Author Archive

Light Fixtures: Standards and Labeling

Friday, August 27th, 2010 by David Baird

Light fixtures have  always been an important part of our business at Historical Arts and Casting, Inc. We have built thousands of them over the years, and most of these fixtures are small quantities of custom lights specifically designed for discriminating clients.

I am often asked about the testing requirements through which our lights are required to pass. Are they UL approved? And what are the standards?

Underwriters Laboratories (UL) is an organization that has established a set of standards for quality and safety of electrical appliances that is universally accepted throughout the United States. These standards require that fixtures be manufactured in such a way that they are structurally sound, and that they are wired in a manner that will be safe for the public to use and maintain without the danger of electrocution.

Bronze Chandeliers - 800 North Capitol, Washington DC

Bronze Chandeliers (LF018) - 800 North Capitol, Washington DC

A UL label certifies that a light fixture passes these standards and that Underwriter Laboratories certifies that the manufacturer also is responsible for any liabilities associated with the fixture. To obtain one of these labels, the fixture must pass certain tests, and the company is subject to periodic inspections by UL representatives. In addition a fee is charged  by UL per label. Each label is identified with an individual certification number. Typically a certification number identifies a specific type of fixture that meets these strict standards. Therefore each different type of fixture is subject to this labeling fee and newly numbered label.

For a company like HACI, that builds small quantities of hundreds of different fixtures, this labeling procedure could be a challenge, even though the actual electrical components of each fixture are essentially the same.

Our approach was to contract with  TEi-Listing Services, a testing laboratory, who certifies that our fixtures meet UL standards, and provides a numbered label that covers all of our fixtures under one “umbrella”. This label is accepted nationwide just as the UL label is.

Bronze Light Post - Kansas City Library - Kansas City, MO

Bronze Light Post (LF157) - Kansas City Public Library - Kansas City, MO

The standards to which we build our lights actually exceed those required by UL in many instances. All of our fixtures are built of cast metal, be it aluminum, bronze, or iron. All of the fasteners are brass or stainless steel, so there is no danger of corrosion. They are rated for “Wet Location” which is the toughest standard, which means that the lights are designed with adequate weep holes to allow moisture to evacuate. The light sockets are nickel plated porcelain sockets, wired with double insulted THHN wire. All of the components are UL rated, and are purchased from a reliable distributor.

Each completed fixture must pass a dielectric withstand test, which means that a 120 volt fixture is submitted to  1500 volts through the wires to insure that there are no short circuits. Each fixture has a common, neutral, and ground wire.

Bronze Hanging Lamps (LF142) - Private Residence, Naples, FL

Bronze Hanging Pendants (LF142) - Private Residence, Naples, FL

In addition all of the structural hard points, such as hanging loops or hanging pipes, are fastened with stainless steel components.  Glass is typically glazed with Dow Corning 795 Silicone caulking expertly finished, and finally the fixture is tested with lighted bulbs before packaging.

Aluminum and iron fixtures are painted with PPG CONCEPT high performance automotive paint, and Bronze fixtures are colored using a variety of statuary or hand grained patinas sealed with a coat of wax.

At Historical Arts and Casting we are proud of our work, and honored to have our fixtures adorning some of the most prominent buildings in the nation.

The Final Finish

Wednesday, June 30th, 2010 by David Baird

One of the most important aspects of Architectural metal work is the final finish. At Historical Arts and Casting we have several options for consideration, depending on the type of metal used, and the desired outcome.

Aluminum Painted Railing - Private Residence - Palm Beach, FL

Aluminum Painted Railing - Private Residence - Palm Beach, FL

Painted finishes are preferable on Aluminum and Iron. The surface is always thoroughly sandblasted to insure positive adhesion. On iron surfaces I recommend Tneme Zinc 90-94 primer. This durable primer has zinc powder mixed in with it and works wonders in preventing future rust problems. An intermediate primer that I often use on top of Tneme Zinc, also a Tnemec product, is High Build Epoxoline II. The recommended top coat for this system is Tnemec Endura-Shield II. These paints are tough, and have provided us with excellent results.

My first choice for paint on Aluminum products is PPG’s CONCEPT paint system. This is a top of the line Auto paint product, which I have used for over 25 years with good success. We prime a “WHITE BLASTED” surface with DP90LF epoxy primer, followed by a topcoat of Concept paint. We use the single stage version of this product, which means it doesn’t need a clear coat. We add flattener to achieve a satin sheen, which produces a much more desirable surface then a high gloss finish. With a variety of faux painting techniques, we can duplicate anything from wood to stone if required.

Bronze Light Fixture - Ritz Carlton Hotel - Maui, HI

Bronze Light Fixture - Ritz Carlton Hotel - Maui, HI

Bronze finishes are an entirely different animal! Chemicals are used to actually color the metal surface. This process produces what is known as a “Patina”.

There are basically two types of patinas… the Hot Patina, and the Cold Patina.

A hot patina is most often used on sculpture. Chemical washes are applied with heat and actually cooked onto the surface. Ferric Nitrate and Cupric Nitrate are the two work horse chemicals which produce red brown, and green base colors. Liver of Sulfur and a variety of other chemicals can add a plethora of colors and accents to the finish. Carnauba paste wax is then applied to a luke warm surface and buffed when cold to produce a rich satin sheen.

Because heat with a blow torch is difficult to apply to large flat surfaces (and often causes undesirable warpage), Hot patinas are not very practical on architectural products and the cold patina is desirable.

In this case we use Birchwood Casey M-20 Brass Black. This chemical is basically a gun bluing. By diluting the chemical in varying amounts, colors from tan, reddish brown and finally black can be achieved.

To obtain the most even coverage, we dip the metal in a vat of chemical, and then rinse it off with deionized water. Although there are times when an atomizing spray bottle is simply more practical.

The patina process is not like painting, in that you do not have total control over your finished color. you are simply at the mercy of so many variables; heat, chemical concentration, size of the surface, and length of time endured before the chemical is rinsed off. With experience you can come pretty close, but as in life, who has total control over anything?

The final patina is generally buffed with brass wool, and waxed with a colored furniture wax.

Bronze Light Fixture - Grand America Hotel - Salt Lake City, UT

Bronze Light Fixture - Grand America Hotel - Salt Lake City, UT

I am often asked the difference between an oiled, waxed, or Lacquered coating on the surface. The quick answer is that wax and oil are best used on a surface that will be handled and touched often. These materials are easiest to refinish. Lacquer is very easy to scratch, and although it will maintain a brighter surface for a limited amount of time, scratches and lacquer breakdown will eventually become undesirable, and then re-lacquering will be required. Only one bronze finish is totally maintenance free, and that is a natural verdigris “blueish green” patina, this is the color that most copper base materials will revert to if left to their own devices. Wax, oil, or lacquer simply slow down this natural process.

Gas Lighting

Wednesday, May 19th, 2010 by David Baird

For many years Historical Arts and Casting has been manufacturing light fixtures. For the most part, these fixtures are of a historical flavor. Comprised of many intricate sculptural cast components all assembled together to create a reality that once began in an architect’s imagination.

Gas Pedestal Lantern - Ohio State House, Columbus, OH

Gas Pedestal Lantern - Ohio State House, Columbus, OH

To date I have supervised the construction, wiring, and glazing of thousands of beautiful light fixtures most of which were custom designed for prominent residences and commercial buildings around the world.

Each fixture is crafted of heavy cast metal components in many alloys including bronze, aluminum, or cast iron.  Bronze may be chosen because of color, or perhaps the client desires a polished fixture, or maybe an antique verdigris bronze light. Aluminum is used where weight may be a factor, or for more economical pricing. Cast iron is generally used to create the look of a wrought iron fixture that fits in a setting of historical significance.

It is not uncommon for us to duplicate existing light fixtures that match exactly in appearance. It is also common practice to restore existing light fixtures with all new finishes, glass, and wiring as well as replacing all broken or missing parts with new ones.

Recently we have seen a trend towards automated gas lamps. Many of our ornate electrical fixtures can be readily converted to natural gas. I have to admit that I mention these conversions with a little trepidation because they can be very challenging to build and set up.

For a brief explanation  let me take you back in history to the late 1800’s when gas light was popular.

Gas Torchere - Private Residence, Palm Beach, FL

Gas Torchere - Private Residence, Palm Beach, FL

Gas lamps were revolutionary in that they could bring bright light into your home at any hour of the day. They were affordable by many, and were relatively safe. There was, however, the occasional fire or explosion, not to mention asphyxiation due to the natural gas from time to time. These lights also required frequent cleaning and maintenance. They also needed to be hand lit with a match. All of this unpredictable “Fire” was the down side!

Open flame gas lamps have a unique ambiance that cannot be beat, and are extremely attractive on a beautiful home. It is therefore understandable why they are desirable today. Many but not all of the undesirable features have been overcome. Making them much more practical today then they were over one hundred years ago. HOWEVER, there are still a few concerns that the prospective gas lamp owner should be aware of.  First, they are not very bright by comparison to electric lamping.   Second, they still require some cleaning and maintenance to be reliable. And third, they can be a little finicky to adjust.

David Baird adjusting the flame.

David Baird adjusting the flame.

At Historical Arts and Casting, we manufacture the fixture bodies in our facility, but we buy the gas modules from an outside source, and install them into our fixtures. We have had a good working relationship with KNIGHTRONIX , the inventors and manufacturers of an ingenious gas light igniter. This is the safest and most reliable unit that we have seen.

The KNIGHTLIGHTER is composed of a self contained gas solenoid, and electronic igniter, with an ion flame sensor, all in one tiny little package. It runs on 24vac and can be configured with an automatic daylight sensor. It can alternately be set up to ignite from a light switch or a Lutron automated timer system.

Knightronix ignighter being tested in a light fixture that will be installed in a private residence in West Palm Beach, Florida.

Knightronix ignighter being tested in a light fixture that will be installed in a private residence in West Palm Beach, Florida.

The KNIGHTLIGHTER will ignite a gas light in a fashion similar to a furnace igniter. It strikes an arc to light the flame. If, for some reason, the flame does not ignite, the control unit will make several more attempts before safely shutting down the system. It will also reignite a flame blown out by the wind. Once installed and set up correctly we have seen years of trouble free service. NOTE: periodic cleaning and maintenance of the fixtures is still required. I would also add that this application is not recommended for interior use. My hat’s off to Arnie Knight, the inventor of this great little device.

Electric or natural gas, Light fixtures are still an important part of any man’s personal castle!

Gold Leafing Handrail Ornamentation

Friday, April 9th, 2010 by David Baird

At Historical Arts, we design and build some spectacular hand railings.  Often the client wishes to reproduce a railing found in an old photograph, or even something that they have seen in an ancient palace.  Many beautiful railings were originally hand forged, or even cast in Iron.  Often small sculptural details are highlighted with Gold embellishments.

Roger Baird - Gold Leafing a handrail for a private residence in Chicago, Illinois

Roger Baird - Gold Leafing a handrail for a private residence in Chicago, Illinois

On a recent project we reproduced such a classical railing.  The hand railing extended between the ground and the third floor, circling in an elliptical fashion.  Cast in aluminum, and painted a dull satin black color, it required Gold accents on the floral designs, which the client requested gilded with 22 Karat Gold.

Although periodically we guild architectural details, it is not something that we do every day.  The short time frame required that this work be accomplished quickly with a high degree of sparkle.  It contained many complex three dimensional sculptured elements.  In this work I have often faced challenges with unpredictable Gold Size (adhesive used to adhere the gold to the cast metal).  As well as man power challenges enlisting help from other departments in our shop from employees with limited gilding experience.  The challenge was to do the work quickly and consistently.  The finished product needed to look as good as the railing in the Palace that it was copied from.

I was introduced to a gilding system called INSTACOLL, which I purchased from Sepp Leaf Products of New York City, where I also bought the Manetti Gold Leaf.  This system is comprised of a yellow base coat, and a milky white activator.  It creates a remarkable bright shine similar to plating, and is suitable for both interior and exterior applications.

I first painted on the base coat with a fine camel hair brush, and allowed it to dry for four hours.  The base coat flowed out nicely and dried quite hard.  There is no tack time or length of time to wait before continuing the process once the base coat is dry.  It can sit indefinitely.

Next the activator is applied to the base coat.  It is ready to guild when it dries clear.  About 10 or 15 minutes.  The

Section of Handrail - Gold Leafing Detail

Section of Handrail - Gold Leafing Detail

surface is now ready to guild.  I found the open time to be over 24 hours.  We had great success applying and burnishing the 22K Gold Leaf with Pink Pearl Erasers.  These remarkable tools allowed us to work the gold into all of the little cracks and crevices and at no time did their abrasive nature wear off the gold.  The finished product produced a bright shiny and tough gold surface.  Which received a final buff with cotton swabs.

I was very pleased with the INSTACOLL process. It is easy to use, and produces superior results.  You can be assured that I will use it on my next Gilding Project and best of all, the clients were thrilled with the appearance of their new hand railing.