Posts Tagged ‘Cast Aluminum’

St. George Tabernacle – St. George, Utah (1992)

Friday, May 6th, 2011 by admin

Light Fixture - St. George Tabernacle, St. George, Utah

Light Fixtures - St. George Tabernacle, St. George, Utah

The St. George Tabernacle was one of the early architectural treasures in Utah’s pioneer history.  The building was built in the 1860’s and quickly became the center of pioneer life for the small rural community.  With the ability to seat 1200 people, many town and community meetings were held there.  The craftsmanship was exquisite with much of the work being performed by European immigrants. Thought built during a trying time for the new Mormon settlement, the tabernacle had a clock from England and many refinements including six beautiful oil chandeliers.

In 1992 a major restoration took place restoring much of the building and bringing it back to its original configuration.  Historical Arts & Casting recreated the chandeliers, long since removed for more modern lighting, from historic photos.  The replica chandeliers were built to look like the original fixtures with oil wells and glass chimneys.  The fixtures were manufactured in cast aluminum to match historical fixtures from the period.  The tabernacle now stands as ‘the jewel of the desert’, the most beautiful red stone building in the west.

Reduce, Reuse & Recycle

Friday, May 28th, 2010 by Gordon Boyce

My wife and I lived in the east for about 13 years before returning to Utah with our children to help care for my wife’s father.  One of the things my children noticed right away upon moving to Utah was how much more difficult it is to recycle.

Not long after we moved back we went to an Ice Cream shop that was just opening in a local shopping center.  The shop didn’t have fountain drinks yet and sold soda in glass bottles.  After eating, as we were cleaning up our mess, one of my daughters asked me where the recycling bin was because all she could see was a garbage can.  I asked the owner and he said there was no way to get glass recycled and suggested we should throw the bottles in the trash.  I was happy to see that my daughter was reluctant to throw the bottles in the garbage can.

In metal work, it’s only common sense to recycle.  In the silver smith shop in Colonial Williamsburg there is an unusual floor.  Instead of a flat floor with floor boards there is a grid pattern of raised boards that are about 2 inches tall, forming squares that are about 4 inches to a side.  Under this grid pattern is a large piece of canvas that stretches under the entire assembly and under this a regular floor.  This is colonial recycling at its best.  As the silversmiths cut and file their work, silver filings fall onto the floor where they are trapped in the boxes.  About once a year, the master of the shop would instruct his apprentices to remove the furnishings and work benches from the shop, remove the grid and collect as much of the silver as possible.  After the apprentices removed as much of the silver as possible the canvas would be burned and the rest of the silver reclaimed.  A new canvas underlayment was installed and the grid boards and furnishings were moved back into the shop.

With precious metals it’s easy to see the logic in recycling.  The phrase ‘cold, hard, cash’ may come from the fact that silver and gold were currency until the 20th century.  So to throw away silver was throwing away money.

In the foundry processes we use at Historical Arts and Casting we mold sand around a pattern, the pattern is removed

Cast aluminum pieces that were just removed from the sand molds.

Cast aluminum pieces that were just removed from the sand mold.

from the sand mold and molten metal is poured into the mold.  The pattern almost never shows through the surface of the sand, so a hole has to be cut from the surface of the sand to the cavity left by the pattern.  Because metals shrink as they cool it’s seldom possible to get uniform shrinkage in a part that is fed through a single entry point for the metal.  Consequently most parts are gated.  A system of runners is cut into the sand mold to allow metal to flow around the part and fill the cavity from many different points.  These gates and runners are an important part of getting good castings but they have no functional purpose after the casting process.

The gates being removed from an aluminum casting.

The gates being removed from an aluminum casting.

The gates and runners are cut off in the clean up process.  In the case of small parts the gates and runners may contain substantially more metal than the actual part.

The sand mold is made, as you may have guessed, from sand.  The sand is held together by binding chemicals, or by moisture and clay.  After the metal parts along with their gates and runners are removed from the sand, the mold it is crushed up and the sand is re-used.  We could send all our used sand to the landfill but then we’d just have to buy more sand.

Sand molds after the casting has been removed.

Sand molds after the casting has been removed.

If someone were to ask the owners of Historical Arts why we don’t throw away the sand or the gates and runners after they’re used the answer would probably be, “why would we throw it away? It’s still useful.”

Perhaps it’s easier in metal work to see the value of recycling because if you can melt metal you can re-melt metal.  And while we’re far from perfect, it’s nice to work in a place that emphasizes getting the value out of our available resources and not just throwing something away because it’s used.

How Much Will It Weigh?

Friday, May 21st, 2010 by Dave Teague
How Much Will It Weigh-Bronze Ingot

Bronze Ingot

Aluminum Ingot

Aluminum Ingot

The job of an estimator can be described with two simple questions: “How much will it cost?” and “How long will it take?”.  Today I would like to break down one part of the answer to the first question.  One significant factor to the question “How much will it cost?” is another question: “How much will it weigh?”  A close approximation of the final weight of any piece of ornamental metalwork is a vital part of its price.  The weight of any piece of metalwork can be determined by multiplying its volume by a constant.  Different constants are used for each different type of metal.  HACI works with Aluminum, Bronze and Cast Iron.  Therefore HACI’s estimator uses constants for each of these materials in the weight calculations during the estimating process.

The Formula.

The formula for determining the weight of any piece of metal work is Weight=Volume*Constant (W=V*C).  Consequently in order to determine the weight of any article, the two elements of the right side of that equation must be known.  Choosing which constant to use is the easy part because it is directly related to the choice of material.  For example, if the final product is to be made from aluminum, then the constant for aluminum (.101 lbs per cubic inch) is used.  Accordingly, if the product is to be bronze, then the bronze constant (.318 lbs per cubic inch) is used. And, necessarily, the choice of Cast Iron requires the final constant be used as the basis for the calculation be used (Cast Iron’s constant is .289 lbs per cubic inch).  Note, while it is true that the different alloys of these materials have different constants associated with each of them, the differences are slight and for the purposes of an estimate of a product’s final weight, the variations fall under the category of “the margin of error” and are inconsequential.  As a side note that people usually find interesting, imagine a cubic foot of material sitting in front of you (that is 12″ wide x 12″ tall x 12″ deep).  That cube has 12×12x12 cubic inches of material within it or 1728 cubic inches.  A cube that size made from Aluminum, Bronze or Cast Iron would weigh in at 174.5 lbs, 549.5 lbs, and 499 lbs respectively.

An Example.

HACIs GR001

HACI's GR001

Notice that the constants above are described in terms of pounds per cubic inch of volume.  One does not have to use the cubic inch as the standard of volume in order to determine the weight of a part.  You could, for example, just as easily use another unit such as the weight per cubic centimeter. HACI’s practice, however, is to use pounds per cubic inch.  Therefore in order to finish the calculation, the part’s volume, in cubic inches, must be determined.  Sometimes calculating the volume is pretty straight forward, other times, though, calculating the volume of a part requires some creative thinking.  Let’s use an air return wall grille as an example of a part whose weight needs to be determined.  Let’s say the grille is 32″ wide x 10″ tall and is to have a thickness of 5/16″ of an inch.  If the part was solid, its volume would be its width (32″) times its height (10″) times its thickness (5/16″) or 100 cubic inches.  The grille, however, is not solid, but rather, it is perforated with a nice design of arches interspersed with a star pattern.  The estimator determines that the percentage of open space in the design is 65%.  This means that the percentage of the grille’s surface that is solid is 35%.  Therefore, the object’s volume is the its (solid) volume times the percent of the object that is solid, or in the case of our example: 100 cubic inches x 35% solid or 35 cubic inches.  The final step, then, in calculating the grille’s weight is multiplying its volume by the constant for the material being used.  In our example, the grille would weigh 11.13 lbs in bronze (35 cubic inches x .318 lbs/cu.in.), or 3.535 lbs in aluminum or 10.115 lbs in cast iron.

Other, more complicated shapes.

HACIs LF090 - Post Light - Merchants Gate, Central Park, New York

HACI's LF090 - Post Light - Merchant's Gate, Central Park, New York

As you can see above, it is not difficult to determine the weight of a regular, rectangular object such as a grille.  But how is the weight of a more complicated object such as a light fixture determined?  Interestingly, the process is really not that more difficult, but it is likely more time consuming.  The only difference in calculating a light fixture’s weight or a grille’s weight is how you start.  In order to find the weight of a more complicated object, break it down into a number of simpler elements, find their weights individually, and then sum up all of those weights to end up with your final result.  This same component breakdown process can be applied to any object, it just takes some time and occasionally some creative thinking to decide on how the overall part should be broken up.

But how much will it weigh in a different material?

Once an object’s weight has been calculated in any one of the three materials, its weight in the other two materials can easily be figured by multiplying the calculated weight by a conversion factor.  For example, a bronze part with a calculated weight of 23.5 lbs would weigh 7.46 lbs in aluminum (bronze weight x conversion factor for bronze to aluminum: .3176) and 21.35 lbs in cast iron (bronze weight  x conversion factor for bronze to cast iron: .9088).  The conversion factor for each material is: the new material’s weight constant divided by the base material’s weight constant.  So for aluminum to bronze, the conversion factor would be .318/.101 or 3.1485.  The table below may be of use to you in your calculations for weights and conversions.

Weight Constants and Conversion Factors
Weight constant Convert From
lbs/Cu.In. Aluminum Bronze Cast Iron
Convert to: Aluminum 0.101 x 0.3176 0.3495
Bronze 0.318 3.1485 x 1.1003
Cast Iron 0.289 2.8614 0.9088 x

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.