Pursuing The Perfect Wall

By: Julie McManus

It took the first half an hour of the Northwest Wall & Ceiling Bureau’s seminar, The Perfect Interior Wall, for the truth to eventually come out. There is no such thing as a perfect wall. Everyone has a different definition of what constitutes perfect, and in the finishing industry, there are a number of levels of perfection to aim for.

Leading the seminar, NWCB Technical Consultant, Terry Kastner was accompanied by panelists Ken Bloom (Georgia-Pacific), Vince Russo (Hamilton Products), and Jeff Herman, an architect representative for Georgia-Pacific.

Terry began the seminar by first reminding a packed conference room about glass mat products and how far they have come.
Since development, glass mat products have proven to be a superior exterior sheathing product to those with a paper facing. Building on that success, and responding to the demands from the architectural community to provide an interior gypsum product that is resistant to the effects of moisture, mold, and mildew, non-paper faced products have now been developed for interior use.

But for however well these products perform when subjected to the elements, they present certain challenges when it comes to finishing. These challenges lead to glass mat products being more labour intensive, which in the end makes them the more expensive choice during the bidding process, because they generally are considered to be a level five finish.

Wall and ceiling contractors should be familiar with the five Recommended Levels of Gypsum Board Finish first published in 1988. The document set forth to help in assisting specification writers, architects, contractors, and building owners to “more precisely describe the finish of walls and ceilings prior to the application of paints and other finishes, to encourage competitive bidding of suitably finished surfaces, and to enhance the appearance of the final decorative treatment and thereby enlist a satisfied client.”

Of the five levels, Kastner says level three is generally typical of apartment buildings. Level four is for more commercial projects where lighter tones and smoother surfaces are common. A level five finish is ideal for more critical lighting requirements, or when high sheen or darker tone paints are applied. Level five is often achieved using glass mat products, and is most expensive.

The reason level four is inappropriate for glass mat is because of the inevitable visible lines that are left behind. So, during the bidding process it is best to recommend a level five be used instead, based on NWCB recommendations.

During the bid, Terry specifically suggests saying something along the lines of: “Although listed as a level 4 per specifications, NWCB recommends level five be used.” He says that vague specs are quite difficult to work with, and can be damaging when all is said and done.

“What you want to have is a bit of ammunition in your court before the fact, not after,” he says. “The architect may propose a different set of levels than set-forth by the non-paper drywall finishing council.”

Some factors for determining the actual level of finish the architect is expecting would be to consider the gloss of the future paint, future dark tones, severe light, final decoration, and ultimately –surface texture.

“We can never really guess at an architect's intention. Architects are trying to achieve a certain effect, but they do not necessarily know all of the factors involved. It's up to the contractor to determine which things will effect the end result, as they are the experts.”

Along with a close relationship with the architect, it is also important to be aware of how and when the painters plan to swoop in and complete the finish. How is the paint to be applied? For example, if it is to be spray applied, painters should be back rolling and always sanding between coats. But is that the case? Often a double primer coat is required as well.

It’s a wall and ceiling contractor’s job to take pro-active role with the painters, says Kastner. “Have conversations. Talk about sheens, coats, gloss, tones, and primer. Don't make assumptions.”

If an architect has picked a darker tone, the NWCB recommends skipping to level five in the bidding process. But this can be tricky since often times during the design stage, no one yet knows what the final tones will become.

However, if it is a level five that is decided upoin in the end, it will generally require the application of a skim coat before a propriety product, which Kastner says is the best way to go. But this is more expensive and is therefore not as common.
Another tip towards achieving the perfect wall – or at least the wall that the architects and building owners are expecting – is to include a mock-up in your bid-proposal if possible. If a mock-up isn't specified, recommend one be created before starting work. It should be done so that it is as realistic as possible and is created by people of the same skill level that will be on the job day in and day out once the bid is won. Then, there is proof as to what was approved should expectations begin to morph.

Manufacturers specifications can help ensure that architect's specifications are possible, but it is up to the contractors to make sure that they are applying proper techniques. Kastner reminds contractors to always check for updates and/or changes to such manufacturers specifications.

And finally, with all this advice in mind, it's also worth mentioning the most important thing Kastner said during the seminar about the perfect wall: “It will be smooth, but it will not be flat. Pity the architect who puts a straight edge up on a wall.”