Nemesis
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When the seals fail, as fail they will, then the opportunity for repair is diminished.
Windows - Single Glazing, Underfloor Heating & LBC
- Thread starter swoodley
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biffvernon
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Traditionally, there is no place for anything that wasn't invented in ye olden days. But we don't live in a museum. The trick is to conserve historic fabric and keep our buildings beautiful.
(And narrow glazing bars were a new-fangled invention in the 18th century. Older bars were wider and that style was continued with examples throughout the 18th and 19th centuries.)
(And narrow glazing bars were a new-fangled invention in the 18th century. Older bars were wider and that style was continued with examples throughout the 18th and 19th centuries.)
skier-hughes
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Nemesis said:When the seals fail, as fail they will, then the opportunity for repair is diminished.
I don't see how the opportunity for repair is diminished?
Nemesis
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Well Graham, if you have stick on glazing bars and they are stuck on well enough to withstand weather, and the DG units fail, removal of the bars may prove a tad tricky. They will have to be prised off and replaced, and this could cause damage.
skier-hughes
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I with you, I'd just add new bars to the new window.
Thanks for the posts so far, we were told the reason for the single glazing requirement was because of the reflective qualities of double glazing (no mention of glazing bars).
For those with wet underfloor heating and single glazing, have you had any issues with condensation? Currently we don't have any problems, but we think that this is due more to the excessive ventilation from the poorly fitting windows and doors than the double glazing.
For those with wet underfloor heating and single glazing, have you had any issues with condensation? Currently we don't have any problems, but we think that this is due more to the excessive ventilation from the poorly fitting windows and doors than the double glazing.
biffvernon
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Ha. The difference in reflective qualities between double and single glazing both made of float glass are nothing to the difference between float and cylinder glass.swoodley said:we were told the reason for the single glazing requirement was because of the reflective qualities of double glazing (no mention of glazing bars).
Flyfisher? Still with us? What of those 18mm bars?
Nemesis
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As in the middle AFTER pic here...
http://www.conservationtrust.co.uk/act/archives/2007/11/kirkcaldy.html
click to enlarge pic.
http://www.conservationtrust.co.uk/act/archives/2007/11/kirkcaldy.html
click to enlarge pic.
Penners
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It's amazing the amount of distortion that is apparent in the glass of many modern uPVC double-glazed windows. If you catch the light reflected in one, it's all over the place.biffvernon said:The difference in reflective qualities between double and single glazing both made of float glass are nothing to the difference between float and cylinder glass.
I presume that's just crap window-making, rather than crap glass?
Nemesis
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Both?
KN
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No problems with condensation here and underfloor heating.
Karen
Karen
Penners
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Well, perhaps. But I thought modern float glass was supposed to be reliably flat - unless the surface of the molten lead was suffering from a Gale Force 9 on that day.Nemesis said:Both?
I wondered whether it was distortion of the glass as a result of being pressed into a badly assembled frame.
biffvernon
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Tin, not lead.
Yes, float glass is optically remarkably flat - but the sheet is quite flexible so when you fit it into a frame, which is less than perfectly flat, the glass becomes bent. It only takes a tiny bend to make an optical distortion when viewed from the other side of the road. In a dg unit there may be enough pressure difference in stormy whether to form a kind of optical barometer. (I don't actually know if that's true.)
I don't think you can blame a badly assembled frame. I guess that old glass is so imperfect you don't notice the effect - the distortions are so great that they swamp what is actually a very small distortion in float glass.
Yes, float glass is optically remarkably flat - but the sheet is quite flexible so when you fit it into a frame, which is less than perfectly flat, the glass becomes bent. It only takes a tiny bend to make an optical distortion when viewed from the other side of the road. In a dg unit there may be enough pressure difference in stormy whether to form a kind of optical barometer. (I don't actually know if that's true.)
I don't think you can blame a badly assembled frame. I guess that old glass is so imperfect you don't notice the effect - the distortions are so great that they swamp what is actually a very small distortion in float glass.
Cloudscape
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I thought that many double-glazed units look dished, as if the air has been sucked out from between the two layers of glass.
Penners
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biffvernon said:Tin, not lead.
Ah yes, I wondered whether anyone would spot my deliberate error.
Ahem.... :roll:
HeatherJ
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Hi !
We bought a 1920's detected house in Toronto (Canada) and all the woodwork is the most amazing old growth red oak - hard as iron with a straight dense grain. We (read I) are currently stripping off about 8 layers of paint back to the exposed wooden casements, sashes, floors and trim (I am sure that it was orginally exposed) and I am just gobsmacked by the workmanship. There are a few knots, but they are always tucked away in places where you can't see when you look straight on to the wondows and trim. Amazing... The only bit of pine is part of a bodge job done in the covered porch after 1969.
We have what we think is the original art glass in the casements and it has just come back from restoration. I need to get on with the window stripping as the glass colours complement the original wood and not the more modern white. Slow job though....
-Heather
We bought a 1920's detected house in Toronto (Canada) and all the woodwork is the most amazing old growth red oak - hard as iron with a straight dense grain. We (read I) are currently stripping off about 8 layers of paint back to the exposed wooden casements, sashes, floors and trim (I am sure that it was orginally exposed) and I am just gobsmacked by the workmanship. There are a few knots, but they are always tucked away in places where you can't see when you look straight on to the wondows and trim. Amazing... The only bit of pine is part of a bodge job done in the covered porch after 1969.
We have what we think is the original art glass in the casements and it has just come back from restoration. I need to get on with the window stripping as the glass colours complement the original wood and not the more modern white. Slow job though....
-Heather
biffvernon
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Sounds great. Welcome to the forum. You are going to repaint the exterior timber with a real linseed oil paint, aren't you?
HeatherJ
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[Edited: just found the other thread with exactly the advice I need - thanks muchly for this wonderful resource.]
That is really the reason I dropped by - researching what we should have done so I can fix it in the spring and do the right thing for the rest. I did "feed" the wood with warmed linseed oil, made a trip to London and came back to find that hubby had varnished the exterior with one light coat to protect it for the winter. I also paniced as I read that linseed oil promotes mold.
I am planning on using Tung oil indoors. I hope that is the right thing to do. We would like to see the exterior wood rather than painting it because the wood is spectacular, but the exterior has to stand up to -25/-30C in the winter and 40+C in the summer. Everyone varnishes around here, but democracy isn't always a good recommendation. I planned on several coats of warmed linseed oil on the exterior. Is that a terrible plan and is there a non-paint solution (I do understand that the pigment in paint helps to protect the wood from damaging).
Any advice to a newbie would be gratefully recieved.
That is really the reason I dropped by - researching what we should have done so I can fix it in the spring and do the right thing for the rest. I did "feed" the wood with warmed linseed oil, made a trip to London and came back to find that hubby had varnished the exterior with one light coat to protect it for the winter. I also paniced as I read that linseed oil promotes mold.
I am planning on using Tung oil indoors. I hope that is the right thing to do. We would like to see the exterior wood rather than painting it because the wood is spectacular, but the exterior has to stand up to -25/-30C in the winter and 40+C in the summer. Everyone varnishes around here, but democracy isn't always a good recommendation. I planned on several coats of warmed linseed oil on the exterior. Is that a terrible plan and is there a non-paint solution (I do understand that the pigment in paint helps to protect the wood from damaging).
Any advice to a newbie would be gratefully recieved.