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Vermont Family Forests
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Conserving The Health Of Our Local Forest Community

Research and Demonstration Projects

VFF landowner John Elder and his ash logs, which were milled into Family Forest flooring

Current Projects

We have several exciting research and demonstration projects under way, including the Family Forest® Flooring Project and Community-Supported Forestry Firewood Program. Learn more by visiting our Current Projects page.

 

Since its inception, Vermont Family Forest's role has been that of "friend of the forest", promoting forest management that, first and foremost, preserves a forest's capacity to maintain itself as a healthy, natural ecosystem. When timber production is possible within this management context, VFF seeks to encourage marketing strategies that economically reward the land's stewards.

VFF conducts research and demonstration projects to test and build upon these ideas. Each VFF demonstration project has imparted valuable knowledge about how to make such community-based forestry work, economically and ecologically.

Visit our Research and Demonstration Archives for details about our past projects.

Download our research report summarizing learnings from our demonstration projects in 2001-2002: Conserving our Forests and Our Communities: VFF Research and Demonstration Projects 2001-2002

Changing Attitudes

An important part of VFF’s work has been its collaboration with architects to suggest alternative wood specifications that are both aesthetically pleasing and ecologically sustainable for Vermont’s forests.

More than a matter of taste: Ecology and architecture

The Architectural Woodwork Institute (AWI) ranks wood quality using such criteria as color, grain pattern, and presence and size of knots. AWI ranking requires uniformity of color and grain pattern in Grade I wood, and allows more "flaws" and "characteristics" in the wood as the grade ranking increases.

But clear-grained, evenly colored wood comes predominantly from large-diameter trees, which have the most heartwood and the fewest knot-forming side branches. Removing only large-diameter trees from a forest community is called high-grading, a practice that has deprived large tracts of Vermont's forests of their largest, most vigorous members, leaving the smaller, weaker trees--those that lost the competition for space and sunlight--behind and undermining the vigor and health of the forest communities.

The Aesthetics of Character

One of VFF's goals is to educate both architects, woodworkers, and consumers about the ecological implications of their aesthetic choices and to show them that the "lower" grades of wood are neither necessarily of lower quality nor of lesser beauty. Creating a market for the woods of smaller diameter, more highly-charactered wood will help make ecologically sound woodlot management financially viable.

There is no denying that clear-grained, Grade I lumber is structurally stronger than Grade II or III wood. But the wood needed for Middlebury College’s Bicentennial Hall, for example, was not being used for structural, load-bearing purposes. Its job was to look beautiful. Architects originally specified 125,000 board feet of clear-grained red oak for Bi Hall’s interior. Because central Vermont’s forests could not sustainably yield this wood, VFF not only recommended showcasing 7 hardwood species common to central Vermont’s forests, but also suggested using charactered wood. Once College trustees and officials had a chance to see samples of the wood, the beauty of its character was obvious--not just tolerable, but worth featuring. And wood of the finished Hall bears testament to that beauty, offering an unexpected, eye-pleasing streak of creamy tan through the burnt sienna of cherry wood, a splash of chocolate staining in honey-colored ash, a subtle palette of pastel variations in a wall of red maple.

Carpenters on the project, used to handling Grade I lumber, were initially taken aback by the variability in the lumber. But Mark McElroy, of Barr and Barr, general contractors for Bicentennial Hall, says that attitudes changed as carpenters got to know the wood. "By the end of the process, they realized that it takes a better eye, more creativity, and a higher level of craftsmanship to make the most of the wood, and they came away with a sense of pride in what they had done."