Floorcloth
Contents |
Material specifications
- MasterFormat number: 00 00 00
- Model number: replace with model number
- Product name or series: replace with project name
Leading manufacturers
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Material application
Traditional material applications
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Emerging/innovative material applications
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Physical properties
- Finish: replace with finish properties
- Surface forms/shapes: replace with forms/shapes information
- Dimensions: replace with height, width, and depth information
Acoustic properties
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Structural properties
- tension, compression, or both
- primary structure, secondary structure, or non-structural
Installation and maintenance
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Cost analysis
(price/sf or applicable cost measurement)
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Material background
Place of origin / raw state / composition
In 1578 a coated cloth was first indicated by G. Fallopius where the recipe suggested treating linen cloth with a mixture of gum Arabic, white lead, water and tallow wax. There was a developing interest in these cloths and by 1660 it was recorded that Richard Bailey, a tradesman of Ludgate Hill, London, 'maketh oylcloth the German way'. Dispite the fact that it is unclear when the first coated cloth was considered as a floorcloth, it is evident that English floorcloth was certainly imported into America by 1736. There were two significant parts that made up this fabric: the base fabric and the applied coatings. The standard dimensions of a piece of floorcloth canvas was 150 yards long by 24 feet wide, which took on average 14 days to weave. The base canvas was made from flax, hemp or jute fibres that were mostly used for producing tough cloths. The centres of floorcloth manufacture were initially established in the ports of London, Kirkcaldy, Lancaster, and Bristol. Kirkcaldy in particular had a tradition of weaving canvas, and linen ticking, as well as flax spinning. Flax was initially the main yam used for floorcloth, but in the 1830's it became practicable for jute to be spun, and floorcloth canvas was soon 'wefted with jute longs'.
The production of floorcloth included nailing the woven base material to a frame of the same size that would have stretched so that it was tight. The material was then sized front and back to lay the fibres and create a base to paint on. After sizing and drying has been completed, the painting could begin. Once the paint was dry, the surface was rubbed with pumice stones to remove roughness. The next step was to print a design on to the cloth which was originally done by brush but then increased to a stencilling process.
Harvesting and manufacturing process
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History and cultural significance
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Environmental impact
Ecological footprint
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LEED
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Recycling and biodegradability opportunities
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Life safety & rating standards
Testing methods
(e.g ASTM, UL, NFPA, UBC or other testing methods)
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Coefficient of friction
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References
Notes
Student contributions
- Student Name, Semester Year, University Name
See also
Bibliography
Edwards, Clive. "Floorcloth and linoleum: aspects of the history of oil-coated materials for floors." Textile History 27 (Aut 1996): 148-71. Art Full Text, WilsonWeb (accessed September 22, 2011).
Similar materials
- Linoleum - Vinyl
Building references
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Additional resources
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