APT Washington Chapter APT DC Blog

Building Bridges: Reflections on the APT-National Trust Joint Conference, Montreal 2024 - Drew Barnhart

Tue, 25 Feb 2025 00:19:45 GMT

This year’s Association for Preservation Technology (APT) conference was held jointly with Canada’s National Trust in the city of Montreal. The conference truly lived up to its theme “Building Bridges: Connecting Places, Cultures, and Practices,” and as an emerging professional, I valued the opportunity to learn about the multifaceted ways in which preservation can serve as a bridge between past and present, between diverse cultures, and between human development and environmental stewardship.

The conference opened with a powerful reminder of our relationship with the natural world. Kanien'kehà:ka elder Otsi'tsakèn:ra (Charles Patton) shared "The Words That Come Before All Else," also known as "The Thanksgiving Address," a traditional Kanien'kehà:ka (Mohawk) recitation delivered at the beginning and end of important gatherings. This address honors various interconnected elements of our world, including edible and medicinal plants; animals, fish, and birds; water; the four winds; and the sun, moon, and Mother Earth. After each acknowledgment of gratitude came the refrain "Now our minds are one," calling on attendees to empathize not only with each other but with the natural world that sustains us. Otsi'tsakèn:ra emphasized the importance of gratitude as an antidote to greed and reminded the audience that while the natural world has long provided for human needs, we now bear the responsibility of healing the damage we've caused through overconsumption and environmental degradation.

Following this opening, Katsi'tsakwas (Ellen Gabriel), a Kanien'kehà:ka human rights and environmental advocate, delivered a compelling keynote that challenged empty reconciliation rhetoric. She called the audience’s attention to how preservation practices, land ownership systems, and legal frameworks perpetuate inequities rooted in colonialism despite promises of change. While she addressed these issues from a Canadian perspective, her message was profoundly relevant for practitioners from the United States, challenging us to rethink our participation in exploitative practices and systems, both as preservation professionals and as individuals living on indigenous lands.

On the following day, I had the opportunity to attend a field session called "Underground Landmarks: A Closer Look at the Metro's Architectural Ceramic Finishes," during which attendees were guided through seven of Montreal’s iconic metro stations. The metro system, which first opened in the 1960s and was expanded through subsequent decades, was constructed according to the maxim "one station, one architect,” creating a network of unique spaces that are in equal parts infrastructure and public art. The tour raised important questions about how to encourage the public and other key stakeholders to accept original materials despite mild—largely cosmetic—deterioration. This issue highlighted the need to reconcile expectations for pristine public spaces with value of material integrity, particularly with regard to modern heritage sites where signs of age are often less accepted than in older structures.

Figure 1. The Peel metro station, which features large, colorfully striped ceramic wall art.

Figure 2. The Jean-Talon metro station, which originally served the orange line and was expanded in the 1980s to accommodate the blue line. The dominant color of the ceramic floor tiles reflects the metro line accessible from each of the station’s levels.

Figure 3. The recently renovated of Crémazie metro station. Although project constraints prevented the preservation of the original wall tiles, architects successfully maintained the station's distinctive aesthetic with commercially available materials. The effort taken to preserve the station’s historic appearance reflects the growing recognition of the metro system's architectural value, even without it being formally designated as heritage.

I spent the next two days attending presentations, focusing primarily on those dedicated to the intersection of preservation and environmental sustainability. I particularly enjoyed the presentation “Residential Energy Retrofitting: Meeting Modern Energy Standards in Pre-1940 Homes” by Meghan Lenz, which showcased the Vancouver Heritage Foundation's initiative to help homeowners improve their houses' energy efficiency while maintaining its historic character. The program emphasizes affordable, minimally disruptive interventions that preserve architectural integrity. By documenting energy performance before and after these interventions, the Foundation has developed an evidence-based methodology for recommending sustainable retrofits that are financially and logistically accessible to homeowners at a large scale. The interventions that have yielded the best results include the use of blown-in post-consumer cellulose insulation, sealing air leaks, improving attic insulation, and the installation of storm windows and heat pumps.

Perhaps one of my favorite presentations was “The Four Mills Barn and the Rising Water” by Kate Cowing. Located adjacent to the Wissahickon Creek near Philadelphia, this late 19th-century barn faced increasing challenges from the changing flood plain. Rather than fighting against the rising water, the non-profit Wissahickon Trails, the barn’s owner, worked with Cowing to adapt the barn through wet floodproofing. This approach acknowledges that flooding is inevitable and focuses on minimizing damage by ensuring water rises and recedes uniformly inside and outside the building, thus avoiding a build-up of hydrostatic pressure. Other key measures include relocating utilities and storage above flood-prone floors and using water-resistant, easily cleanable materials for interiors. Wissahickon Trails highlights these floodproofing interventions, using them as an opportunity to inform visitors about the very real consequences of climate change.

Beyond the formal sessions, the conference offered a wonderful chance to reconnect with old friends, meet new preservation professionals, and explore Montreal for the first time. In addition to touring the metro system, I also enjoyed visiting the old town, especially the Notre-Dame Basilica. This Gothic Revival church opened in 1829 and features exquisite decorative painting.

Figure 4. The richly painted interior of Montreal's Notre-Dame Basilica, looking towards the apse.

Figure 5. The richly painted interior of Montreal's Notre-Dame Basilica, looking towards the narthex.

Overall, the conference demonstrated that successful preservation requires us to think holistically, considering not just physical structures but the complex web of relationships between people, places, and the environment. From indigenous perspectives on our relationship with the natural world to technical solutions for climate adaptation, from artistic expression in public infrastructure to practical approaches for energy-efficient housing, this conference broadened my understanding of how preservation can help us navigate contemporary challenges while honoring the past and preparing for the future. I am incredibly thankful for APT DC for making this experience possible for me!

2024 APTi Conference, Montreal, Quebec, Canada - Donghwan Kim

Thu, 23 Jan 2025 19:44:12 GMT

As an architect based in Washington, DC, I have been dedicated to working on historic preservation projects while actively researching preservation methods and sustainable design. My professional experience in architectural design and my research interests in historic preservation continually drive my learning in preservation and sustainability for historic buildings.

As the recipient of the APT DC 2024 Emerging Professional Sponsorship, I am thrilled to have the opportunity to attend the APTi Conference. This event provides a unique platform to connect with experts from across the country and around the world.

This year’s conference, held in Montreal, Canada, is a collaborative effort with the National Trust for Canada, the Canadian Association of Heritage Professionals (CAHP), and the Indigenous Heritage Circle. The central theme, “Building Bridges: Connecting Places, Cultures, & Practices,” explores diverse aspects of heritage preservation through five distinct tracks:

· Track 1: From the Drawing Board to the Worksite: Techniques, Materials, and Practitioners

· Track 2: Historic Structures Meeting Contemporary Requirements

· Track 3: Climate Imperative for Historic Buildings and Places

· Track 4: Heritage and Social Justice: Reconciliation, Diversity, and Inclusion

· Track 5: Removing Systemic Barriers to Heritage-Led Reuse

This conference not only encourages cross-cultural exchanges but also enriches our understanding of the heritage sites we are committed to preserving.

1. Montreal, Quebec, Canada
Founded by the French in 1642, Montreal is a city rich with layered heritage buildings and landscapes. Between conference sessions, I explored downtown Montreal, the Notre-Dame Basilica, the Royal Bank Building, and the historic district of Old Montreal. The city seamlessly integrates French culture, heritage architecture, and thoughtful urban planning, showcasing a harmonious blend of historic preservation and modern development.

Figure 1. Historic District of Old Montreal

One standout example is a modern café located within the historic Royal Bank Tower; a landmark repurposed through adaptive reuse. Visitors are welcomed into a banking hall that evokes the grandeur of a Florentine palace, complete with porcelain-tiled coffered ceilings, a striking intersection of historic elegance and contemporary functionality.

Figure 2. Cafe at Royal Bank Tower

2. Habitat 67: Challenges of a Modern Landmark
The APTi conference offers exceptional programs like field sessions that provide in-depth site visits to historic preservation projects. I had the opportunity to attend Field Session 11: Habitat 67: Challenges of a Modern Landmark, where a group of enthusiastic guides and volunteers took us on a tour of Habitat 67. This unique event allowed us to closely explore and learn about this iconic residential building, its history, and its architectural significance.

Figure 3. Habitat 67

Designed by architect Moshe Safdie, Habitat 67 is a groundbreaking residential complex and a celebrated symbol of innovation from Expo 67 in Montreal. Originally conceived as Safdie’s master’s thesis, it was envisioned as a solution to urban housing challenges during the Cold War era, prioritizing affordability, individuality, and community living. As one of the official theme pavilions of Expo 67, Habitat 67 addressed humanity's housing needs under the overarching theme, “Man and His World.”

Figure 4. Habitat 67, West Entrance

Comprising 364 precast concrete cubes, the structure forms 129 unique apartments with private terraces and scenic views of the St. Lawrence River. The modular design allows for flexible configurations and vertical living, making it a prototype for sustainable housing.

Despite its brilliance, Habitat 67 faces significant restoration challenges, including water leakage, joint deterioration, and condensation. Modern restoration efforts incorporate solutions like vapor-barrier rockwool insulation to enhance energy efficiency while preserving its heritage status.

Figure 5. Concrete Joint deterioration

Figure 6. Each unit has at least one private terrace.

Figure 7. Interior space, Living room and Kitchen

Figure 8. River view at public space

3. Concurrent Session
On Days 4 and 5, the conference featured concurrent sessions offering a wide variety of presentations across multiple tracks. With approximately 100 presentations by experts from diverse fields and cities, I had the opportunity to learn about over ten different topics. The presenters shared insights into their projects' histories, concepts, and challenges, highlighting the innovative solutions they employed to overcome obstacles. They enriched their presentations with historic photos, background information, and detailed historic drawings and construction documents, providing a deeper understanding of the complexities and difficulties involved in working with existing historic buildings.

Electrification and Decarbonization of Historic Properties
Speaker: Hallah Abodaff, Managing Principal/ Sr. Vice President, Loring Consulting Engineers, Inc.

She explored strategies to balance sustainability with heritage preservation by electrifying and decarbonizing historic properties. She emphasized the importance of a carbon masterplan, energy efficiency, and operational carbon tracking. Key strategies include transitioning from fossil fuels to renewable energy sources like solar and geothermal, upgrading HVAC systems, and modernizing electrical and plumbing infrastructure. A case study of the Michigan State Capitol highlights geothermal heating and modular cooling upgrades. Phased modernization and constructability reviews ensure seamless implementation while maintaining heritage integrity.

Artifact Protection in Daylit Spaces
Speaker: Colin MacKillop, Principle, Quinn Evans

The revitalization of the Smithsonian National Air and Space Museum addresses challenges of daylight exposure on sensitive artifacts while preserving its architectural legacy. Using tinted and fritted glass, solar shading, and electrochromic glazing, the project significantly reduced light levels to protect artifacts like The Spirit of St. Louis. Advanced daylight modeling informed designs, ensuring cumulative light exposure stayed within acceptable limits. The project underscores the need for judicious use of large glass expanses and highlights the effectiveness of energy-efficient LED lighting in complementing daylight control solutions.

The Virginia Mae Center at Washington National Cathedral
Speaker: James Shepard, Senior Principal, Director of Historic Preservation, SmithGroup

The transformation of the Virginia Mae Center revitalized a historic Gothic retreat into a modern, multifunctional space while preserving its architectural essence. Originally the College of Preachers, the center underwent adaptive reuse beginning in 2018, with restored spaces including the chapel, library, and refectory. The upgrades enhanced visitor experiences, integrated sustainability, and added contemporary amenities like loft rooms and public meeting areas. The project exemplifies the potential of adaptive reuse to bridge historic preservation and modern functionality, inspiring future efforts to honor and innovate within historic spaces.

4. SE6: PETC Timber Bridge Build
There was a special event of the Student Design-Build Competition (SE6: PETC Timber Bridge Build), featuring teams from North Carolina State University, Carleton University, the University of Alberta, and Columbia University, challenged about 6-7 students from each team to construct the strongest timber bridge within one hour, followed by testing to determine the winner. Watching the students' passion for design and their ability to build large-scale timber structures with physical models was truly inspiring and reaffirmed the importance of fostering creativity and hands-on learning in future preservationists.

Figure 10. Student Design-Build Competition (SE6: PETC Timber Bridge Build)

5. Exhibitions
On the fourth day of the conference, the Vendor Exhibitions took place in the ballroom. It was an excellent opportunity to engage with global companies and organizations, and learn about innovative materials, systems, and technologies for historic preservation.

I had particularly interesting discussions with a 3D scanning company that focuses on scanning entire buildings, including both interior and exterior aspects of historic structures. Their technology records detailed data to develop strategies for preserving and modernizing aging buildings. The program they use generates 360-degree color images and provides clients with easy-access links to review the data.

Having extensively used 360-degree point-cloud data for preservation projects, I found it fascinating to see how various companies are competing and advancing new applications, programs, and data cloud technologies to make it easier for the public to understand the existing conditions of historic buildings. Additionally, there are companies specializing in terracotta decorations, marble bases, and sandstone prefabrication, showcasing a wide range of expertise in materials restoration.

Figure 11. Breakfast morning with Conversations (Left), Exhibitions and Conversations (Right)

6. APT Chapters Breakfast
I also attended the APT Chapters Breakfast event on the final morning of the conference. It was a wonderful opportunity to connect with APT DC members and discuss the projects we are currently working on. I truly enjoyed exchanging insights about DC projects and sharing the local challenges we face. Additionally, it was great to engage with APT student scholars and learn more about their research projects.

Figure 12. APT DC Chapter Breakfast

Summary
Attending the APTi conference 2024 was an incredibly enriching experience, offering a unique blend of learning, inspiration, and connection with professionals passionate about historic preservation. I was deeply impressed by the range of topics, from electrification and decarbonization of historic properties to innovative daylight control strategies. The opportunity to engage in field sessions, witness inspiring case studies, and learn from presenters’ challenges and solutions broadened my understanding of preservation practices. It reaffirmed my belief in the importance of thoughtful design, sustainable strategies, and adaptive reuse in creating a meaningful balance between honoring the past and innovating for the future.

APTI 2023 in Seattle - Eric Resnick

Thu, 18 Jan 2024 18:07:36 GMT

As an emerging professional in the field of architectural preservation, I’m constantly seeking opportunities to learn from and engage with fellow preservation and conservation professionals. The APTi conference provides just that; a forum for students, emerging professionals, experts, and educators to come together and speak on the unique experiences that make preservation such a meaningful and exciting field. As the recipient of APT DC’s 2023 Emerging Professional Sponsorship Program, I’d like to start by thanking the DC chapter and its members for supporting my professional trajectory and sponsoring my attendance at this year’s APTI conference in Seattle, Washington.

With this year’s conference in the coastal northwest it was appropriate that the primary theme of the conference was ‘The Future of TECH - Technology, Environment, and Cultural Heritage’. An early acknowledgment of the land on which the conference took place — the ancestral land of the Duwamish, Stillaguamish, Muckleshoot, and Suquamish peoples — provided an apt reminder to all preservation professionals that where and what we work to preserve goes beyond bricks and mortar; just as there are tangible histories, there are intangible histories. There are difficult histories behind the development of our cities and as the built environment grows rapidly, we as professionals have a responsibility to acknowledge and contextualize the full history of people and place. The topic of cultural heritage and land use remained a constant theme throughout the conference, from the opening keynote by David B. Williams (Too High and Too Steep: Reshaping Seattle’s Topography) to the College of Fellows keynote by architect Dr. Yasmeen Lari (Lessons from Global South: Community Engagement for Decolonization and Decarbonization of the Built Environment).

In addition to topics of cultural heritage and land use, learning tracks in technology and environment were supported by field sessions, seminars, and symposiums related to climate change, resilience, seismic retrofits, material conservation, envelop upgrades, and other topics — far too many to list here. With my professional experience working on cultural projects, and personal research related to resilience, I took advantage of sessions related to technology and the changing environment.

The first of these was a field session which explored Seattle’s historic theatres, the goal of which was to introduce our multidisciplinary group to the ins-and-outs of how these cultural centers have been adapted to meet the needs of contemporary productions, modern codes, and increasing threats of climate and tectonic activity. During this field session we had an opportunity to explore The Moore Theatre (1907) - originally a vaudeville house and one of Seattle’s oldest theatres, The Paramount (1928) - a grand movie palace that now hosts large scale theatrical tours and music acts, and the Martin Cinerama (1962) - a mid-century movie theatre restored with a mix of retro and modern technologies. The care taken in adapting the theatres to meet contemporary production needs, while still maintaining the original historic fabric, was tasteful and inspiring. Hidden seismic stabilization, upgrades for rigging and production support, and retractable orchestra level seating were presented as necessary upgrades that, while sometimes visible, ensured the theatres stayed economically viable. This economic viability is important to maintain that the historic theatres remain open, preserved, and cared after for generations to come. Preservation of such theatres not only provides a stage for ticketed shows but they have become community hubs to support local performing arts and youth programs, their preservation providing an added societal benefit.

For the breakout sessions I was thrilled to see the number of presentations related to the environment and climate, highlighting the importance of climate preparedness, adaptation, resilience (coastal and inland), embodied carbon, and cultural protections related to environment and landscape. The resounding theme of these presentations was the participatory component, describing the means and methods of communicating with local stakeholders to identify what is deemed historically or culturally important, and should a natural disaster occur, which sites should be prioritized for the restoration of community and place. Another noteworthy topic was that of embodied carbon. The adage “the greenest building is the one that’s already built” was emphasized by presenting advancements on measurement tools and data analysis that can fairly accurately compare the carbon already embodied in an existing structure with that required to construct a new structure (CARE tool).

Overall, APT 2023 was an unforgettable experience that brought further meaning to the work we perform in preserving historic and aging sites, buildings, and artifacts. The conference provided a forum to learn, network, and share our common and unique experiences, supporting knowledge and best practices that will result in more equitable, responsive, sustainable, and lasting preservation results.

APTI 2022 in Detroit - Isabelle Stern

Tom Chmill — Tue, 28 Mar 2023 01:45:54 GMT

The APTI Conference in Detroit this year provided a sneak peak of the historic places in Detroit, opportunities to meet other historic preservation enthusiasts from around the world, and a focused crash course like no other.

There were several types of events throughout the week, and I took advantage of two field sessions, several paper sessions, and networking events. Field sessions were trips to different preservation-related projects and historic landmarks/places around Detroit. I enjoyed learning about the building-wide infrastructure modernization project of the historic Theodore Levin U.S. Courthouse, or as the team called it, Detroit’s largest “Rubik’s” cube. During this field session, the project team detailed the complex technical and coordination challenges they took on to upgrade MEP systems and new code-compliant stair well while maintaining a fully operational courthouse and not disturbing court sessions. We took a trip to the roof to see the new stair tower from inside the courtyard, and we got a beautiful view of the city (and Canada across the river). The attention to detail on this project was immaculate, and it was inspiring to learn about the dedication and creativity of the team. Later that day, I joined the group for the field session around Belle Isle, an island park in the Detroit River, that combines nature, history, and activity. Our tour guides discussed the history of several structures, site planning challenges, flood mitigation considerations, and the historic landscape of the park’s integration with the city. Among several stops was a trip to the aquarium which showed off unique architecture. The exterior of the aquarium has almost a cave-like appearance with stone carved resembling stalactites around the entry arch. The interior features green tile walls and domed ceilings with quite the array of sea-life.

The paper sessions offered numerous opportunities to learn about project case studies and a wide variety of topics. I particularly enjoyed learning about design considerations of flood mitigation strategies, including the idea of designing homes in high-flood risk areas to employ amphibious foundations and work with flood waters. I also spent one afternoon learning about music in the Midwest; each of the presenters engaged the audience with jazz, blues, and techno. These presentations explored sites in the Midwest associated with music heritage (e.g., Paradise Valley, the Muddy Waters MOJO Museum in Chicago, and techno in Detroit) and how music influenced several underrepresented communities. It’s not every day you get to attend a conference session that gets people dancing along in their seats; this was a great addition to the paper sessions.

APTI Detroit 2022 was a great first APT conference experience, and I am looking forward to attending the future conferences. The mix of topics, learning events, and networking opportunities provided a perfect blend to see preservation from many vantage points and get a glimpse at the extent of a community it takes to preserve our historic places.

APTI 2022 in Detroit - Julia Schlottmann

Tom Chmill — Tue, 28 Mar 2023 01:42:45 GMT

The 2022 Association for Preservation Technology International conference took place in the historic city of Detroit, Michigan. This year’s conference was the first in-person conference since 2019’s conference and may have contributed to the large turn-out of over 670 attendees.

For the general public, the conference kicked off with Field Sessions on Tuesday, November 7^th. I had the wonderful opportunity to attend two field sessions on the first day of conference activities. In the morning, I attended F3: From Brownfield to Beauty: How Preservation and Economic Redesign Saved the Ford Rogue Plant. This session included an exterior discussion and interior tour of the Historic Ford Rogue plant which was renovated in the early 2000s, becoming one of the largest green roofs in the country with more than 10 acres of sedum covering the current F-150 productive plant (Image 1).

Image 1: The (currently dormant) green-roof on the Ford Rogue Plant.

In the afternoon, I attended a second field session, F8: Detroit’s Signature Towers: the Guardian, Book, and Fisher. This field session was one of my favorite activities of the week-long conference. In the Guardian building, an iconic feature of the downtown Detroit skyline, we discussed the building’s need for continuous renovation due to water intrusions through the load-bearing brick façade’s lack of cavity wall between itself and the steel structure. Even with its damage, the building maintains cultural significance in the city with its Art Deco detailing (Images 2 and 3).

Image 2: Inside the lobby atrium where Art Deco tile work mesmerizes building guests.

Image 3: Inside the original bank atrium where an Art Deco horse-hair plaster ceiling awes where it’s not cracking from water damage.

The Book Tower was actively under restorative construction and the field session received an in-depth tour of notable parts of the building. Due to its grand opening in late 2022, we were not able to take any interior pictures. The interior highlights include a beautifully intricate skylight and detailed painted ceilings, all restored to all known original conditions. The exterior was similarly challenging and the design and construction team work diligently to conform to SHPO requirements in order to receive both a Federal and Michigan State Historic Tax credit (Image 4 and 5).

Image 4: Across the street view of Book Tower.

Image 5: Close up of replicated “stone” detailing throughout façade.

The third building during the Three Towers Field session was the Fisher tower, originally designed with an unlimited budget by Detroit architect Albert Kahn (Image 6). The triple height concourse housed some of the building’s famous plaster painted murals which still need renovation after significant water damage (Image 7).

Image 6: Exterior view of the Detroit architect Albert Kahn’s Fisher Tower.

Image 7: Interior concourse hallway.

I attended 6 Paper Sessions and the Keynote speaker during the next three days in Detroit learning about various topics ranging from WWII-era plane crashes to renovating the Empire State Building satellite tower to building enclosure continuity best practices to renovation challenges of Detroit’s Michigan Central Station. Exploring various locations throughout Detroit throughout the week in tours, events, or paper session talks brought much first-hand knowledge to center stage regarding preservation and the future of the industry, especially in modernly decreased population cities like Detroit. I would highly recommend attending future APTI conferences and am hoping to be able to attend APTI 2023 in Seattle.

APTI 2021 Washington DC - Danielle Encela

Tom Chmill — Thu, 30 Dec 2021 02:58:25 GMT

The conference was great, the overarching theme was 'Preservation Beyond Politics,' and was hosted by the DC Chapter, which made all the lectures and paper discussions very applicable to the projects I’m working on around the DMV Region. Attending the conference very much had common themes that I come across while working on those projects. Having recently located from Charlotte, NC to DC at the beginning of the project, this conference provided me a lot of insight of the challenges the project encounters.

The virtual field survey titled 'Washington National Cathedral: A Behind-the-Scenes Look at Hands-on Masonry Repair and Restoration' discussed the affects of the 2011 earthquake, that impacted many local historic structures including the one I am working on. Learning about the Washington National Cathedral’s masonry repair, restoration and seismic upgrade approaches provided me a deeper understand of approaches our team is investigating ourselves.

Other topics from envelope performance of historic structures to complying with accessibility code standards of historic handrails were also discussed which directly relate my job.

I feel very fortunate to have been selected to receive the scholarship and attend the conference, worked in tandem with my project.

APT DC added some in-person field sessions following the conference and I was able to attend a few of the sessions to complete the conference experience. One session, titled "Wonderland of Fun - the Preservation and Management of Glen Echo Park," particularly stood out.

"I learned about the importance of community and how this ensures the preservation of places — and how the programs offered at an historic site help ensure its place in the future," Danielle said. "The unique relationship between the National Parks Service and the Glen Echo Park Partnership for Arts and Culture, allows them to continue their mission of liberal and hands-on education which started the park in 1891 by the National Chautauqua Assembly. The Assembly taught the sciences, arts, languages, and literature, but then turned the site into an amusement park during the Art Deco period.

NPS owns and operates the site, but the year-round cultural and recreational activities essential to the spirit of Glen Echo Park are provided by the Glen Echo Park Partnership for Arts and Culture. Glen Echo Park offers a variety of classes that engages the public to visit the site. Classes include dance, glass blowing, and pottery which continues community engagement in the spirit of its original intent."

IPTN Emerging Professionals Blog Post - Liz Reynolds

Ellen O'Brien — Tue, 28 Jan 2020 22:37:27 GMT

I was honored to have received the 2019 Emerging Professional Sponsorship to attend the Preservation Trade Network’s (PTN) International Preservation Trades Workshop (IPTW) in Stirling, Scotland this September. The event took place at The Engine Shed, an adapted early 20^th-century goods transfer shed, which now serves as Historic Environment Scotland’s (HES) central hub for building and conservation professionals and public discourse and learning (Figure 1). HES is the lead Scottish “public body established to investigate, care for and promote Scotland’s historic environment.”

Workshops covered fascinating topics, from familiar subjects such as historic brick masonry joint profiling, stone carving (Figure 2), carpentry, steel and leaded glass window restoration, traditional timber framing, and decorative wood finishes to more obscure specialized subjects such as traditional and modern scagliola, thatched roofing, and earthen construction. All presentations I attended included hands-on demonstrations.

Gerard Lynch, an animated mason from outside London, demonstrated several different traditional English mortar joint profiles, and explained that masons prior to the beginning of the 17th century “pencilled” crushed calcium carbonate (called “whiting”) onto their joint profile for an exaggerated aesthetic (Figure 3). Until the 19th century, masons also applied an ochre color wash to the brick and mortar on the primary facades of buildings which created a vibrant orange and consistent appearance. It was not until the 19th century when kiln technology advanced that bricks with relatively uniform color could be produced.

David Hayles offered modern and traditional scagliola demonstrations in between sharing anecdotes from his world-wide cycling trip. The modern technique includes placement of dyed silk and flowable pigmented plaster in a mold to create a marble column reproduction (Figure 4). The traditional technique involved a moldable pigmented plaster mix, where layers of pigmented plaster were folded and molded into a column plinth form.

James Turner and Andrea Sevonty from Detroit (near my hometown) demonstrated the restoration of a steel window with leaded glass—a captivating program (Figure 5). They showed that two linear feet of rust on steel frame windows could be removed in roughly a minute using a “needle-scaler” followed by a grinder with a metal wire brush attachment and that dutchman repairs can be performed on leaded glass window panes. Sevonty also demonstrated a window pane replacement and polished the lead using calcium carbonate (“whiting”).

The most memorable feature of my time in Scotland was the scaffolding tour of Doune Castle (Figure 6), backdrop for Game of Thrones (Episode 1), Outlander, and Monty Python. HES masons gave guided tours of their ongoing masonry conservation work focusing on moisture infiltration from the head of the exterior masonry walls. HES methodology included mortar and stone analysis and installation of an NHL 5 (natural hydraulic lime) mortar at the top of the walls with an NHL 3.5 mortar several feet down. The idea is that the harder NHL 5 mortar will limit absorption of moisture at the top of the wall and slow moisture-related deterioration of the wall.

IPTW concluded with a “Ceilidh” (Scottish social gathering) in the Great Hall of Stirling Castle (Figure 7), featuring an auction to support PTN, traditional Scottish fare (including haggis and tablet dessert), dancing, and music (complete with bagpipes). The kilt-wearers and whisky gave a rousing ending to a marvelous educational opportunity! I had the pleasure to sit next to two Scottish HES masons-turned-project managers and the head of the US-Scottish Consulate, so talk centered on Scottish traditions and the work ongoing to preserve cherished Scottish monuments. I loved every moment of this opportunity to meet and talk to tradespeople from all over the US and UK!

Renewal: Notes on APTI Miami by Salvatore DiPietro

Ellen O'Brien — Tue, 28 Jan 2020 22:25:20 GMT

The sun-drenched Biscayne Bay served as the backdrop for this year’s APTI Conference in Downtown Miami. Hundreds of international preservationists congregated at the Intercontinental Miami Hotel to engage in workshops, view presentations, and connect with the global preservation community. The subtropical climate and turquoise ocean waters contrasted with some of the serious-minded conference themes this year, including climate change, sustainability, and the socio-economic challenges faced within the context of heritage sites. Heavy-handiness aside, the general vibe was upbeat as attendees explored Miami’s rich cultural history and global inﬂuence. Having never attended an APTI conference, or any conference for that matter, my arrival to Miami was met with nervousness and excitement. Not knowing what to expect, I began the conference with the mindset of meeting new people and learning from the experiences of others.

The ﬁrst ﬁeld session I attended was the Downtown Miami Historic Architecture Walking Tour guided by Cheryl Jacobs, Executive Vice President of AIA Miami and the Miami Center for Architecture & Design. We toured Miami’s collection of Art Deco, Neoclassical Revival, and Art Moderne styled buildings. I was most impressed by the second-ﬂoor lobby of the Alfred i. DuPont building. Brass adorned ﬁnishes with tropical motifs and an entire wood coﬀered ceiling with hand-painted depictions of the Seminole Tribe were the small details in a open space ﬁlled with natural light.

The second half of the conference was comprised of paper sessions typically structured with four presenters led by a session chair. I found myself checking the conference schedule and hopping between presentations of interest. The Zero Net Carbon Collaborative for Existing and Historic Buildings (ZNCC) Session led by Carl Elefante was both fascinating and shocking at the same time. Larry Strain (Siegel & Strain Associates) presented on building reuse and its role as a critical climate action strategy. He made a compelling point when he stated that any new net-zero buildings are not enough to combat climate change and if we are to make any signiﬁcant progress, building reuse is the solution. This presentation changed my perspective on what it means to be a preservation engineer. I originally saw myself as structural engineer whose goal was to preserve the beauty and cultural signiﬁcance of historic buildings. I now realize that I need to expand my career beyond just historic buildings and include transforming the more mundane building stock into something fresh and modern.

I began the APTI conference seeking to connect with other preservationists and to learn more about preservation. I am leaving with a renewed energy and purpose in my career as a structural engineer. I would like to express my sincere gratitude to the patrons of the APT DC Chapter who donated to make this experience a possibility for me.

Impressions from the 2018 IPTN Workshop by Emily Garrison

Thu, 13 Dec 2018 20:27:52 GMT

Emily Garrison, one of this year's recipients of APT DC's Emerging Professionals Sponsorships, attended the 2018 IPTN Workshop in Frederick, Maryland. The following is her summary of the workshop.

I recently had the opportunity to attend the International Preservation Trades Workshop in Frederick Maryland through the Emerging Professionals Sponsorship Program. The workshop features craftsmen and women as well as other professionals in the preservation industry. The workshop included many demonstrations and hands-on sessions, ranging from how-to presentations of a specific repair/preservation method to presentations on projects and advocacy. As a structural engineer it was a great opportunity to observe the aspects of preservation construction, as I am not on-site as structures are repaired.

I went to one session on the process of a dutchman repair. The mason presenter, from the National Park Service, who apart from detailing the process of dutchman repair, shared some of the repairs he conducted in the national parks. One such example was repairing a monument which was struck by a car. It was illuminating being walked through the process of fitting pieces of stone together to minimize the transition from old to new. Had it not been for the difference in color of the two pieces of the stone from age and weathering, it would have been hard to see the dutchman repairs. After explaining the process for a dutchman repair, he demonstrated varies parts of the process on a spare stone, identified his tools, and gave us the opportunity to experiment. I carved a piece of the stone and eventually got somewhat comfortable using the air chisel, after first carving out a very wavy line of stone.

Perhaps the brick mason keynote speaker, Dr. Gerard Lynch, was the best. On the first day of the workshop I walked by Dr. Lynch’s area as he was setting it up to give a presentation. Later, while heading to another session, I stopped as a large crowd was congregated waiting for the presentation to start. The workshop program didn’t include an explanation of the session, so it was not on my list I intended to attend. Witnessing half the workshop attendees were gathered around Dr. Lynch, I decided to stay. His session was a demonstration of tuck-pointing a masonry wall, interwoven with stories from his decades as a mason. He explained the history of tuck-pointing, and took everyone step by step through the process, explaining both tools and techniques.

Dr. Lynch explaining the process of tuck pointing before beginning the demonstration

Beginning the demonstration by grouting the joints

Tuck pointing the joints

Later, during his keynote address, he stressed the importance of apprenticeships and preservation training, emphasizing that modern training regimes often don’t equip craftsmen and women with the knowledge or skills to repair historic structures, as the materials and techniques can differ significantly from modern practices.

Overall, the workshop was a great opportunity to learn about preservation trades with which I don’t have regular contact. I’m grateful for the opportunity to participate

Impressions from APTI Buffalo by Rebecca Domingue

Thu, 13 Dec 2018 19:46:01 GMT

Rebecca Domingue, one of this year's recipients of APT DC's Emerging Professionals Sponsorships, attended the 2018 APTI Conference in Buffalo, New York. The following is her summary of the conference.

The 2018 Association for Preservation Technology International conference in Buffalo, New York offered a unique educational and cultural experience. The conference officially kicked off with the all-conference keynote on Sunday September 23rd. Set in the Ashbury Hall of Babeville (Figure 1) the conference was off to a great start.

Figure 1: Ashbury Hall served as the location of the Opening Keynote, located in Babeville, a 19th century gothic revival style church structure repurposed into an event space

The keynote speaker, Alex Wilson, focused his presentation on resilience. He spoke about ways existing buildings could be modified, or new buildings constructed, to better withstand the changing environment. This theme of resilience was then continued throughout the rest of conference. In many cases the theme emerged in the case studies of buildings that were abandoned, and in some cases on the verge of demolition, and how they were revitalized through preservation efforts.

The morning after the keynote my coworker, Nicole Ferran, and I presented a case study that closely followed the theme of the night before. Hoen, an industrial complex in Baltimore, Maryland has sat abandoned since the early 1980s. Our case study discussed the balance between preservation approaches and the importance of inhabitation. Work included both repair and localized reconstruction. The finished product preserves the rich history of the complex and will serve as a focal point of the revitalization of the East Baltimore neighborhood. Hoen has demonstrated resilient behavior- the complex had been over run and heavily damaged by nature, but the strength of the original construction persevered.

The paper sessions I attended were captivating; enriching and broadening my insight into preservation techniques and practices. The case studies presented in Track 1 “Decline vs. Revival: Tempering the Impulse to Tear Down and Start Over” drew my attention and continued with the overall theme of resilience. One session, “Innovated or Unusual Reuse” described deconstruction and monitored collapse as two different approaches to preservation. Both were intriguing new ideas I had never considered before. The same paper session introduced me to baltimorebrickbybrick.com, a website that catalogs the deconstruction processes of Baltimore, Maryland’s abandoned buildings.

In addition to paper sessions I attended the Preservation Engineering Technical Committee (PETC) Meeting. The PETC meeting offered me the opportunity to meet and connect with other professionals who share similar interests to my own from all over the world. The enthusiasm of this group of people encouraged me to become more involved and as a result I volunteered to help organize the 2019 Student Design Competition to be held at the Miami conference.

Buffalo thrived in the early 20th century as a key industrial American city and has an impressive architectural history as a result. With buildings and landscapes designed by some of America’s most well-known architects and designers, including H.H. Richardson (Figure 2), Louis Sullivan (Figure 3), Frank Lloyd Wright, Richard Upjohn (Figure 4) and Frederick Olmsted.

Figure 2: Originally a mental hospital, this heavy stone Richardson building was renovated recently into a boutique hotel.
Figure 3: Louis Sullivan's Guaranty Building in downtown Buffalo, NY.

Figure 4: Upjohn’s gothic revival style church in downtown Buffalo. The exterior is impressive but the interior is absolutely breathtaking!

Outside of scheduled conference activities, I had the opportunity to explore the city and experience these magnificent constructions. Within a few blocks of the conference hotel sat some of the most stunning early 20th century buildings. The beauty, history and culture of Buffalo surpassed all expectations and was an exceptional city to host the 50th APTI conference.

Preservation Pointers #9: Cosmos Club

Ellen O'Brien — Sun, 26 Aug 2018 04:09:27 GMT

On March 19th, the Cosmos Club hosted APTDC and presentations on the preservation of the club were given by David Riccio of John Canning Preservation and Arthur Page of Page Conservation. For those who missed the presentations below are some notes from the evening!

John Canning:

-Cheap repairs in the mid-centurn allowed the existing plaster to deteriorate along the exterior wall

-Molds taken from other areas of the room were used to replace the damaged areas

-Where furring strips worked loose of the joists, blocking pieces were used to fill the space between the joists and furring strips with the plaster then reinstalled over the assemblage

-The original gilding was actually three different techniques including water gilding and roman gilding

-Paint analysis determined the original color of the room was a warm grey. Canning used two separate shades of gray to subtly enhance the ornamental plasterwork.

-To remove and restore the lunette panels above the doors, the door headers were carefully removed. When replaced, the screws (which were covered after re-installation) were carefully mapped to aid future repair work.

Arthur Page:

-The lunettes over the doors were overpainted by a decorator in the early 20th century

-To determine how much overpainting was performed the paintings are viewed under a specific lightsource where the overpainting comes off as dull and dark.

-When the lunette canvases were remounted a larger sheet of muslin was attached to the canvas with modified wax to make future removal from the stretcher easier

-Additionally a new stretcher system was used which will expand and contract less than the original wood stretcher

Thanks to the Cosmos Club, John Canning, and Arthur Page for a great event!

Preservation Pointers #8: Arlington House Tour

Ellen O'Brien — Mon, 19 Mar 2018 22:13:02 GMT

Kimberly Robinson, Museum Curator with the National Park Service, and Bryan Fisher, AIA, Historic Preservation Specialist at GWWO Architects guided two groups of APT DC and AIA DC members and guests through Arlington House, The Robert E. Lee Memorial, to provide an overview of preservation and rehabilitation efforts slated for construction beginning this spring and extending into next year. The project includes the restoration of the mansion house, dependencies, and grounds as well as the construction of a new structure to support the visitor experience.

Exterior walkways will be paved with a bonded aggregate material to better define walkways and to prevent dust and grit from current stone fines (pea gravel) walkways from being tracked into the mansion, where it damages floors and artifacts.
The National Park Service prepared a vast body of research before undertaking this project including historic structure reports, a cultural landscape report, an historic furnishing report, and a paint study. These documents were immensely helpful in guiding the restoration planning.
Some compromises needed to be struck between a fully authentic restoration of the site to its early-1860s appearance and its modern-day visitation of nearly 600,000 per year. Most notably, ramps will be added at both the front and rear of the mansion to allow one-way flow of visitors through the house museum.
Selected bricks across the basement foundation walls exhibited spalling and deterioration. It is likely these site-made historic bricks were not adequately fired when originally kiln baked. The deteriorated bricks will be selectively replaced with salvaged material and the remainder of the walls monitored for future spalling.
The house has never had much electric lighting installed and the intention is to keep electric lighting at a minimum, only installed as necessary to illuminate spaces with inadequate daylighting.

Future tours are being planned to show progress during and after the project. Thank you to Kimberley and Bryan for hosting this great event!

Preservation Pointers #7: Digital Fabrication Techniques for Historic Preservation

Ellen O'Brien — Fri, 09 Mar 2018 00:27:19 GMT

On February 24^th APT DC took over Open Works in downtown Baltimore to learn about new and different digital fabrication techniques. The following are just a few takeaways from each of the wonderful speakers:

Jordan Greco from Xometry, Inc. "3D printing Technologies and Applications"

· 3D printing can be used for both inexpensive rapid prototyping (to test ideas) and manufacturing processes (to create jigs/one-offs)

· Many museums/collections now using 3D printing to create copies of artifacts for display

· Several types of 3D printing:

o Selective Laser Sintering (SLS) - allows a high level of complexity in the object

o Fused Deposition Modeling (FDM) - most common type of 3D printing, but not good for small details

o Stereolithography (SLA) and Polyjet (PJ3D) - Good surface finish, but not durable; can print in a variety of materials

o Direct Metal Laser Sintering (DMLS) - Prints using a fine metal powder; requires more intensive safety equipment

Joe Nicoli from Direct Dimensions "Digital Restoration"

· Many types of laser scanners available to scan everything from a landscape to a building to a small object

· From the scan, can create 3D models that can be scaled to any size

· Have used SLS 3D printing before to create building elements that have been installed (like a ceiling medallion) or for reference for the artisan's use

· When scanning an element for restoration, they often use their 3D artists to "restore" the scanned model element and manipulate the 3D model to match the original design intent

Sean Wise from Repliform, Inc. "Tangible Artifacts from Electroplated 3D Printed Parts"

· 3D printed objects can be electroplated to make them durable, strong, and less flammable

· This is particularly useful when creating replicas of artifacts and/or when creating visually accessible exhibit designs

· Electroplating can also be used to add cosmetic finishes to 3D printed designs

Thank you to all of our speakers and Open Works for hosting and giving us a tour!

Preservation Pointers #6: Preserving our National Monuments

Ellen O'Brien — Mon, 12 Feb 2018 03:20:46 GMT

Audrey Tepper, a Historic Architect with the National Park Service at the National Mall and Memorial Parks, and Tim Vandewalle, Superintendent at the Christman Company, both discussed their current and ongoing preservation efforts at some of our Nation's significant monuments at the Octagon House to a sold-out audience. Both presenters discussed the innovative technologies developed to appropriately restore and repair historic materials at National Monuments that spawned an informative Q&A discussion afterwards.

Our major takeaways from the presentations are as follows:

1. Increasing annual visitation numbers to our National Monuments are putting stress on our current historic resources. Aging visitor spaces need to be upgraded and many monuments are in need of restoration.

2. The aggressive bio-film found on the Thomas Jefferson Memorial has a unique biology, even different from a similar bio-film found across the Potomac at Arlington Cemetery.

3. Laser-cleaning was determined to be the only long-lasting solution for keeping the aggressive bio-film from growing back.

4. There are 4 methods of repairing cracked cast-iron

1. Heat (1000-1500 degrees Fahrenheit and is only successful when employed at corners of cast-iron)

2. Mechanical

3. Chemical

4. In-kind Replacement

5. Lock-n-Stitch (a mechanical technique developed by Gary Reed) was chosen for the restoration of the Capitol Dome because it preserved the most material in-place among other significant reasons including limited heating processes to the already delicate historic cast iron.

6. Lock-n-Stitch developed a unique mechanical fastener for use on the Capitol Dome, which had a special profile to provide added strength to the low thread strength of in-place historic cast-iron.

7. Selective demolition and fit-up prior to commencement of cast-iron work is critical to the success of repairs.

8. Employ "magnetic particle inspection" after repairs have been completed to ensure no new cracks or discontinuities were formed.

9. Previous mid-century repairs to the Capitol Dome included heat-based repairs, which are irreversible and cannot be reworked or reheated.

Thanks to Kara Johnston for compiling these pointers and thank you to our presenters, we truly enjoyed learning about your experiences with our National Monuments!

Preservation Pointers #5: Sidney Yates Building Tour

Ellen O'Brien — Mon, 12 Feb 2018 02:51:43 GMT

Recently a small group of APT DC members were led on a tour of the exterior of the Sidney Yates building by representatives from Grunley Construction Company. The tour included discussions on the restoration techniques used at the windows and masonry units, and up-close viewing of these elements from the scaffolding at the south side and west sides of the building. A few key points from the project shared by Nick Patrick of Grunley include:

· 2 year project

· 130,000 LF of pointing (largest lime putty based repointing job in GSA’s building stock)

· Over 6400 brick replacements

· Over 1000 Jahn patches

· Over 60 new granite, bluestone, and brownstone stone replacements

· 1200 LF of new gutter installed

· Over 8000 LF of new flashing installed

· 568 windows restored

Thanks go out to Grunley for sharing the project with APT DC!

Preservation Pointers #4: Takeaways from the APTI 2017 Conference by Moira Nadal

Sun, 26 Nov 2017 15:33:23 GMT

Moira Nadal, one of this year's recipients of APT DC's Emerging Professionals Sponsorships, attended the 2017 APTI Conference in Ottawa, Ontario. The following is her summary of the workshop.

I was thrilled to receive the scholarship to attend the APT-National Trust of Canada joint conference in Ottawa. Since I work for the National Trust in the United States (NTHP) I was interested to see the types of programming put on by the National Trust of Canada and how it was joined with the technical presentations from APT. There seemed to be two main points of focus for the conference; indigenous heritage and sustainability.

In the opening remarks, it was acknowledged that we were gathered on un-ceded Waginaquan (Algonquin) Anishinabeg First Nation land. Tribal members gave prayers and blessings to open the conference proceedings. I was impressed by the time and space given for the First Nations representatives and the inclusion of the longer and deeper meanings of the spaces we were inhabiting. History didn’t start in that place when the lavish high-style building was constructed. There was then a provocative talk by John Ralston Saul, a Canadian award-winning philosopher, novelist and essayist, entitled People and Place: The Complex Linkage of Our Lives, Our Mythologies, and Our Physical Reality. Ralston Saul framed the 150^th anniversary of Canadian Confederation as an opportunity for real debate and questioning. He highlighted the contrast between concepts of ownership and heritage versus profit. That people who consider that they own a place feel that they can do as they like with it. I think it was valuable to step back and hear this more macro-perspective. So often are we concerned with the details of scheduling projects, reviewing proposed work against the Secretary of the Interior Standards, material compatibility, and so forth. It was refreshing to take a moment to think about who and how and why we intervene with historic places and what those intersections with multiple layers of heritage and meaning might be. Who makes the decisions and who gets to do the work? As practitioners, I think we can begin to lose perspective on some of these larger theoretical questions.

The conference was organized along the following tracks: Documentation and Diagnostics – Understanding Historic Places; Design – Planning the Conservation of Historic Places; Delivery – Intervening in Historic Places; Policy and Practice; Canada 150 – Indigenous Heritage, Diversity, and New Directions; Integrating Old and New – Buildings, Districts, and Landscapes; and Regeneration – Community, Economics, and Equitable Places. I attended a variety of sessions, some technical and some cultural. As some of the presentations were in French, the other national language of Canada, we were provided with headphones connected to simultaneous interpreters. It was very cool and made me feel like I was at the UN.

Several session topics were helpful for potential reviews that I may have to conduct for my position with NTHP. I learned about base isolation for seismic retrofitting of historic buildings, which is immediately useful as I monitor properties in California and Oregon. There were also several presentations where I learned more about testing historic windows in situ to demonstrate their performance under specific conditions and with different modifications to make informed comparisons of retention versus replacement. After having the opportunity to walk around the historic district near the conference hotel, I also appreciated getting to know more about Parliament Hill and the ongoing work at that complex of buildings.

In addition to the presentation panels, there was a very full demonstration hall. It was so valuable to be able to ask questions of the vendors on site and helped me to understand some of the newer products and methodologies I’ve been hearing about. I especially enjoyed the hands-on demonstrations by students from the Heritage Institute of Algonquin College. We shared desserts from the reception while planing molding profiles. Overall, the conference was a great mix of detailed technical presentations, larger cultural and theoretical discussions, and networking with professionals from throughout North America and 20 represented nations.

Preservation Pointers #3: Takeaways from the International Preservation Trades Network's 2017 Workshop by Naomi Doddington

Sun, 24 Sep 2017 16:35:07 GMT

Naomi Doddington, one of this year's recipient of APTDC's Emerging Professional Sponsorship, attended IPTN's 2017 workshop in Detroit. The following is her summary of the workshop.

The Preservation Trades Network’s annual conference, the International Preservation Trades Workshop, was held in Detroit this year. I was honored to receive the 2017 APT DC Emerging Professional Scholarship Program scholarship to attend the conference this year. IPTW consists of 2 ½ days of hands-on workshops where participants are able to interact with experts in different preservation trades.

Our host location this year was the Belle Isle Boat House, a once-magnificent club house that still serves as home base for a local rowing team…and was the site of the Olympic swim trials where Johnny Weissmuller, who would go on to play Tarzan in the 30s and 40s, qualified for the games. Upkeep on this site has suffered with the decline of private-club membership and some well-intentioned, yet ultimately destructive, maintenance decisions in the early 2000’s. This includes the use of a strong Portland cement stucco to cover the exterior, exacerbating an existing moisture problem that has caused significant rust-jacking of structural steel within the brick walls.

As part of its conference, some IPTW presenters utilize their skills to provide free work on the host site while they teach attendees about their work. In this photo, presenter Blair Bates discusses the process of repairing the stucco on the exterior of the building. The stucco applied in the 2000’s, with a high concentration of Portland cement, has already started to fail in certain places. Blair had been on site for a few days and had removed the unsound stucco from above a window near the entrance. He explained how he was using type “K” mortar mix for the new stucco. This mix is 1 part white Portland cement, 3 parts lime and 10 parts mason’s sand. This is a very soft, low-compression mix useful in this type of application. Horsehair not being as readily available as it once was, Blair has been using nylon fibers in the mix in its place. There are two main things I learned from Blair’s presentation. When using a float to smooth the surface of the stucco, Blair recommends holding it in your non-dominant hand and pull the float towards your body. In this manner, you are less likely to put too much pressure on the stucco in any given place. The second is a fun bit of trivia that could be useful sometime. The different mortar mixes are assigned every other letter of the phrase, “MASON WORK”. Additionally, you can tell the proportion of cement to lime in the mix based on its position within the word. “M” mix is 3 parts cement to 1 part lime. “S” is 2 parts cement to 1 part lime. “N” is 1 to 1. “O” is 1 part cement to 2 parts lime. Finally, “K” is the 1:3 mix as described above.

You may know that producing shellac involves beetles, but did you know how? I had always assumed we were pulverizing the little bugs and mixing it with a solvent to create the shiny topcoat (you know, like red food dye). In fact, the bugs are not sacrificed at all! The lac beetle sucks the sap out of a tree, then excretes the digested results in tunnels on the exterior of the tree. This sap/poo is scraped off the trees, processed, dried, and crumbled up. When mixed with denatured alcohol (or moonshine), it creates the high-gloss finish we associate with shellac. The color of the shellac is actually dependent on the type of tree that the beetles were extracting sap from. Mary Webb, of the National Parks Service Western Archaeological and Conservation Center gave a great presentation on environmentally friendly(er) finishes for wood as well as the best pro-environment ways to remove old finishes. As you can imagine, my fellow preservationists, older techniques are generally less toxic than the 20^th century paints and stains that we have to so often protect ourselves from when we work in our treasured buildings. Long live linseed oil!

There were several presentations on windows. Andrea Sevonty and her employees had dismantled the one stained glass window in the club and were re-making the piece. She greatly lamented that poor solder work (especially previous amateur repair efforts) had required re-making the window as the cames themselves had been in good shape. The crew had traced the window while still intact and was using this as a guide to the reassembly, with each piece of carefully labeled glass corresponding to a number on the cartoon. Andrea explained the easy test to tell if the cames (those are the metal pieces between each piece of glass) are lead or zinc. Using your fingernail, try to scratch the came. If you are successful, then you know the came is lead. If not, it is the harder zinc. You may think that with a design comprised of mainly clear glass, replacing broken pieces would be a breeze. Andrea actually explained it can be rather tricky as “clear” glass can skew pink, purple, or even yellow depending on the makeup of the glass! Kevin Doenir and his crew from the Window Preservation Alliance spent their time repairing a pair of round clerestory windows from the Boat House’s beautiful double-height main hall. I’ve done a fair bit of window work in my day, but I did learn a neat trick. This works well when working on a window you’ve removed from its opening. After glazing with a linseed oil based putty, sprinkle a little bit of whiting in the center of the glass pane. Using a dry brush, swirl the whiting all around the pane, working from the center out to the edges. This removes any last vestiges of oil from the center of the glass, resulting in sparkling window panes ready for paint and reinstallation!

Is Bob insane? This is real knob and tube lighting…and he has his finger in the socket (after licking it first no less)! Not according to Peter Janko. Although Peter explained that knob and tube is not inherently dangerous, it runs so counter to what we all understand of electricity. It does generate a fair bit of heat, which is meant to dissipate into the air around the wires (thus why it is held at a remove from the surface). Only when we insisted on insulating with cellulose did we create a problem. By surrounding the wire with cellulose, we forced the heat to dissipate into a highly flammable material. Even so, Peter has discovered a way to use existing knob and tube, or even install a new system, and still meet code. The secret lies in LED technology. If you come across a system that is still wired, you can disconnect any wire that runs to a plug (they do overheat badly and won’t pass code), connect the system to a low voltage source (four E batteries for the example where our volunteer stuck his wet finger in the socket…and you can see how bright the bulb next to it is lit) and special low-voltage LED bulbs. He has had success using this system in new construction by calling it “Decorative Low-Voltage LED Lighting”. You can even buy a 12v battery (often used as backup power for a computer) to run your system. Simply buy a battery maintainer (like for a snowmobile) to recharge your battery periodically and you’ll have a power-outage proof system.

Sharpening tools is vital to many trades. Rudy Christian presented his preferred method for sharpening tools. He began with a humble chisel. Starting with a water bath wet-stone grinder with a 250 grit wheel, Rudy laid the primary bevel (the big angle you picture when you think of a chisel) against the spinning wheel, allowing it to remove just a sliver of the metal. With a 250 grit waterstone (kept in his cooler full of water), Randy then manually smoothed the high spots left by the machine. He moved on to an 800 grit waterstone next, making sure that the primary bevel was flat against each stone on every pull. Then he did something I never knew to do. He pulled out a 3,000 grit diamond waterstone (it looks a bit like a waffle iron griddle) and laid the chisel’s primary bevel against the surface. Before pulling the chisel towards his body he lifted the chisel up just 5%. In this way, he put a micro-bevel on the very tip of his chisel. This micro-bevel helps to move the wood away from the main bevel, allowing for faster and neater work.

I’ve saved the best for last! I’ve done a fair bit of decorative finishing in my day. Wood graining, marbling, Venetian plaster, I was intrigued to learn there was a technique I had never even heard of. This is the Italian technique called Scagliola. Mixing gypsum plaster, powdered pigment, and water with glue (to slow the plaster setting), scagliola replicates the look of marble in a time-consuming, but less expensive, manner. You are also limited only by your imagination as to the color and color-combinations that you want to use. I actually attended two sessions on this technique. The first was a hands-on presentation where I got to work with other attendees to mix balls of this plaster, cutting and mixing them with others to create a gradation of colors from blue to teal. We cut these balls into smaller pieces, then laid them randomly on a greased form (we were making a bowl) then pushed and smoothed the colors together to form a consistent thickness over the mold. Using a putty knife, David Hayles, our fearless instructor, cut veins into the plaster. We filled these with a yellow-ochre batch of the same plaster mix then smoothed the veins closed. Finally, David cut another set of veins and we filled them with a deep brown plaster mix. With lots and lots and lots and lots of sanding, our bowl will look somewhat like the one in the photograph. The second scagliola session I attended was David showcasing how a similar technique is used to decorate a column. This involves raw silk thread, very liquid plaster, Pollock-inspired application, and a joie de vivre that is infectious.

Seeing the end-results of some of the presentations was a lot of fun as well. I got to see stone carvings that were amazingly intricate and plaster pieces that were massive! I also visited blacksmith Owen C Creteau, Jr. and encountered a few pieces he has forged that puzzled me. The first were some amazing puzzles he has forged out of nails and other small metal pieces. The second was larger piece he had arranged on a table with the candlesticks, fire pokers, and other more readily-identified pieces. I puzzled over it for a few minutes before finally breaking down and asking him. It turns out, this is a toaster. One puts pieces of bread in the middle, then uses the handle to place the whole apparatus on the hearth close to the fire. Once one side is toasted, the piece is lifted by the handle and turned so that the other side is close to the fire. Ingenious!

The International Preservation Trades Workshop was a great deal of fun and a source of inspiration to me as a preservationist. I was able to close my weekend by giving back. The National Trust happened to be holding a work day at nearby Fort Wayne. Like many formerly active military installations around the country, Fort Wayne has facilities that span more than a century of construction techniques and had been badly neglected before being turned over to the city as a park. Throughout the day Sunday, more than 300 volunteers scraped and painted wood porches, built protective coverings for vulnerable building fabric, and re-glazed (in place) dozens of windows on former officer’s quarters. I participated in the latter and, I hope, we bought these historic materials a few more years as further funds are raised to do more.

I do have one lament, over and over, I heard people complaining that young people don’t want to go into the trades, even as half the conference attendees where under the age of 40. At the same time, I overheard a conversation in which someone was scoffing at the idea of paying an intern or an apprentice. In a city like Detroit, where renewal and gentrification are going hand in hand, I would like to see our elder statespersons embrace the opportunity to pass their knowledge and skills to the new generation, which means acknowledging that the upper middle-class students who could take on an unpaid internship are unlikely to be interested in manual labor. Offering a stipend, even a small one, that allows a student with the interest but not the finances to spend a summer (or a few years) learning from a master craftsperson is a way to preserve the knowledge and to help mitigate the effects of gentrification. Extending a hand to the urban poor, those who have grown up with the devastation that generations of economic disinvestment have wrought in their cities, is a way we can use preservation to create social good.

Preservation Pointers #2: Takeaways from Energy Efficiency of Historic Sites Symposium

Fri, 16 Jun 2017 01:23:45 GMT

At the 2017 APT DC Symposium this May, over 90 preservation professionals from a variety of backgrounds gathered to hear from experts working to increase energy efficiency in historic structures. The day’s presentations covered energy codes, energy models, increasing the efficiency of historic materials, and regional case studies. The day opened with a presentation from Historic Environment Scotland, demonstrating that the desire for efficiency in our historic resources is global!

Our top ten takeaways from the Symposium are:

1. International standards like the IgCC set a minimum baseline for energy codes, but codes can vary widely by local jurisdiction. Using an integrated design process and working with local code officials will ensure you are following the right directives for your structure and locality.

2. Energy standards like LEED, ENERGY STAR, and others provide guidance in achieving a high level of energy efficiency for your structure.

3. Achieving energy savings with historic preservation projects is well within reach, even though improvements to the envelope often aren’t feasible. Using energy models will help you determine improvements that provide the biggest savings for the lowest impact.

4. There are many types of energy models available on the market. Using the right model at the right time will help you predict or assess energy savings before, during, and after a project.

5. Think carefully about which components in your building are most appropriate for upgrades or modifications:

Floors (adding insulation, radiant heating)
Windows (adding draft strips, secondary glazing, insulating air gaps, solar screening, using shutters - interior or exterior)
Roof (adding insulation on the interior, adding ventilation, painting the exterior, greening)
Doors & openings (adding aerogel to frames or similar draft strips, adding vestibules)
Walls (adding or removing insulation, moisture barriers)
Mechanical upgrades (plug loads, LED lighting, sensors & their locations, relocating diffusers, increasing plant capacity with larger chillers/cooling towers, changing from constant air volume (CAV) air handling units (AHUs) to single-zone Variable Air Volume (VAV) systems)

6. Energy modeling can show the order-of-magnitude effect of different upgrades to a Modernist curtain wall-clad building’s systems to help owners decide in which upgrades they would like to invest in (mechanical, lighting, enclosure, etc.).

7. Mass masonry walls are prone to deterioration if insulated improperly. It’s important to use tools like hygrothermal analysis to determine the brick’s properties and select the right type of insulating material.

8. New technologies like interior window retrofits will allow for greater insulation of historic sites without compromising original glazing materials or character.

9. Before inserting new materials into an existing system, make sure to investigate how your building and its materials are designed to perform, and consider how modifying an existing system will affect the structure. Investigate the real cause of problems first - maintenance issues, leaks, improper flashing, failure of finishes, etc.

10. There are many reasons to pursue energy efficiency in a historic preservation project: cost savings, occupant comfort, material preservation, and of course, environmental impact. Local programs like Sustainable DC recognize that historic resources are often most at risk for the effects of climate change. We all have a part to play in ensuring the worst consequences don’t come to reality!

We’re so thankful to all our presenters for sharing their work with our audience! If you are interested in learning more, PDFs of their presentations have been made available on the APT DC Symposium web page. Thanks also to the sponsors who made the event possible: Encore Sustainable Design; The Weidt Group; Conservation Solutions, Inc; Quinn Evans Architects; EHT Traceries; Consigli Construction; and our host, the Fred W. Smith Library for the Study of George Washington at Mount Vernon.

Preservation Pointers #1: Takeaways from APT DC’s April Tour of Cathedral Stone

Thu, 27 Apr 2017 00:55:44 GMT

Welcome to Preservation Pointers, APT DC’s new blog series! Here, we will post about events, tours, and lectures hosted by APT DC. The blog will summarize the important points from those events which we feel are the most useful to preservation professionals.

Preservation Pointers #1: Takeaways from APT DC’s April Tour of Cathedral Stone

Cathedral Stone, Inc., manufacturer of specialty cleaning products, paint strippers, and repair mortars for masonry, hosted a tour and hands-on learning experience for APT DC on Saturday, April 22, 2017 at their manufacturing facility. The following topics were discussed.

Masonry Cleaners

There are several different categories of cleaning products available to preservation professionals for use on masonry. It is important to understand the proper uses and application for each, and to always test cleaners prior to full application. Some of the most common types of cleaners on the market are:

Biological Cleaners: Used to remove algae, lichen, and other forms of biological growth.
Detergent Cleaners: Typically mild, non-acidic, and safe for use on all masonry surfaces including calcareous and polished stone
Acidic cleaners: Containing varying concentrations of acidic cleaning agents. Acidic cleaners generally should not be used on calcareous or polished stones and should be used with caution.
Waterless Latex Cleaners: Cleaner applied in gel form that cures and can be stripped as a solid. This type of cleaner is ideal for interior surfaces where large amounts of rinsing water is not possible.

Paint Strippers

As the preservation industry moves away from solvent-based paint strippers due to health and environmental concerns, more water-based products are becoming available. Water-based paint strippers have the following advantages:

Non-flammable
Low VOC
Biodegradable
Applicators require no or little protective gear
Neutralization with only water or denatured alcohol
No need to cover, non-hazardous
No HAPs or TAPs (Toxic/hazardous air pollutants)
No BTEX chemicals
Non-carcinogenic

Repair Mortars

Failures in masonry restoration often result from patching materials that are stronger than the stone substrate. It is critical that patching materials have a lower compressive strength the substrate itself. Porous stone substrates also need to be able to breathe. Patching materials that have low water vapor permeability entrap moisture within the stone, leading to failure. Polymers, which are often used as an adhesive agent to form a strong bond with the substrate, can eventually lead to failure by trapping water and salts. They also tend to discolor over time because they are not UV stable.

When selecting a patching mortar, it is critical to select a material that is colored with UV stable pigments that will not fade out. It is also important to recognize the effect of the amount of mixing water on the color of the cured mortar. When evaluating mortar samples for color, they should always be applied on a proper substrate. The practice of creating mortar samples in coffee cups, common among some masonry contractors, doesn’t give a true representation of color because water is not allowed to evaporate through the Styrofoam or plastic. Instead, samples should be placed on a porous substrate, ideally the same substrate where mortar will be applied.