)
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Tuesday, October 30, 2007
A Weighty Issue
A couple readers commented that the Shaker-inspired step stool we featured in the “ I Can Do That” column in the November 2007 issue was missing horizontal supports across the sides, which were often seen on traditional Shaker stools ( you can download the plans here). At the rear of the first step, there is 3-1/4" of long-grain-to-long-grain contact due to the cutout, so there was some concern that the glue joint wouldn’t be strong enough to hold under heavy weight, or over a long period of time, were that joint shorter. We were careful to select tight, straight-grained stock with no defects for the side panel glue-up – an important consideration in any panel glue up that has to bear a lot of weight…not that we weigh a lot. But, just to be sure, we had three editors stand on the stool at once, as you can see in the picture above, and other than a few balance issues (hey — I haven’t finished my morning coffee yet), we didn’t experience any problems. There were no joints creaking (other than our knees), and the step stool held together just fine. That being said, were the stool plans modified and the front glue joint were thus shorter, less long-grain-to-long-grain contact could present a problem — we wouldn’t recommend less than 2-1/2". And of course, it is historically accurate to have an interior side rail. So if you have any concerns about the construction integrity (or simply want a more traditional look), add an interior rail across the panel glue-up on both sides, perpendicular to the bottom front horizontal support. You might also consider moving the back horizontal support to be parallel with the bottom front horizontal support, thus forming a square, and keeping the lines less cluttered (you can see an example of this construction in the Shaker Workshops catalog). But, we had 550 pounds worth of editors on our stool (and no, I’m not giving you the breakdown of who weighs what), so I feel confident that it will hold. — Megan Fitzpatrick
Read other entries by Megan Fitzpatrick
Tuesday, October 30, 2007 10:22:39 AM (Eastern Standard Time, UTC-05:00)
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Monday, October 29, 2007
Greene & Greene: Craftsman Weekend Days 3, 4 & 5
Popular Woodworking contributor David Mathias continues his reports from the Craftsman Weekend in Pasadena, California.
Pasadena Heritage Craftsman Weekend is a three-day
event. My trip to Pasadena, however, is
a full week. A very busy week. So we built a little downtime into the Sunday schedule. By downtime I mean
taking a driving tour and strolling around the exhibition hall gawking at beautiful examples of
contemporary Arts & Crafts pieces and antiques.
As I mentioned in a previous entry, the exhibition is impressive. Through the good fortune of meeting via the Greene-style-furniture Yahoo group I was able to
spend time with Darrell Peart, Tom Stangeland and
Tim Celeski. Tim designs and makes
outdoor furniture, including the world’s first comfortable Adirondack chair, in various Arts & Crafts styles. Tom Stangeland designs furniture inspired by Greene & Greene but with substantial
interpretation. I spent significant time in his
booth and never tired of looking at the pieces he brought. Darrell Peart’s furniture is more obviously
Greene & Greene, including reproductions. His Gamble dining table is a wonderful achievement. Best of all, these men were very generous with their time and knowledge, and great fun to
hang out with. 
At least two Los Angeles-area museums have Greene & Greene furniture in their permanent collections. The collection at the Los Angeles County Museum of Art includes roughly a dozen pieces any number of which may be in storage at any given time. We got lucky – there were four pieces on display, all from the Blacker house, when we visited on Monday: the hall table, a hall chair, a living room chair and the dining room chandelier. The hall table is roughly 6' long and 3' deep. It is elegant and appears to be simple but there are, of course, many subtle details. The drawers presage those of the Gamble house and the lifts on the rails are reminiscent of those from the Robinson house. Many consider the Blacker living room chair to be the ultimate Greene
& Greene furniture design. Having
now seen one, I can understand the sentiment even if I don’t agree. Thinking about trying to make that chair
made my head hurt. Seeing Jim
Ipekjian’s faithful reproduction, on Wednesday, made my ego hurt.
Better known for its Greene & Greene collection is the
Huntington Library and Gardens, our Tuesday destination. The G&G
furniture collection is extensive. The
Thorsen dining table, chairs and sideboard are there. The Robinson dining room furniture resides there in a re-creation
of the room itself. The Ford house
server is also there. The highlights, in my
opinion, are the two dining tables. The
Thorsen table includes stunning inlays and a very interesting base including rails
that meet legs at a corner. The Robinson dining table is likely my new
candidate for Charles’ first great piece of furniture. Not coincidentally, the Robinson house marks
the first collaboration between the Greenes and Peter Hall.
Throughout this trip I have felt as though I am leading a
charmed existence. Multiple people,
with no reason to do so, have shown me kindness resulting in some
of the best memories of the trip. Kori
Capaldi, operations manager of the Gamble house, invited me to a reception for a
speaker in the Friends of the Gamble House lecture series. The reception was held at the Gamble
house. So Monday evening I found myself standing at
the front door of the Gamble house, having rung the doorbell, waiting for
someone to answer. I’ll never forget
that feeling. The house changes
character at night. Only a poet could
properly describe the warm glow on the wood from the art glass light
fixtures. 
In another example, Jim
Ipekjian graciously agreed to allow several of us into his shop for a brief
tour. Jim is a charming guy and seeing
his shop was a treat. Scattered about
were a number of pieces in various stages of completion. 
Any one of them would be the crowning achievement of my woodworking
career. Jim was nonchalant about them, even encouraging us to touch and
to open
drawers, etc. I was able to sit in his
reproductions of a Blacker living room chair and a Thorsen dining chair
– about
as close as any living person is likely to come to sitting in an
original. More on Jim in my final entry. One day remains in my trip. So far it has been incredible. When we made the schedule, Wednesday was
expected to be the best day. If that
holds true I think my head might explode. You wouldn’t want to miss that.
— David MathiasDavid's final report from Pasadena will appear on this blog on Wednesday
— Bob Lang
Read other entries by Robert W. Lang
Monday, October 29, 2007 3:44:19 PM (Eastern Standard Time, UTC-05:00)
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Woodworking Machines Accessible for Everyone
Some interesting information crossed my desk this past week. General International is introducing a series of tools, known as "Access by General," designed specifically for wheelchair users and individuals with limited mobility. The issue of properly sized and proportionally correct tools was brought to my attention before by non-wheelchair-bound women (and some men) who attend woodworking classes. Some are unable to reach past the table saw blade or feel they need to be taller to effectively use the band saw. These tools could be the answer for many woodworkers, not just those restricted to wheelchairs.
The "Access by General" line, all made in Canada at this time, includes the mainstay of tools in a woodworking shop. A table saw, jointer, band saw, drill press and lathe are the beginning of the line, with promises for additional tool releases during 2008 – made in both Canada and overseas.
The line will be available in stores later this fall; prices are expected to be released by the end of October.
To gain a better understanding of how changes in the table heights and overall dimensions affect a wheelchair user, I adjusted my desk chair to match a wheelchair height (19") and positioned myself at four of the five tools. (The lathe escaped my scrutiny – I don’t turn much).
I began at the jointer. The machine in the Popular Woodworking shop has a table height of 30" while the Access jointer is listed at 28". I can tell you that the 2" differential could make a difference. Seated, I was uncomfortable using our jointer for milling rough lumber. While I was still adequately above the board, I felt much less secure pushing forward while holding the piece to the bed.
Next, I rolled my chair over to our table saw. Here I found a substantial difference. Our saw is 34" tall and the "Access" saw tops out at 29". I felt very out of control ripping a piece of stock. Not only was I pushing directly at the blade, I could not reach past the blade to finish the cut. Push sticks were required and I was cutting a 6" wide board (generally this would be of no concern).
Sitting at the drill press seemed no big deal. I could reach the handles just fine. I was within the standard front-reach measurements specified by the Americans with Disabilities Act accessibility guidelines. But, our drill press overall height is 68" and the “Access” press is only 57 1/2" tall. The 10-1/2" difference would make things much more easy to use from a seated position.
Using our band saw while seated was the most eye opening experience, to say the least. As I sat in the chair, I looked directly at the table edge of our Grizzly G0555X. The table height is 44-1/2". The "Access" band saw has a table height of 32-5/8". That amount is astounding and would make the band saw so much easier to use —not to mention safer.
I applaud General for the effort to produce tools for a specific audience. I also think there will be additional users who would just feel more comfortable using machines that better fit their body structures.
If this is an issue or concern of yours, leave a comment so we can see if General in on course with the "Access by General" line of tools. When the prices are released and further information is in hand, I’ll update this entry with the numbers.
– Glen D. Huey
Read other entries by Glen D. Huey
Monday, October 29, 2007 2:02:16 PM (Eastern Standard Time, UTC-05:00)
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Thursday, October 25, 2007
Get Your Own Woodworking Web Space
There are a lot of web sites devoted to woodworking, and the explosion of information available on the Internet has made finding resources and gathering information faster and easier than ever before. One new site, My Werkshop, makes it possible for anyone to set up their own web space for free. In addition to being free, the interface is incredibly easy to use.
All you need to get started is an e-mail address. After creating your account, you can add photos and text about yourself and your work. Other visitors to the site can post comments and choose their favorite projects. If you sell your work, you can use your page as an online gallery, or you can simply share what you're working on with other woodworkers. 
I created a page in just a few minutes; part of it is in the image to the right. Uploading photos is incredibly easy. The software on the site automatically resizes the images, so all you need to do is browse to the file location on your computer and click a button. Adding text is equally simple. All of the boxes on your page have an "edit" button when you are logged in. Click on that and you can add information, change information or delete what you don't want. The site is set up so that you can create a project and add photos and text as you go along. My Werkshop is hosted by Woodwerks Supply as a free service. The community site is connected to the store site, but there isn't any advertising except for a small unobtrusive link at the top of the page. So, if you want to show off and share your work, get started by visiting the site at: http://www.woodwerks.com/werkshop.php Your spell checker may not like it, but you probably will.
— Bob Lang
Read other entries by Robert W. Lang
Thursday, October 25, 2007 9:39:54 PM (Eastern Daylight Time, UTC-04:00)
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Tuesday, October 23, 2007
Greene & Greene: Day 2 In Pasadena
Editor's Note: Popular Woodworking contributor David Mathias continues his reports from the Craftsman Weekend in Pasadena, Calif.
Saturday, October 20
I want to choose my words carefully so as not to overstate my thoughts. Today was one of the best days of my life. I think that’s about right. It was one of those days in which everything falls into place perfectly. One of those days that exceeds all expectations.
Before I get to what I did, I should point out what I didn’t do. There is no way to participate in all of the events that are part of Craftsman Weekend. Literally no way. Some of them conflict. I had a choice between the Greene & Greene bus tour and a trip to, and tour of, Sam Maloof’s shop. I chose the bus tour. I’ll wait a moment for those of you swearing at your screens and calling me an idiot. Done? OK. Did I mention that on the bus tour we got to tour the interiors of two Greene & Greene houses? That was the clincher for me. Now that the tour is over I can honestly say that I don’t regret the decision one bit. 
One of the houses we got to tour was designed in 1906 by Greene & Greene for Caroline Deforest. While not as grand as the Ultimate Bungalows, it is a beautiful home, a home in which I could easily imagine living. Because the house is currently for sale (if you have to ask the price…) we were permitted to take photos inside. The Greenes had not yet discovered the ebony peg. Visual interest was created with round-head brass screws, which I initially mistook for round pegs, on many surfaces. The effect is very pleasing. Board and batten cabinets are original and in excellent condition as are original lighting fixtures. The dining room chandelier has been altered (to imitate that in the Duncan-Irwin house) but the wood elements are original. Numerous large windows, a Greene & Greene signature element, provide a feeling of openness despite ceilings that are low by today’s standard.
In the afternoon we had time to browse the exhibition hall. Vendors included antiques dealers and contemporary artisans of every stripe: furniture, pottery, glass, textiles and lighting. If your Arts & Crafts home needs it, it was there. One of the highlights for me was seeing the work of John Hamm. John is a glass artist who makes pieces that look very much like the originals created for the Greenes by Emil Lange. In fact, his work is in multiple Greene & Greene homes, including the fantastic Blacker house. John was a pleasure to speak with. There was one small piece in his booth that I lusted after all weekend. The exhibition was very impressive and very well run. It’s a must-see if you are in Pasadena for Craftsman Weekend.
 The evening event today was the featured house tour and reception, an annual event. This year’s house: The Henry Robinson estate. Built in 1905 by Peter Hall, his first collaboration with the Greenes, the Robinson house is spectacular. Clocking in at 12,000 square feet on several acres at the edge of the arroyo, both the house and the view from it are breathtaking. The house, once the victim of neglect and bad taste, has been lovingly restored by the current owners, who were at the reception and are obviously quite proud of their accomplishment.
Many times I have read that the Greene/Hall collaboration was an important factor in the Greenes’ rapid evolution. Seeing the Robinson house made me understand that claim. The furniture in the Robinson is clearly a leap forward. The dining room furniture in particular is wonderful. (Interestingly, the original furniture is in a recreation of the room in the Huntington Library while reproductions are in the actual dining room.) The dining room table is a precursor to the Gamble dining table. Living room built-ins are also exceptional. The furniture in the home includes details that are different from, though just as beautiful, as those with which we are familiar from the Greenes’ better-known work. One very interesting example is that cloudlifts have been replaced with a dovetail-shaped element providing a similar effect.
I don’t know how the day could have been any better. It’ll be hard to top but I’m open to trying.
David Mathias
Thanks David, we are looking forward to more. — Bob Lang
Read other entries by Robert W. Lang
Tuesday, October 23, 2007 3:11:15 PM (Eastern Daylight Time, UTC-04:00)
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Tool Test: Ridgid’s New 13" Portable Planer
Most woodworkers consider the thickness planer to be one of the most important machines in a woodshop. As a result, many manufacturers have produced a variety of sizes in planers. None has been written about as much as the 13" portable planer.
This size planer has gone through a multitude of changes over the years with each transition making it a better machine. More features are being added, and the tool is growing into a workhorse in most home shops.
Ridgid has an improved version of its portable planer, the new R4330. This 15-amp machine has new features, but it retains the useful features from the previous model.
The improvements start with the guts of the machine. What used to be a two-knife cutterhead is now a three-knife design. Also, the rpm was increased by more than 10 percent. The planer now produces 30,000 cuts per minute (CPM) versus only 18,000 CPM with the prior unit. That greatly improves the cutting performance of the machine.
Plus, the newly designed knives are still of the dual-edge, quick-change variety; each is self-indexing and self-aligning, and you can adjust the knives from side-to-side to compensate for small nicks. A complete knife change can be accomplished in 30 minutes or less.
According to Ridgid, differences in the appearance of finished cuts from either of the two cutting speeds on competing models was negligible, so the company decided against a two-speed function for the R4330 planer, settling on a single speed of 96 cuts per inch at a feed rate of 26 feet per minute.
A significant design change in the R4330 planer is a four-post design on which the cutterhead travels instead of the two-post design used in the past. Ridgid officials said the cutterhead is secure enough in this design that it eliminated the depth-of-cut locking mechanism from the machine.
On portable planers, as with the R4330, snipe is controlled by adjusting the infeed and outfeed tables. However, right out of the box, this planer showed little snipe and it was at the trailing end of the board. So little in fact, that regular sanding would correct the problem.
An improved dust hood that opens and closes by simply rotating the hood door is a nice added feature. No planer should be used without proper dust collection, but there are times when being able to open the door to clear an obstruction is an added benefit.
The “Repeat-A-Cut” and “Ind-I-Cut” features are from the previous model. I found the Repeat-A-Cut feature handy to use. Being able to reach one of eight different thicknesses by selecting a predetermined depth stop builds accuracy into your work. I did, however, find the Ind-I-Cut feature to be a bit fussy and not as accurate to use.
Ridgid’s 13" portable planer is available at Home Depot for $349. That’s a savings of $50 versus the older model. However, no extra set of knives is included and if you want a stand it’ll be extra, too. Also, check the box to ensure you’re buying the new machine. Both models have identical Home Depot SKU numbers. (more specifications are available on Ridgid's web site.)
— Glen D. Huey
Read other entries by Glen D. Huey | Read other Tool Tests
Tuesday, October 23, 2007 8:36:30 AM (Eastern Daylight Time, UTC-04:00)
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Monday, October 22, 2007
Greene & Greene: Report From Pasadena
As I mentioned last week one of our authors, David Mathias, is spending a week in California immersing himself in all things Greene & Greene. Here is the first of several reports from David:
Friday Oct. 19
I grew up in Wilmington, Del. Wilmington is located roughly 30 minutes from Philadelphia and two hours from both New York and Washington, D.C. Therefore, I’ve had the opportunity to visit Washington’s wonderful monuments and museums many times. On the last occasion, we visited the Lincoln Memorial. Though I had been there before, I was struck with a strong sense of history and being in the presence of greatness. Today at the 16th Annual Craftsman Weekend, I felt the same way.
It was an incredible day. As a member of the Greene-style-furniture Yahoo group, I regularly interact with Greene & Greene fans from around the country. My friend Tom Moore and I had volunteered to help several of the group’s members set up their booths for the Exhibition that is part of Pasadena Heritage’s Craftsman Weekend. That’s how I met Darrell Peart, Tom Stangeland and Tim Celeski and got to see, carry and help assemble some of their very beautiful furniture. It is, by far, the most fun I’ve ever had helping people move. 
Exterior of the Gamble House
And from there the day only got better. Our next stop was the Gamble House. Arriving at the Gamble House is an almost surreal experience. As the Greene brothers best-known work, and a museum that is regularly open to the public, it is an iconic structure. But to approach in person a building that I’ve spent so much time studying in pictures is odd. I don’t know a better way to say it. Though I had been there once before, I was awed.
The interior of the Gamble House is a stunning achievement. During the standard, one-hour tour you can only begin to glimpse all there is to see. I suspect that I could spend several days just in the entry hall and still not notice all of the details. Subtlety is everywhere. As is wood. On much of the first floor, nearly every surface is wood. Teak and mahogany are everywhere. The desire to touch the beautifully finished surfaces is almost overwhelming, though doing is strictly prohibited (except when climbing the stairs). Sensory overload is a given. The attention to detail is almost insane. One example: The shape of the dining room table is mirrored in the shape of the dining room chandelier and repeated in switch plates in the room. It also appears in inlays in the master bedroom.
Exterior of the Irwin House Many casual fans don’t realize that in the Park Place neighborhood you can’t turn around without stumbling on a Greene & Greene home. Our last official event of the day was a walking tour of the area where we saw about a dozen more of their houses and were able to go inside two that are lesser known. The docent for the tour stressed the rapid evolution of the Greenes’ style. Seeing so many homes in rapid succession makes it obvious. The curve of their creative genius was very steep. Highlights included the James Culbertson house (the first name is included to distinguish it from the Culbertson sisters’ house – the Greenes had many repeat clients and personal referrals), the Duncan-Irwin house (a personal favorite – I resisted the urge to knock on the door and ask for an interior tour) and Charles Greene’s own house, which also served as something of an architectural laboratory for Charles.  Exterior gate and clinker brick wall at the Van Rossem House
David will be sending us more reports and photos this week, including some rarely seen interior details. Check back here, or subscribe to the updates in the upper left corner of the page. — Bob Lang
Read other entries by Robert W. Lang
Monday, October 22, 2007 3:07:26 PM (Eastern Daylight Time, UTC-04:00)
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