Joe Avila of Huggins Wood Floors, based in Westfield, New Jersey, undertook a project that blended precision craftsmanship with extraordinary material demands. The project was commissioned for Rare Violins of New York, located in the iconic Carnegie Hall Tower, and involved a flooring installation as unique as the space itself. Rare Violins serves as a haven for world-class violinists, many of whom have a deep familiarity with wood and its subtleties. From tone to grain, every detail mattered. “These clients know wood,” Avila explained. “They deal with wooden instruments every day, so they were hypercritical of every aspect – color, texture, and grain.”
Avila first learned of the project when Alan Lindenfeld, a high-end architect in New York City, reached out for assistance. Lindenfeld explained that his clients were seeking a special type of wood, one with a distinctive natural color and grain. They were introduced to African Doussie, a rare species offered by Italian mill Listone Giordano. The clients immediately fell in love with its rich reddish-orange tones, soft brown hues, and the way it patinas into a warm brownish-red. “When you see this wood, there’s no mistaking it,” Avila noted. “You can’t replicate colors like that – it’s truly unique.”
Sourcing the African Doussie came with its own challenges. The species is listed under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), meaning its trade is strictly regulated. “CITES-listed wood requires meticulous paperwork for export and import,” Avila explained. “Every detail has to be in order when it goes through customs. We worked with a specialized broker to make sure the process went smoothly.” Even with these precautions, customs delays still added complexity to the project. “A lesson learned? Order 20 percent extra instead of 10. Running out of wood mid-project meant waiting weeks for additional material to clear customs.”
The flooring itself included 3,500 square feet of solid planks, primarily laid in a striking chevron pattern. The planks measured 5” wide and 3/4” thick, with lengths ranging from 4’ to 12’ for the straight-laid areas and 30” lengths for the chevron design. Prefinished with a lacquer finish, the wood’s natural color remained consistent. This was a key consideration for the clients, who wanted to avoid the challenges of matching colors during future sanding or refinishing. “Stained floors are beautiful,” Avila explained, “but nothing beats the authenticity of Mother Nature’s palette. This wood’s natural tone was the perfect fit for the space.”
The installation took place over a concrete subfloor that previously had supported LVT. Fortunately, the subfloor was already level, allowing the team to focus on sealing the concrete and using Bona 851 Quantum adhesive, which served as both a moisture barrier and an acoustic layer. “The adhesive was critical in ensuring the longevity and performance of the floor,” Avila said.
Avila’s team had prepared detailed CAD drawings to guide the installation process, ensuring that every plank aligned perfectly. “Chevron patterns are unforgiving – you have to get the angles and lines just right,” he noted. One specific challenge involved coordinating the chevron pattern with a yet-to-be-installed sliding door. “We had to loose-lay the boards in that area and adjust the pattern carefully so it would align perfectly once the door was installed.”
Even with meticulous planning, challenges arose. The chevron pattern required exact precision, and minor adjustments were necessary to ensure perfect alignment. Additionally, the natural variation in African Doussie’s color and grain posed difficulties when repairing minor damage after installation. “They wouldn’t accept a partial repair,” Avila explained. “Everything had to be perfect. We brought in a specialist to mix custom paints and dyes for touch-ups, which added another week to the project.”
Beyond technical execution, Avila emphasized the importance of working with reputable suppliers and brokers when dealing with rare or regulated wood species. “A good importer is essential when working with a species that is listed in the CITES appendices,” he advised. “They understand the nuances of the process and can help prevent costly delays. The NWFA is also a great resource for guidance.”
Despite the hurdles, the finished floor exceeded expectations. “The clients were thrilled,” Avila said. “Honestly, I’m not usually a fan of red or orange tones, but in this space, it just works. The floor feels luxurious and perfectly complements the entire color palette of the room.”
The Rare Violins of New York project showcases the beauty and challenges of working with unique materials in high-profile settings. For Avila and his team, it was a reminder that great craftsmanship requires both skill and adaptability. “Every project teaches you something new,” he reflected. “This one taught us the importance of patience and precision. When you’re working with wood this rare, you can’t afford to rush.”
