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HAPB Agenda 04/16/2021Coi CT C,_014nty AGENDA COLLIER COUNTY HISTORIC/ARCHAEOLOGICAL PRESERVATION BOARD WILL MEET AT 9:15 AM, FRIDAY, April 16, 2021 AT THE COLLIER COUNTY GROWTH MANAGEMENT DEPARTMENT — DIVISION OF PLANNING & ZONING, CONFERENCE ROOM 610, LOCATED AT 2800 NORTH HORSESHOE DRIVE, NAPLES, FLORIDA. NOTE: ANY PERSON WHO DECIDES TO APPEAL A DECISION OF THIS BOARD WILL NEED A RECORD OF THE PROCEEDINGS PERTAINING THERETO, AND THEREFORE MAY NEED TO ENSURE THAT A VERBATIM RECORD OF THE PROCEEDINGS IS MADE, WHICH RECORD INCLUDES THE TESTIMONY AND EVIDENCE UPON WHICH THE APPEAL IS TO BE BASED. Any person in need of a verbatim record of the meeting may request a copy of the audio recording from the Collier County Growth Management Division Department of Planning and Zoning. ALL MATERIAL USED IN PRESENTATIONS BEFORE THE HAPB WILL BECOME A PERMANENT PART OF THE RECORD. THESE MATERIALS WILL BE AVAILABLE FOR PRESENTATION TO THE BOARD OF COUNTY COMMISSIONERS. 1. ROLL CALL/ATTENDANCE 2. ADDENDA TO THE AGENDA 3. APPROVAL OF THE AGENDA 4. APPROVAL OF MINUTES: March 19, 2021 5. OLD BUSINESS: A. HAPB Vacancy Status B. Marco Island Historic Society Letter Status C. Goodlette/Pine Ridge Road (Plot W) historic designation D. Horse Creek Historic Marker update by Chair E. Indian Hill Site on Marco Island 6. NEW BUSINESS: A. Certificate of Appropriateness for Mar -Good Park 7. REVIEW OF PROJECT AND ACTIVITY LOG: 8. PUBLIC COMMENTS: 9. HAPB COMMENTS: 10. ADJOURNMENT: November 20, 2020 MINUTES OF THE MEETING OF THE COLLIER COUNTY HISTORICAL/ARCHAEOLOGICAL PRESERVATION BOARD Naples, Florida, March 19, 2021 LET IT BE REMEMBERED, that the Collier County Historical/Archaeological Preservation Board in and for the County of Collier, having conducted business herein, met on this date at 9:15 A.M. in REGULAR SESSION in Conference Room #610, Collier County Growth Management Division — Planning and Regulation Building, 2800 N. Horseshoe Drive, Naples, Florida, with the following members present: CHAIRMAN: Eugene (Gene) Erjavec Austin Bell-(Z) Barry O'Brien- (Z) Elizabeth Perdichizzi-(Z) George Thompson ALSO PRESENT: Ray Bellows, Planning Manager, Zoning Services Timothy Finn, Principal Planner, Growth Management Amanda Townsend, Collier County Museums Roll Call/Attendance Chairman Eugene Erjavec called the meeting to order at 9:15 A.M. November 20, 2020 Roll call was taken and a quorum established. (Five members were present in person) 2. Addenda to the Agenda (None) 3. Approval of the Agenda George Thompson made motion to approve. motion. Carried unanimously 5-0. Eugene Erjavec offered second in support of the 4. Approval of the minute from November 20, 2020. George Thompson made motion to approve. Eugene Erjavec offered second in support of the motion. Carried unanimously 5-0. 5. Old Business A. Marco Island Historical Society Letter - They received vote to submit letter, and it will be signed by Austin Bell and proper offices, it will then be submitted. - Austin Bell asked what the next steps would be. - Mr. Ray Bellows stated the City's Attorneys office will start on it. B. Goodlette/ Pine Ridge Road - Amanda Townsend stated there is no real movement, but she has had conversations with the City Attorney. - Amanda Townsend also stated they would consider a quick claim to transfer the property. - Amanda stated the county owns Plot B, and are trying to get ownership of Plots Wand N. C. Horse Creek Historical Marker Update - Mr. Erjavec said he reached out to the management company and they were going to reach out to their board and get back to him. Mr. Erjavec stated he will make another call to them. 6. New Business A. HAPB Vacancy Status - Mr. Thompson advised he has reviewed the applications. Mr. Thompson made motion to accept Gladivette Benarosch. Mr. Bell offered a second in support of the motion. Carried unanimously 5-0. B. Solar Farm Cultural Assessment - Mr. Erjavec asked Mr. Bellows if some of the property goes over into Hendry County. - Mr. Bellows stated the county application only pertains to Collier County November 20, 2020 - Mr. Thompson advised they had a tentative motion to approve it last month, But could not because of the new rules with zoom and the quorums. - Tim Finn stated that the land is only in Collier County. Hendry County and Lee County were contacted, they reviewed and had no comment. - Mr. Finn stated Barron Collier is the owner of the property, and FPL is the contract purchaser. Mr. Thompson made motion to approve. Betsy offered second in support of the motion. Carried unanimously 4-0. C. Seminole Trail Government Center Trail Cultural Resource Survey - Mr. Erjavec stated the report is very good and said every board member should read. Mr. Erjavec made a motion to approve. Mr. O'Brien offered seconded in favor. Carried unanimously 4-0. D. Certificate of Appropriateness for Mar -good Park - Amanda Townsend promised she will not put this off any longer and she has emailed the architect plans over. Ms. Townsend will have more information at the next meeting. - Mr. Erjavec said they will vote on it next month. - Ms. Townsend said Mar -Good Park was purchased in 200. The particular project includes three small cottages that need to be restored. - Ms. Townsend stated the museum should be open Thursday- Saturday once staff member is onboarded. 7. Review of Project and Activity Log - Mr. Erjavec promised to have more information on Horse Creek next meeting. - Mr. Erjavec went over Indian Hill Site Project. They are attempting to organize what they can do with the status. Mr. Erjavec said there is a lot of activity and it is getting bigger. He stated the damage is done and now they need to decide how to proceed with preservation. - Mr. Erjavec said there is money available. It will remain until they find a direction. 8. Public Comments: (None) 9. HAPB Comments: - Betsey asked if Austin has gotten information in acquiring the fishing boat November 20, 2020 Mr. Bell stated he was contacted by the curator of the museum in Tallahassee that had an 11 ft long skip they had no use for. Mr. Bell went to Tallahassee and brought the boat back to Marco Island Historical Museum Campus. 10. Adjournment: The next HAPB meeting will be held on April 16, 2021 at 9:15 AM. There being no further business for the good of the County, George Thompson moved to adjourn. Seconded by Eugene Erjavec. Motion passed, 6-0. The meeting was adjourned by the order of the Chair at 9:45 A.M. Historical/Archaeological Preservation Board Chairman, Eugene Erjavec These minutes were approved by the Board/Committee on as presented , or as amended COLLIER COUNTY HISTORIC AND ARCHAEOLOGICAL PRESERVATION BOARD PROJECT & ACTIVITY TRACKING LOG (Revised on 41512021) Projects: PETITION PETITION ACCEPTED REVIEW COMMENT RE RF,SUB DATE SECOND HAPB HEARING BCC DATE HAPB/STAFF COMMENTS NUMBER TYPE DATE DUEDATE LETTER SENT DATES ACTIVE ITEMS Staff to discuss with HAPB Chair outcome of latest 1 HAPB Vacancy Status N/A N/A N/A N/A N/A N/A N/A 2/19/21 N/A approval in March of Gladyvette Benarroch regarding 3/19/21 comments from County Attorney. At March HAPB, vote was received to submit the letter and Interlocal Agreement with the it will be signed by Austin Bell and proper offices, and then z City of Marco Island N/A N/A 6/8/11 Pending Pending Pending Pending ON HOLD N/A it will be submitted. Zoning Manager stated the Attorney's office will start on it. At March HAPB, Museum Director reported there is no real movement, but had a conversation with with County Rosemary Cemetery (Plot W) 11/20/20 Attorney. She says they would consider a quick claim to 3 Historic Designation N/A N/A N/A N/A N/A N/A N/A 2/19/21 N/A transfer the property and that the County owns Plot B and 3/19/21 are trying to get ownership of Plots W and N. 10/19/01 HAPB Chair in March HAPB said he spoke with the 2/15/12 management company and they were going to reach out to Horse Creek Estates Historic 9/18/13 their board and get back to him. He will make another call 4 Marker & Designation N/A HD N/A N/A N/A N/A N/A 11/20/20 N/A to them. 2/19/21 3/19/21 The HAPB indicated that this site is a good example of why an interlocal agreement would be helpful. Chair stated in March HAPB that they are attempting to organize what they can do with the status. It is a burial ground which has had many distrurbances. There is a lot of activity and it is s Indian Hill Site on Marco Island N/A N/A N/A N/A N/A N/A N/A 3/19/21 N/A getting bigger. The damage is done and now they need to decide how to proceed with preservation. Will attempt to have conversations with nonprofits about how to preserve it. COLLIER COUNTY HISTORIC AND ARCHAEOLOGICAL PRESERVATION BOARD At March HAPB, Museum Director said she will not put this off any longer and she has emailed the architect plans. She 11/20/20 will have more information at next meeting. Chair said he'd 6 Mar -Good Harbor Park N/A N/A N/A N/A N/A N/A N/A 2/19/21 N/A vote on it next meeting. This project includes three small cottages COA 3/19/21 cottages which need to be restored. See comprehensive plan in meeting materials. COMPLETED PROJECTS Approved unanimously 4-0 @ HAPB 3/19/2021. All I Immokalee Solar Farm Cultural PL202000 Cu 2/19/21 reviews approved; CityView Status: Hearing Process - Assessment 01865 3/19/21 Open for Uploads Seminole Trail Government Approved unanimously 4-0 @ HAPB 3/19/2021. CityView z Center Cultural Resource PL201900 Cu 3/19/21 Status: Resubmit - Open for Uploads Survey and Assessment 00360 3 Roberts Ranch COA N/A Application is pending. Historic Guide 2019/2020 The printed copied have been delivered. Staff is working to 4 Update N/A N/A N/A N/A N/A N/A N/A N/A N/A distribute of other County agencies. Rivergrass Village SRA Overview on next meeting. s (Formally Town of Rural Lands PL201900 SRA 2/7/19 03/07/19 N/A N/A N/A N/A 2/25/20 West) 00044 (Village) Completed; Distributing Copies from the second printing 6 Historic Guide N/A N/A Done Done Done Done Done 12/19/12 N/A The HABB recommended approval of the historic PL- designation application. The BCC designated the structure 7 Pepper Ranch Hunting Lodge 20160000 HD N/A N/A N/A N/A N/A 1/20/16 12/12/17 historic with the adoption of Resolution 17-248 438 The BCC approved Resolution No: 08-139. The HAPB AR-2008- subsequently issued a COA to demolish the structure since 8 The Bula Mission 12981 HD 2/29/08 3/14/08 3/15/08 N/A N/A 11/21/07 5/13/08 it was deemed unsafe. The mission was demolished in 2011. AR-2008- The BCC approved Resolution No: 08-138 9 JT's Island Store HD 2/29/08 3/14/08 3/15/08 N/A N/A 11/21/07 5/13/08 12980 AR-2007- The BCC approved Resolution No: 08-317 10 Nehrling's Tropical Garden HD 6/5/07 6/19/07 9/19/2007 N/A N/A 3/21/07 10/28/08 11828 The BCC approved Resolution No: 07-150; The HAPB 1 1 Hart Cottage on Keewaydin AR-2006- HD 9/7/06 9/21/06 9/22/2006 4/18/2007 5/2/2007 11/15/06 6/12/07 voted to approve a COA allowing the owner to demolish the Island [Fascher House] 10449 COA 7/18/12 subject condemed historic structure. AR-2003- The HAPB voted 4 to 0 to reject the application for Historic 12 North Naples Country Club 4796 HD 2/29/03 3/29/03 3/29/03 4/6/2003 4/16/2003 4/16/03 5/21/03 Designation AR-2001- The BCC approved Resolution No: 01-180 13 Robert's Ranch (Tract D) HD 1/19/01 5/8/01 0404 14 Stewards of Heritage Award N/A N/A N/A N/A N/A N/A N/A N/A N/A The Florida Archaeological Council award to HAPB COLLIER COUNTY HISTORIC AND ARCHAEOLOGICAL PRESERVATION BOARD 15 Old Marco Inn HD-98-1 HD 3/10/98 3/10/1998 N/A N/A 4/17/98 8/10/98 The City of Marco Island approved Resolution Number: 98- 24. Old Marco Inn Redevelopment COA-2018. A site visit was held on 3-21-18 and the HAPB 16 COA 3/18/18 4/18/2018 N/A N/A 4/18/18 N/A subsequantely approved a COA for the proposed changes Plans 01 to the inn. Morris Property - 151 The BCC denied the request by the HAPB to designate an 17 Smallwood Drive (Initiated by HD-97-02 HD 05/29/97 6/20/97 9/22/97 N/A N/A 10/24/97 1/27/98 archaeological shell work as locally significant because the the HAPB) site was previously impacted by development and the property opposed designation. 18 Roberts Ranch (Tract E) HD-97-01 HD 06/02/97 7/2/97 7/3/97 N/A N/A 5/9/97 9/16/97 The BCC approved Resolution No: 97-358 19 Captain John Horr's Residence HD-95-1 HD 2/10/95 3/13/95 3/13/95 10/3/1995 11/3/1995 3/13/95 1/16/96 The BCC approved Resolution No: 96-20. The site was also placed on the National Register of Historic Places. 20 Ochopee Post Office HD-94-1 HD 6/16/94 7/16/94 7/20/94 N/A N/A 8/17/94 9/27/94 The BCC approved Resolution Number: 94-706 21 Rosemary Cemetery HD-93-3 HD 11/8/93 11/23/93 11/23/93 N/A N/A 9/10/93 12/21/93 The BCC approved Resolution Number: 93-614 22 Margood Park Historic AR-2006- HD 10/18/06 11/15/06 12/20/06 1/17/2007 2/28/2007 6/18/14 1/13/15 The BCC designated as an historic site with the adoption of Designation 10679 Resolution Number: 2015-15 23 Ted Smallwood's Store HD-93-2 HD 6/22/93 7/15/93 8/4/93 N/A N/A 8/13/93 9/13/93 The BCC approved Resolution Number: 93-387 The BCC approved Resolution Number 93-230; A COA was 24 Weaver's Station HD-93-1 HD 9/10/93 9/15/93 5/15/93 N/A N/A 5/25/93 6/8/93 approved to allow a museum addition but the structure was destroyed by Hurricane Andrew. The HAPB voted not to recommend that the subject 318 Mamie Street Historic HAPB property be designated since the property owner opposed 25 Designation (Initiated by the N/A HD Notice N/A N/A N/A N/A 5/20/15 N/A the designation and because the site was previously HAPB) Letter impacted by development. The applicant has been informed of this decision. 26 Update the H/A Probability N/A N/A N/A N/A N/A N/A N/A 1/17/20 N/A The HAPB approved the updated maps during their 1/17/20 Maps - 2020 meeting Add H/A Probability Maps to The H/A Probability Map data has been added to the GIS 27 the County's GIS - Update N/A N/A N/A N/A N/A N/A N/A 3/19/14 & N/A database for staff use. Map updated to include Florida Maps 2019 Master Site data. Current HAPB members for each category include: • History: Austin Bell • Archaeology: Barry O'Brian • Real Estate/Land Development or Finance: Patricia Sherry • Architecture/Engineering/Building Construction or Landscape Architecture: [Vacant] • Law or Urban Planning: George Thompson • Citizen -At -Large: Eugene Erjavec and Elizabeth Perdichizzi DIVISION 24. - HISTORIC/ARCHAEOLOGIC PRESERVATION BOARD Sec. 2-2000.11 - Establishment. There is hereby created a Historic/Archaeological Preservation Board ("Preservation Board,") which shall serve as an advisory board to the BCC for Collier County, Florida. The Preservation Board is vested with the power, authority, and jurisdiction to designate, regulate, and administer historical and archaeological resources in the County under the direct jurisdiction and control of the BCC. (Ord. No. 2009-33, § 1) Sec. 2-2000.12 - Powers and Duties. The Preservation Board shall have the following powers and duties: (a) To propose rules and procedures to implement the provisions of this section to the BCC; (b) To create a map delineating the areas of archaeological and historical significance which shall be subject to approval, by resolution, of the BCC. This map shall be known as "The map of Areas of Historical Archaeological Probability" and shall be completed within 1 year from the date of the first meeting of the Preservation Board; (c) Maintain and update the map of Areas of Historical Archaeological Probability at intervals not to exceed 5 years. All subsequent changes to the map shall be subject to approval by the BCC; (d) To designate specific sites, structures, districts, buildings, and properties as historically and or archaeologically significant in accordance with Section 2.03.07 E. of the Collier County Land Development Code; (e) To seek assistance and advice on technical related matters requiring professional expertise; (f) To maintain a master file of sites, districts, structures, buildings and properties designated as historically significant; and maintain a separate master file of sites designated as archaeologically significant; (g) To prepare and recommend to the BCC financial and technical incentive programs to further historic and archaeological preservation; (h) To increase the awareness of historic and archaeological preservation and its community benefits by promoting public education programs; (i) To apply for, in the name of the County only, grant assistance from State, Federal, or private sources for the purpose of furthering historic and archaeological preservation subject to approval of the BCC; (j) To review the appropriateness of applying for the designation as a certified local government (36 C.F.R. § 61 (2001)) on behalf of the County; (k) Upon the County's designation as a certified local government, to review and make recommendations concerning National Register of Historic Places nomination proposals to the Florida Review Board; (1) To identify criteria for determining the potential location of historical archaeological sites which shall be used by project review services during site inspection; (m) To design an application for the certificate of appropriateness; (n) To issue certificates of appropriateness based on criteria outlined in the U.S. Secretary of the Interior's "Standards for Rehabilitation" 36 C.F.R. § 67 (2001), as amended, and incorporated by reference herein; (o) To design an application for an historical archaeological survey and assessment waiver request; (p) Review appeals for historical archaeological survey and assessment waiver requests denied by the County Manager or designee; (q) To design an application for designation of specific sites, districts, structures, buildings, and properties as historically archaeologically significant; and (r) To perform any other function or duty assigned by the BCC. (Ord. No. 2009-33, § 1) Sec. 2-2000.13 - Membership. (a) Appointments. The Preservation Board shall consist of 7 members appointed by the BCC. Each member of the Preservation Board shall hold office only so long as he or she is a resident of Collier County, Florida. Appointments shall be made by resolution of the BCC on the basis of a potential member's involvement in community issues, integrity, experience, and interest in the field of historical and archaeological preservation. (b) Qualifications. The BCC shall appoint 1 member from each of the following categories: (1) History; (2) Archaeology; (3) Real estate, land development or finance; (4) Architecture, engineering, building construction, and landscape architecture; and (5) Law or urban planning. The 2 remaining positions shall be filled by citizens at large. (c) Term. All appointments shall be made for 3 years. A Preservation Board member shall be eligible for reappointment, but shall be limited to 2 consecutive terms. (d) Officers. The members of the Preservation Board shall elect a chairman and a vice-chairman for a 1 year term each. The chairman shall preside at all meetings and shall have the right to vote. The vice- chairman shall preside in the absence of the chairman. The chairman and vice-chairman may be reelected for an additional 1 year term each, but may not serve for more than 2 consecutive years. (e) Removal. Prior to the expiration of his or her term, a member of the Preservation Board may be removed from office by a majority vote of the BCC. A member of the Preservation Board shall be automatically removed if he is absent from 2 consecutive meetings without a satisfactory excuse or, in the alternative, if he is absent from more than'/ of the meetings in a given fiscal year, provided that the Preservation Board has met at least 8 times in the given fiscal year. Members shall be deemed absent from a meeting when they are not present during at least 75 percent of the meeting. (f) Vacancy. The BCC shall fill the vacancy by appointment. (Ord. No. 2009-33, § 1) Sec. 2-2000.14 - Compensation. Members of the Preservation Board shall serve without compensation. (Ord. No. 2009-33, § 1) Sec. 2-2000.15 - Meetings. (a) The Preservation Board shall meet at least once per month, at a date and time to be decided by the Preservation Board, unless there is no business pending before the Preservation Board. Regardless of the lack of pending business, the Preservation Board shall meet at least 4 times during any calendar year. (b) All meetings of the Preservation Board shall be open to the public. (c) A public record of the Preservation Board's minutes and resolutions shall be maintained and made available for inspection by the public. (d) The Preservation Board's meeting agenda shall be published the Sunday prior to the scheduled meeting in a newspaper of general paid circulation in the County and of general interest and readership in the community. The ad may be placed where other legal notices appear. (Ord. No. 2009-33, § 1) Sec. 2-2000.16 - Repeal of Ordinance. Collier County hereby readopts Section 8.07.00 (Historic/Archaeologic Preservation Board) of the Collier County Land Development Code in its entirety, as a separate, stand-alone ordinance, as set out herein. Concurrent with the effective date of this ordinance, Section 8.07.00 (Historic/Archaeologic Preservation Board) of the Collier County Land Development Code is hereby repealed in its entirety. (Ord. No. 2009-33, §§ 1, 2) Advisory Board Application Form Collier County Government 3299 Tamiami Trail East, Suite 800 Naples, FL 34112 (239) 252-8400 Application was received on: 2/11/2021 7:37:11 AM. Name: Gladyvette Benarroch Home Phone: 2392538507 Home Address: 847 Rose Ct City: Marco Island Zip Code: 34145 Phone Numbers Business: 239-3891468 E-Mail Address: alsmarco vette mail.com Board or Committee: Historical/Archaeological Preservation Board Category: Not indicated Place of Employment: Affordable Landscaping Service & Design, LLC How long have you lived in Collier County: more than 15 How many months out of the year do you reside in Collier County: I am a year-round resident Have you been convicted or found guilty of a criminal offense (anv level felonv or first degree misdemeanor only)? Nol Not Indicated Do you or your employer do business with the County? No Not Indicated NOTE: All advisory board members must update their profile and notify the Board of County Commissioners in the event that their relationship changes relating to memberships of organizations that may benefit them in the outcome of advisory board recommendations or they enter into contracts with the County. Would you and/or any organizations with which you are affiliated benefit from decisions or recommendations made by this advisory board? No Not Indicated Are you a registered voter in Collier County? Yes Do you currently hold an elected office? No Do you now serve, or have you ever served on a Collier County board or committee? No Not Indicated Please list vour communitv activities and positions held: Past Member Marco YMCA Board of Directors Past Member Greater Marco Island Recovery Group Board Member Marco Island Noon Time Rotary Club Member National Association of Realtors Member Marco Island Realtor Association Member Naples Area Board of Realtors Member National Notary Association Member Florida Nursery Growers Landscape Association Member International Society o Arboriculture Member Certified Pest Control Operators of Florida Member American Legion Post 404 Member Florida Storm Water Association Member Marco Island Chamber of Commerce Education: BBA Marketing Interamerican University of Puerto Rico Masters Degree Marketing Southern Hampshire University Certificate Entomology & Pest Control University of Florida Certificate Professional Landscape Design Program School of Landscape Design Georgia FNGLA Certifiec Horticulturist Certified Arborist Certified Pest Control Operator Florida Green Industries Best Manaeement Practices Instructor Florida Notary Florida Realtor Experience / Background I am currently owner of a full service landscaping company and a Realtor. My experience and background are in the green service industries, real estate, marketing, public relations and communications fields. I am an Air Force Veteran having served in Operation Desert Storm. I a lingual English -Spanish. Advisory Board Application Form Collier County Government 3299 Tamiami Trail East, Suite 800 Naples, FL 34112 (239) 252-8400 Application was received on: 2/14/2021 10:24:16 AM. Name: James Bennett Home Phone: 2398770614 Home Address: 17713 Jewel Lane Unit 204 City: Naples Zip Code: 34109 Phone Numbers Business: E-Mail Address: Erb.na les mail.com Board or Committee: Historical/Archaeological Preservation Board Category: Not indicated Place of Employment: Parker Aerospace How long have you lived in Collier County: more than 15 How many months out of the year do you reside in Collier County: I am a year-round resident Have you been convicted or found guilty of a criminal offense (anv level felonv or first degree misdemeanor only)? Nol Not Indicated Do you or your employer do business with the County? No Not Indicated NOTE: All advisory board members must update their profile and notify the Board of County Commissioners in the event that their relationship changes relating to memberships of organizations that may benefit them in the outcome of advisory board recommendations or they enter into contracts with the County. Would you and/or any organizations with which you are affiliated benefit from decisions or recommendations made by this advisory board? No Not Indicated Are you a registered voter in Collier County? Yes Do you currently hold an elected office? No Do you now serve, or have you ever served on a Collier County board or committee? Yes Public Transportation Advisory Committee. Please list your community activities and positions held: 1) Chair of American Society of Quality, Southwest Florida Chapter 1530. 2) Currently an Advisor to Collier Countv Public Transportation Advisory Committee. Education: Quality and Manufacturing Engineer, Embry Riddle University and Florida Southwestern State College. Experience / Background 1) 32 years in Quality and Manufacturing Engineering in Aerospace and Defense. 2) Current student in Florida Master Naturalist Program. 3) Climate Change enthusiast enrolling in Florida Atlantic University certification in Environmental Sciences. A COMPREHENSIVE PLAN OF: COLLIER COUNTY MARGOOD COTTAGES GOODLAND, FLORIDA 325 PEAR TREE AVE. GOODLAND, FLORIDA 34140 July 10, 2020 AIN A R C H I T E C T S III p 000 ARCHITECTURE - INTERIOR DESIGN - BUILDING ENVELOPE 211 JOHN KNOX ROAD, SUITE 105 AA 26003006 PH: (850) 385 9200 FAX: (850) 422 3140 TALLAHASSEE, FLORIDA 32303 www.mldarchitects.com Email: mld@mldarchitects.com REPORT CONTENTS — AT A GLANCE 1.1 Introduction........................................................................................................................ 2 1.2 Historical Context and Archaeological Significance....................................................... 3-4 1.3 Audience identification and stakeholders..................................................................... 5-6 1.4 Executive Summary............................................................................................................. 7 1.5 Existing Conditions....................................................................................................... 8 - 12 2.1 Site Analyses and Programming................................................................................ 13 - 26 2.2 Order of Magnitude Budget Estimate....................................................................... 27 - 29 3.1 Conclusion......................................................................................................................... 30 Appendix A. Concept Renderings and Inspiration Collages............................................................ 31 B. National Park Services Historical Preservation Brief for Reference ............................... 32 - 143 C. Victor J Latavish Architect Report................................................................................144 - 181 The following assessment was performed by: AIN A R C H I T E C T S III lop 1.1 INTRODUCTION This report was prepared for Collier County, for use in the planning and implementation of site improvements and interpretive displays at the Margood Cottages Site. The Collier County Facility Management provided access to the site, existing structures, and historical background on the site. This report includes a general description of the property, an overview of the historical and archaeological significance of the site, identification of the programming and interpretive goals, and a schematic design and implementation plan. Information for this report was gathered through interviews conducted by MLD Architects, field observations, and review of relevant historical document. In addition, documentation prepared by Victor J Latavish Architect, PA was used and has been included in this document in the appendix. This report was prepared for the Collier County Museums and is available for their exclusive use. The client and their representatives may reproduce this report for internal use, but it shall not be copied or reproduced for outside agents without prior written approval. Aerial photo of Goodland, Florida. Page 1 2 1.2 HISTORICAL CONTEXT AND ARCHEOLOGICAL SIGNIFICANCE Margood Park Site was developed by two retired circus performers, Reckless Rex Johnson and his wife Reckless Ruby, who quit the circus business and went into the fish camp business. The resort several completely furnished, many one and two -bedroom cottages, some built as early as the 1920s, that could be rented daily, weekly, monthly, or seasonally. The recreation hall was built during WWII and was at some point, used by the military. There was a cistern that was used for fresh water. The hall was set up to show movies and have live performances to keep the guests entertained in inclement weather or when the fish were not biting. Margood is now open to the public as a county park. The Margood Park property contains approximately 2.5 acres. The lots are located on Goodland, adjacent to Papaya Street, Pear Tree Avenue, and Pettit Street in Section 18, Township 52 South, Range 27 East. Photo 1.2.1 Goodland, Florida parcel map. The four surviving cottages of Goodland's rich fishing village are in this park. These original structures were relocated to this site during the early 1920s and still remain to this day in the present location. The cracker style cottage is constructed using local cedar wood. The structure features a 5-v crimp metal roof, cladded on the exterior with novelty style wood cove siding with 2x4 wood studs and wood paneling in the interior walls and ceiling. The structure introduces an entry portico and covered landing with concrete steps that lead to the front door of the cottage. The architectural design of the cottage features an open plan, with space for fishermen sleeping quarters, a small kitchen, and a closet for storage. The bathroom area located in the back of the structure with additional modifications/additions of a toilet, sink and a small bathing area. The cottages are placed on elevated concrete footings that allow for ventilation and keeping out pests. The cottages utilize cross ventilation by strategically placing one large double -hung wood style windows on each perimeter wall. Page 1 3 The Margood Park cottages conditions are in dire repair and restoration. All cottages have boarded windows and doors. Some are missing exterior trim and siding. The existing roof has reached its expected lifetime. In the interior, the double -hung wood windows are in need of repair. The interior walls and ceilings are damages upon repair. The existing architectural casework are in need of some replacement and the cottage in the park also features a contemporary addition (pop -out) shower enclosure that is not part of the original structure, hence should be remove in order to preserve the architectural significance of these structures. Photo 1.2.2: Typical cottage exterior. Page 14 1.3 AUDIENCE IDENTIFICATION AND STAKEHOLDERS The intended audience for this site includes heritage tourists, the local community, and affinity organizations. To address the expectations of the intended audience, the following site development and programmatic needs or amenities required for each group have been identified: Heritage Tourists • Interpretive displays highlighting the history and archaeological significance • Access to museum exhibits and historical artifacts • Programming that appeals to both children and adults Local Community • Buffer zone between site and Margood Park • Pedestrian access to adjacent residential neighborhoods • Pedestrian access to Interpretive Center Affinity Groups • Park amenities — picnic tables, restroom access, food preparation area, etc. • Adequate parking for large gatherings In addition to the audience identification, we have prepared a partial list of the stakeholders who may have a vested interest, or require review, of the development at this site. It has been noted that this property is listed on the Local Register of Historic Places, which require additional review and approval for development of this site. Stakeholders • Division of Historical Resources (DHR) and Bureau of Archaeological Research (BAR) • Board of Trustees of the Internal Improvement Trust Fund of the State of Florida, Department of Environmental Protection • Collier County Growth Management Division • Local Elected Officials & Community Supporters • Affinity Groups o Marco island Historical Society o Goodland Arts Alliance (GAA) o Florida Trust for Historic Preservation To facilitate the development of the site and promote the buy -in by the stakeholders, we would recommend the following: Page 15 Community Outreach and Planning • Request community input through surveys or community forums • Present the Construction Documents design to all permitting agencies, Community of Goodland, State Fire Marshal, etc. • Develop a schematic design package for marketing and community outreach • Promote the site development and new facilities on the DHR website • Coordinate with other Goodland heritage sites for marketing • Request signs and promotion as a heritage destination Page 16 1.4 EXECUTIVE SUMMARY At the request of the Collier County Parks and Recreation and Collier County Museums, MLD has prepared the following Programming, Planning and Construction Documents for the Margood Cottages Site. This study includes analyses, schematic diagrams, and recommendations for development of the Margood Park Cottages. In addition, the report includes an action plan for the site and museum exhibition development, with preliminary budget estimates, to be implemented over one (1) year. The Construction Document design includes trails and exhibits for educational outreach focused on the Fishers Village and vernacular architecture, during the early 20t" century, at the Goodland harbor. To illustrate the themes, the site showcases a linear path —navigating its user to the different stations regarding the history embodied in this site. The first stop is the main entrance where the visitor will learn briefly about the history of this site. The path navigates the user onto the new open-air pavilion, where the community can meet to discuss/learn more about this site and use the space and a gathering area, which is much needed in the Goodland community. This journey will showcase a stop at the existing cistern, were visitor will learn about its history and the current use —irrigation for the site. The first structure in the path will showcase an exterior restoration of the cracker style cottage. Here the visitor will learn more about this vernacular style of building and learn about the passive techniques use in these structures, such as cross ventilation. The second structure will showcase an exterior restoration of the cottage, were visitor could learn about the fisherman's community, how they lived on a day-by-day and the usage these fishermen gave to these cottages in the early 20tn century. The third and final installment will dive into the historic site stewardship, the process of restoration and will illustrate a full restoration of a cottage (exterior and interior). The interior of this cottage will allow visitor to view a mock area of how the fisher's village cottage was arranged when the structure was occupied and to showcase a period of this region's rich forgotten history. The following design proposal looks for the least invasive approach to the restoration of this site and follows the Secretary of the Interior Nation Park Service Historic Preservation Standards and Guidelines. Page 17 1.5 EXISTING CONDITIONS The existing park at Pear Tree Avenue where the existing cottages are located was documented by MLD Architects to ascertain the existing conditions of the property. The park is unpaved and has numerous bursera simaruba, commonly known as gumbo -limbo trees, and araucaria heterophylla commonly known as norfolk pines. Along the perimeter of the site there are several existing hedges. The site has an existing masonry cistern adjacent to a structure that has been scheduled to be demolish because of its asbestos and lead containing hazardous materials. The following photographic documentation will illustrate the existing conditions of the Margood Park site. Photo 1.5.1: Panoramic image of the site looking southeast. Photo 1.5.2: Cottage #1 West elevation. Photo 1.5.3: Cottage #1 South Elevation. Page 1 8 Photo 1.5.4: Cottage #1 East Elevation. Photo 1.5.8: Typical concrete piers. Photo 1.5.5: North wall of Cottage #1. Photo 1.5.7: Typical cottage subfloor wood structural beams over concrete piers. /' 'V -Fps A"1 Photo 1.5.9: Typical `V' crimp roofline. Page 1 9 Photo 1.5.10: Typical eave edge/rafter condition Photo 1.5.12: Cottage #2 West elevation. Photo 1.5.14: Cottage #2 East Elevation. Photo 1.5.11: Cottage #1 entry concrete steps. Photo 1.5.13: Cottage #2 North Elevation. Photo 1.5.15: Cottage #3 North Elevation. Page 1 10 Photo 1.5.16: Typical cottage interior conditions. Photo 1.5.18: Typical cottage roof framing. Photo 1.5.20: Typical cottage louver. Photo 1.5.17: Typical cottage interior conditions. ii Photo 1.5.19: Typical cottage wood window conditions. i Photo 1.5.21: Typical cottage wood siding conditions. Page 1 11 Photo 1.5.22: Cottage #4 looking southeast. Photo 1.5.24: Cottage #4, North Elevation Photo 1.5.23: Cottage #4, looking northeast. Photo 1.25: Existing concrete block cistern. Page 1 12 2.1 SITE ANALYSES AND PROGRAMMING The site analyses looked at the following categories: site zones, circulation, landscape buffers, site development adjacencies, and proposed future renovations of existing structures. In each category, key points are identified, and recommendations or design implications are highlighted. Site 7nnPc This site is located between a park and a residential zoning district. To the north, east and south are residential neighborhoods. To the west of Margood Park, which is near the harbor with the docks and a two -minute drive from the Calusa Island Marina. This site is a transitional piece of property between the two zoning districts. M- DARK M - IRE31DE1471AL. Page 1 13 Visitor Arress To gain access to the site without entering the residential neighborhood is be by utilizing the provided parking lot at the Margood Park. This park has existing pedestrian paths that lead to the site. The primary pedestrian circulation is from the south, through adjacent to the parking lot of the Margood Park. Wayfinding signage would enhance the visitor's experience. We recommend utilizing the existing path through the park with appropriate signage to help guide the visitors. 01,-UL F, Aca55 " �E17EyYKlA+-k &Cesc Page 1 14 Landscape Buffers and Views Because it is located between a residential district, the site design should include a buffer on all sides adjacent to residential neighborhoods. The site currently has existing landscaping buffers in its perimeters in the form of hedges. We recommend maintaining all existing the trees located in the inside of the site perimeter, including all hedges. We recommend developing the trails through the existing landscape and interpretive displays to all be place in a mannerthat will not disturb the existing landscape. -FXS*+ac LAa05CAVE -�uFFFF, JW-D,gFVrgV45 ED- 544DE/TREECYERAGE Page 1 15 N.mrmmIrr. Because the site is located between a residential district, the majority of the sound pollution comes from the main road, Pear Tree Avenue that provides access to the Margood Park. Throughout our entire visit, minimal traffic was observed, and obtrusive sound was not a concern. in- MusD oLLLmoM ItIYo StTr— Page 1 16 AmPnitiPS The site is part of the Margood Park and will share its amenities. The following diagrams illustrates the proximity to these amenities and how the Cottage site will benefit by not having to incur in additional expenses to provide these critical features. Discussions with permitting authorities have noted no issue with sharing amenities with the established and directly adjacent park site. f� o 7ARK1194 Lpgr' ZZ 5 rr 4 ADA AG 297 cT r�a�rr! 343tr 435 yr PA" r`ir+'I�um£5 Page 1 17 Programming The project site will have four main programmatic elements. The entrance of the site will provide a clear way to navigate and take the visitors to their first stop, the general education station. This programmatic element will be key to provide a much -needed space for the community to learn and explore the history of this site and its surrounding neighborhood, restaurants, and marinas. This area will serve also as an opportunity to educate visitors on sustainable strategies implemented on site and the strategies used in the site that can be implemented in their own home. The second programmatic component is the Architectural Significance area where meaning will be described, and visitors will engage into an architectural history lesson on Florida's vernacular architecture and style. The axillary station will provide insight into the restoration efforts that Collier County Museums is doing to preserve and restore this site, including its structures. The third component of this site is the Fishing and Nautical History element, where visitors will have the opportunity to engage into the history of Goodland, the boats, the rigging, the notable figures in history, and why fishing has been so important for this community. The last programmatic element is the Typical Fishing Cottage, where visitors will explore the day to day life of a fishermen and the approaches they had to their life. Lire W11-11 `I �jPilers �u1sA�MsttN 5>)CAT(0r 1 l opi Cg .r Interpretive Goals and Objectives • Develop an educational resource for the community • Interpret the heritage embodied in the site • Increase public access to the site • Expand the current exhibition space • Provide a space for community engagement Page 1 18 Scope of work The scope of the project includes the demolition of an existing cottage that is structurally compromised and has hazardous asbestos and lead containing material. In its place, a new open-air outdoor pavilion will be constructed. The scope of work for the two cottages located to the east side of the site will consist of an exterior restoration and the cottage located to the north will be fully restored (interior and exterior) per the Construction Documents. The interior will then be interpreted with period furniture pieces, pail, tackle, and other elements used in the early 1920's by the fishermen. Aso `J DeMULMOM Of EK15TING Co't'FAQE, oc +a,.nwb l - EXiEEi40P' �E5'roR.a+t aS 0MLJ . - rW%_L REJT.1Z4- W AID INTER ETED +ATfR�oR Page 1 19 Pedestrian circulation on site The site circulation will be a linear path. This path will consist of a concrete ADA compliant paved surface that will allow an accessible rout to through the restored cottages. Trc9 RIAQ CSRCuL4,rtd,4 GM $irE Page 1 20 Site plan The site plan will leave all the existing structures in their current location. The new pavilion will be placed over the existing footprint of the demolished structure. The pedestrian circulation path will tie together all the programmatic elements together. New wayfinding signage will provide an insight to the sites history and depict the programmatic elements of the project. New planting beds and accent landscape with mulch/straw will be added below the existing trees and hard to maintain areas illustrated below in brown/orange. Page 1 21 Site lighting The lighting scheme of the site will be a combination of ambient lighting through bollard fixtures and simple ceramic one bulb light fixtures. Although it is not intended to allow access to the site during evening hours, the proposed fixtured will provide added security to the site. Page 1 22 Site Security Their will be only one entrance to the site through a six feet high simulated wrought iron fence with a lockable gate for easy control. The proposed fencing's permeability will maximize views between the park site and the cottage site while providing a secure barrier after hours of operation. One cottage structure will have open access and a have a lockable door that will help County staff open/close after park closes. All other cottages will have no access to the public at this stage, but can be restored in the future, if desired. LOCKABLE mot L'MOBCE GArE MON x - PEFk1NC. 1M1,' Q ■ - �� Cl - h�o AaE55 � - �cESs [�-To view oN�y Proposed Fencing Types Page 1 23 Site signage The proposed signage will be as follows: 1. Welcome Signage: Brief History of the site and its cottages 2. Interpretive Signage: Cistern History and Current use for irrigation 3. Interpretive Signage: Design strategies used in the cottages such as cross ventilation for keeping the users cool after a long day of fishing 4. Interpretive Signage: Design strategies used in the cottages such as off grade housing for control of unwanted pest but also for rising water mitigation and the use of wood as a source for building. S. Interpretive Signage: Brief introduction of the fisherman community in Goodland and the tools used for these early 20th century fishing expeditions. 6. Interpretive Signage: Brief historical account for the community stewardship with the site and the glimpse of the restoration process. 7. Interpretive Signage: A brief description of the interior accommodations inside the cottage and what is was like to be a fisherman. Page 1 24 Signage typography The standard typeface is Futura. Characters are shown below for visual reference. when it comes to wayfinding signage because they are the easiest to read at a glance. Size -wise, we recommend applying this rule of thumb: for every 3 meters (10 feet) of viewing distance, the font should measure 2.54 centimeters (1 inch). Futura Light - For text ABC D E FG H IJ KLM N O PQ RSTUVWXYZ a b c d e f g h I I kI m n o pq r s t u v w x y z 1234567890 Futura Demi Bold - For titles ABC D E FG H I K L M N O PQ R S T U V W X Y Z abcdefghIikImnopgrstuvwxyz 1234567890 Futura Extra Bold - For titles ABCDEFGH IJ KLMNOPQRSTUVWXYZ abcdefghIikImnopgrstuvwxyz 1234567890 Signage color For Print For Print For Print PMS Red 032 White PMS Cool Gray 2 C:00 M:90 Y:86 K:00 C:00 M:00 Y:00 K:00 C:00 M:00 Y:00 K:20 Page 1 25 Signage examples Wayfinding signage will be made with 1/4"corten steel with 2 mill high information posters and low- level directional signage with vinyl print information. Below are a few example photos. For main entry signage with integrated map of the park For site signage Page 1 26 2.2 ORDER OF MAGNITUDE BUDGET ESTIMATE Line item order of magnitude budget estimate: Collier County, Margood Cottages Restoration Preliminary Budget Estimate Description of Work: Totals Restoring Margood Cottages and Installing a New Education Pavilion GENERAL CONDITIONS $38,300 COTTAGE #1 EXTERIOR Roofing System Tear -Off Existing Roofing System Wood Decking Replacement Faming Replacement Rubberized Underlayment Edge Metal, Fascia Metal & Counterflashings Fascia & Soffit Replacement New 5 V Crimp Metal Roofing System Exterior Envelope Removal of Existing Non -Historic Bathroom Addition Infill Wall Restore Doors Restore Windows Siding Repairs Preparation, Priming and Painting Exterior Removal of Existing Stairs Installation of New Concrete Stairs, Landing and Railings New ADA Ramp and Railings Foundations Tuck Pointing & Repair Structural Stabilization Subtotal: COTTAGE #1 INTERIOR Floor Restoration Beadboard Walls Ceiling Restoration Casework Restoration Period Fixtures Subtotal: r� �I $500 $200 $200 $700 $4,500 $600 $8,100 $500 $3,000 $1,200 $4,800 $2,000 $3,400 $300 $2,500 $3,500 $700 $6,000 $42,700 $2,600 $4,800 $2,600 $8,000 $4,000 $22,000 Page 1 27 COTTAGE #2 EXTERIOR Roofing System Tear -Off Existing Roofing System $500 Wood Decking Replacement $200 Faming Replacement $200 Rubberized Underlayment $700 Edge Metal, Fascia Metal & Counterflashings $4,500 Fascia & Soffit Replacement $600 New 5 VCrimp Metal Roofing System $8,100 Exterior Envelope Removal of Existing Non -Historic Bathroom Addition $500 Infill Wall $3,000 Restore Doors $1,200 Restore Windows $6,000 Siding Repairs $2,000 Preparation, Priming and Painting Exterior $3,400 Removal of Existing Stairs $300 Installation of New Concrete Stairs, Landing and Railings $2,500 New ADA Ramp and Railings $3,500 Foundations Tuck Pointing & Repair $700 Structural Stabilization $6,000 Subtotal: $43,900 COTTAGE #3 EXTERIOR Roofina Svstem Tear -Off Existing Roofing System $500 Wood Decking Replacement $200 Faming Replacement $200 Rubberized Underlayment $700 Edge Metal, Fascia Metal & Counterflashings $4,500 Fascia & Soffit Replacement $600 New 5 VCrimp Metal Roofing System $8,100 Exterior Envelope Removal of Existing Non -Historic Bathroom Addition $500 Infill Wall $3,000 Restore Doors $1,200 Restore Windows $4,800 Siding Repairs $2,000 Preparation, Priming and Painting Exterior $3,400 Removal of Existing Stairs $300 Installation of New Concrete Stairs, Landing and Railings $2,500 New ADA Ramp and Railings $3,500 Foundations Tuck Pointing & Repair $700 Structural Stabilization $6,000 Subtotal: $42,700 Page 1 28 EDUCATION PAVILLION Pre-engineered Premanufactured Education Pavilion Structure $12,000 Concrete Foundations $14,000 Dis play Wall $3,200 Eave Hung Gutter & Downspout System $2,100 Subtotal: I $31,300 CISTERN RESTORATION/ IRRIGATION SYSTEM Structural Restoration $6,000 Interior Coating $4,200 Plum bing/Pump/Irrigation S tem $22,000 Subtotal: $32,200 SITE LIGHTINCIELECTRICAL WORK Site Lighting Fixtures $5,000 Site Lighting Conduitand Conductors $4,200 Cottage and Pavilion Fixtures $4,000 Cottage and Pavilion Conduit and Conductors $2,000 Subtotal: $15,200 SITE WORK Signage $25,000 Beds and Plantings $8,000 Sidewalks $21,800 Subtotal: $54,800 HAZARDOUS MATERIALS ABATEMENT Removal, Monitoring, and Disposal $65,000 Subtotal: $65,000 Construction Subtotal $388,100 Owner's Contingency $38,800 Architect/Engineering Construction Administration Fees, Environmental, and Permitting $21,300 Contractor OH&P $48,700 PRELIMINARY ORDER OF MAGNITUDE CONSTRUCTION BUDGET $496,900 This opinion of probable cost is based on our observations, recommendations, the design solution shown in the Design Development Submittal Documents, and assumptions concerning the existing construction and concealed conditions. Costs are based on Mean's Building Construction Cost Data Repair and Remodeling Cost Data, previous experience on similar projects, and discussions with qualified contractors. In providing this opinion of probable cost we have no control over the price of labor, equipment, materials, or over methods of pricing used by contractors. We provide this opinion based on our qualifications and experience, and we make no warranty, expressed or implied, as to its accuracy as compared to construction bids or actual costs. Our field investigation, our conclusions, and our recommendations are based on our professional judgment. We did not use any destructive testing methods or specialty tools or instruments, nor did we remove any roofing material or exterior finishes. Page 1 29 3.1 CONCLUSION The development and promotion of the Margood Park Cottage site is a sound investment in both the economic and cultural heritage of the Goodland community. The site adds another layer to the rich cultural heritage of the region. The history embodied in this site illustrates the fisherman village life and the way the early 201h century Goodland started to develop, especially the importance that fishing has been and continues today to be predominant source of income to the region, and how this memory of Florida's past cannot be forgotten. The interpretive and educational opportunities that are present in the site between the historic cottages and the new pavilion will provide a space for community engagement and stewardship, while also providing a space for visitors from around the State to visit Goodland to learn about the communities history. Collier County is fortunate to have access to these historically significant cottages, embodied in this site and the development/restoration of the site would add untold cultural wealth to this community. Page 1 30 APPENDIX A: CONCEPT RENDERINGS AND INSPIRATION COLLAGES These conceptual renderings of the proposed design illustrate how by carefully restoring and adapting the existing cottages with an accessible pedestrian pathway throughout the existing landscape, the site achieve a harmonious scheme. The renderings also depict the new pavilion that will serve a an educational space for the community while also supporting the sites effort for a sustainable approach to irrigation by capturing rainwater and diverter it onto the existing cistern. Page 1 31 APPENDIX B: Page 1 32 4 PRESERVATION BRIEFS Roofing for Historic Buildings Sarah M. Sweetser U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services Significance of the Roof A weather -tight roof is basic in the preservation of a struc- ture, regardless of its age, size, or design. In the system that allows a building to work as a shelter, the roof sheds the rain, shades from the sun, and buffers the weather. During some periods in the history of architecture, the roof imparts much of the architectural character. It defines the style and contributes to the building's aesthetics. The hipped roofs of Georgian architecture, the turrets of Queen Anne, the Mansard roofs, and the graceful slopes of the Shingle Style and Bungalow designs are examples of the use of roofing as a major design feature. But no matter how decorative the patterning or how com- pelling the form, the roof is a highly vulnerable element of a shelter that will inevitable fail. A poor roof will permit the accelerated deterioration of historic building materials — masonry, wood, plaster, paint —and will cause general dis- integration of the basic structure. Furthermore, there is an urgency involved in repairing a leaky roof since such repair costs will quickly become prohibitive. Although such action is desirable as soon as a failure is discovered, temporary patch- ing methods should be carefully chosen to prevent inadvertent damage to sound or historic roofing materials and related features. Before any repair work is performed, the historic value of the materials used on the roof should be understood. Then a complete internal and external inspection of the roof should be planned to determine all the causes of failure and to identify the alternatives for repair or replacement of the roofing. Historic Roofing Materials in America Clay Tile: European settlers used clay the for roofing as early as the mid-17th century; many pantiles (S-curved tiles), as well as flat roofing tiles, were used in Jamestown, Virginia. In some cities such as New York and Boston, clay was popularly used as a precaution against such fire as those that engulfed London in 1666 and scorched Boston in 1679. Tiles roofs found in the mid-18th century Moravian settle- ments in Pennsylvania closely resembled those found in Ger- many. Typically, the tiles were 14-15" long, 6-7" wide with a curved butt. A lug on the back allowed the tiles to hang on the lathing without nails or pegs. The the surface was usually scored with finger marks to promote drainage. In the South- west, the tile roofs of the Spanish missionaries (mission tiles) were first manufactured (ca. 1780) at the Mission San An- tonio de Padua in California. These semicircular tiles were HABS Repairs on this pantile roof were made with new tiles held in place with metal hangers. (Main Building, Ellis Island, New York) made by molding clay over sections of logs, and they were generally 22" long and tapered in width. The plain or flat rectangular tiles most commonly used from the 17th through the beginning of the 19th century measured about 10" by 6" by ''/z", and had two holes at one end for a nail or peg fastener. Sometimes mortar was applied between the courses to secure the tiles in a heavy wind. In the mid-19th century, tile roofs were often replaced by sheet -metal roofs, which were lighter and easier to install and maintain. However, by the turn of the century, the Romanes- que Revival and Mission style buildings created a new demand and popularity for this picturesque roofing material. Slate: Another practice settlers brought to the New World was slate roofing. Evidence of roofing slates have been found also among the ruins of mid-l7th-century Jamestown. But because of the cost and the time required to obtain the material, which was mostly imported from Wales, the use of slate was initially limited. Even in Philadelphia (the second largest city in the English-speaking world at the time of the Revolution) slates were so rare that "The Slate Roof House" distinctly referred to William Penn's home built late in the 1600s. Sources of native slate were known to exist along the eastern seaboard from Maine to Virginia, but difficulties in inland transporta- tion limited its availability to the cities, and contributed to its expense. Welsh slate continued to be imported until the development of canals and railroads in the mid-19th century made American slate more accessible and economical. Slate was popular for its durability, fireproof qualities, and The Victorians loved to used different colored slates to create decorative patterns on their roofs, an effect which cannot be easily duplicated by substitute materials. Before any repair work on a roof such as this, the slate sizes colors, and position of the patterning should be carefully recorded to assure proper replacement. (Ebenezer Maxwell Mansion, Philadelphia, Pennsylvania, photo courtesy of William D. Hershey) aesthetic potential. Because slate was available in different colors (red, green, purple, and blue -gray), it was an effective material for decorative patterns on many 19th-century roofs (Gothic and Mansard styles). Slate continued to be used well into the 20th century, notably on many Tudor revival style buildings of the 1920s. Shingles: Wood shingles were popular throughout the country in all periods of building history. The size and shape of the shingles as well as the detailing of the shingle roof differed ac- cording to regional craft practices. People within particular regions developed preferences for the local species of wood that most suited their purposes. In New England and the Del- aware Valley, white pine was frequently used: in the South, cypress and oak; in the far west, red cedar or redwood. Some- times a protective coating was applied to increase the durabil- ity of the shingle such as a mixture of brick dust and fish oil, or a paint made of red iron oxide and linseed oil. Commonly in urban areas, wooden roofs were replaced with more fire resistant materials, but in rural areas this was not a major concern. On many Victorian country houses, the practice of wood shingling survived the technological ad- vances of metal roofing in the 19th century, and near the turn of the century enjoyed a full revival in its namesake, the Shingle Style. Colonial revival and the Bungalow styles in the 20th century assured wood shingles a place as one of the most fashionable, domestic roofing materials. Metal: Metal roofing in America is principally a 19th- century phenomenon. Before then the only metals commonly Replacement of particular historic• details is important to the indi- vidual historic character of a roof, such as the treatment at the eaves of this rounded butt wood shingle roof. Also note that the surface of the roof was carefully sloped to drain water away from the side of the dormer. In the restoration, this function was augmented with the ad- dition of carefully concealed modern metal flashing. (Mount Vernon, Vireinia) Galvanized sheet -metal shingles imitating the appearance of pantiles remained popular from the second half of the 19th century into the 20th century. (Episcopal Church, now the Jerome Historical Society Building, Jerome, Arizona, 1927) used were lead and copper. For example, a lead roof covered "Rosewell," one of the grandest mansions in 18th-century Virginia. But more often, lead was used for protective Flashing. Lead, as well as copper, covered roof surfaces where wood, tile, or slate shingles were inappropriate because of the roof's pitch or shape. Copper with standing seams covered some of the more notable early American roofs including that of Christ Church (1727-1744) in Philadelphia. Flat -seamed copper was used on many domes and cupolas. The copper sheets were imported from England until the end of the 18th century when facilities for rolling sheet metal were developed in America. Sheet iron was first known to have been manufactured here by the Revolutionary War financier, Robert Morris, who had a rolling mill near Trenton, New Jersey. At his mill Morris produced the roof of his own Philadelphia mansion, which he started in 1794. The architect Benjamin H. Latrobe used sheet iron to replace the roof on Princeton's "Nassau Hall," which had been gutted by fire in 1802. The method for corrugating iron was originally patented in England in 1829. Corrugating stiffened the sheets, and allowed greater span over a lighter framework, as well as reduced installation time and labor. In 1834 the American architect William Strickland proposed corrugated iron to cover his design for the market place in Philadelphia. Galvanizing with zinc to protect the base metal from rust was developed in France in 1837. By the 1850s the material was used on post offices and customhouses, as well as on train sheds and factories. In 1857 one of the first metal roofs in the Repeated repair with asphalt, which cracks as it hardens, has created a blistered surface on this sheet -metal roof and built-in gutter, which will retain water. Repairs could be made by carefully heating and scraping the surface clean, repairing the holes in the metal with a flexi- ble mastic compound or a metal patch, and coating the surface with a fibrepaint. (Roane County Courthouse, Kingston, Tennessee, photo courtesy of Building Conservation Technology, Inc.) South was installed on the U.S. Mint in New Orleans. The Mint was thereby "fireproofed" with a 20-gauge galvanized, corrugated iron roof on iron trusses. Tin-plate iron, commonly called "tin roofing," was used extensively in Canada in the 18th century, but it was not as common in the United States until later. Thomas Jefferson was an early advocate of tin roofing, and he installed a standing -seam tin roof on "Monticello" (ca. 1770-1802). The Arch Street Meetinghouse (1804) in Philadelphia had tin shingles laid in a herringbone pattern on a "piazza" roof. However, once rolling mills were established in this country, the low cost, light weight, and low maintenance of tin plate made it the most common roofing material. Embossed tin shingles, whose surfaces created interesting patterns, were popular throughout the country in the late 19th century. Tin roofs were kept well -painted, usually red; or, as the architect A. J. Davis suggested, in a color to imitate the green patina of copper. Terne plate differed from tin plate in that the iron was dipped in an alloy of lead and tin, giving it a duller finish. Historic, as well as modern, documentation often confuses the two, so much that it is difficult to determine haw often actual "terne" was used. Zinc came into use in the 1820s, at the same time tin plate was becoming popular. Although a less expensive substitute for lead, its advantages were controversial, and it was never widely used in this country. A Chicago firm's catalog dated 1896 illustrates a method of unrolling, turning the edges, and finishing the standing seam on a metal roof. Tin shingles, commonly embossed to imitate wood or tile, or with a decorative design, were popular as an inexpensive, textured roofing material. These shingles 8'/e inch by 12'/2 inch on the exposed surface) were designed with interlocking edges, but they have been repaired by surface nailing, which may causefuture leakage. (Ballard House, Yorktown, Virgina, photo by Gordie Whittington, National Park Service) Other Materials: Asphalt shingles and roll roofing were used in the 1890s. Many roofs of asbestos, aluminum, stainless steel, galvinized steel, and lead -coated copper may soon have historic values as well. Awareness of these and other tradi- tions of roofing materials and their detailing will contribute to more sensitive preservation treatments. Locating the Problem Failures of Surface Materials When trouble occurs, it is important to contact a profes- sional, either an architect, a reputable roofing contractor, or a craftsman familiar with the inherent characteristics of the particular historic roofing system involved. These profes- sionals may be able to advise on immediate patching pro- cedures and help plan more permanent repairs. A thorough examination of the roof should start with an appraisal of the existing condition and quality of the roofing material itself. Particular attention should be given to any southern slope because year-round exposure to direct sun may cause it to break down first. Wood: Some historic roofing materials have limited life expectancies because of normal organic decay and "wear." For example, the flat surfaces of wood shingles erode from exposure to rain and ultraviolet rays. Some species are more hardy than others, and heartwood, for example, is stronger and more durable than sapwood. Ideally, shingles are split with the grain perpendicular to the surface. This is because if shingles are sawn across the grain, moisture may enter the grain and cause the wood to deteriorate. Prolonged moisture on or in the wood allows moss or fungi to grow, which will further hold the moisture and cause rot. Metal: Of the inorganic roofing materials used on historic buildings, the most common are perhaps the sheet metals: lead, copper, zinc, tin plate, terne plate, and galvanized iron. In varying degrees each of these sheet metals are likely to deteriorate from chemical action by pitting or streaking. This can be caused by airborn pollutants; acid rainwater; acids from lichen or moss; alkalis found in lime mortars or portland cement, which might be on adjoining features and washes down on the roof surface; or tannic acids from adjacent wood sheathings or shingles made of red cedar or oak. Corrosion from "galvanic action" occurs when dissimilar metals, such as copper and iron, are used in direct contact. Corrosion may also occur even though the metals are physi- cally separated; one of the metals will react chemically against the other in the presence of an electrolyte such as rain- water. In roofing, this situation might occur when either a copper roof is decorated with iron cresting, or when steel nails are used in copper sheets. In some instances the corrosion can be prevented by inserting a plastic insulator between the dissimilar materials. Ideally, the fasteners should be a metal sympathetic to those involved. Iron rusts unless it is well -painted or plated. Historically this problem was avoided by use of tin plating or galvinizing. But this method is durable only as long as the coating remains intact. Once the plating is worn or damaged, the exposed iron will rust. Therefore, any iron -based roofing material needs to be undercoated, and its surface needs to be kept well -painted to prevent corrosion. One cause of sheet metal deterioration is fatigue. Depending upon the size and the gauge of the metal sheets, wear and metal failure can occur at the joints or at any protrusions in the sheathing as a result from the metal's alternating move- ment to thermal changes. Lead will tear because of "creep," or the gravitational stress that causes the material to move down the roof slope. Slate: Perhaps the most durable roofing materials are slate and tile. Seemingly indestructable, both vary in quality. Some slates are hard and tough without being brittle. Soft slates are more subject to erosion and to attack by airborne and rain - This detail shows slate delamination caused by a combination of weathering and pollution. In addition, the slates have eroded around the repair nails, incorrectly placed in the exposed surface of the slates. (Lower Pontalba Building, New Orleans, photo courtesy of Building Conservation Technology, Inc.) water chemicals, which cause the slates to wear at nail holes, to delaminate, or to break. In winter, slate is very susceptible to breakage by ice, or ice dams. Tile: Tiles will weather well, but tend to crack or break if hit, as by tree branches, or if they are walked on improperly. Like slates, tiles cannot support much weight. Low quality tiles that have been insufficiently fired during manufacture, will craze and span under the effects of freeze and thaw cycles on their porous surfaces. Failures of Support Systems Once the condition of the roofing material has been deter- mined, the related features and support systems should be examined on the exterior and on the interior of the roof. The gutters and downspouts need periodic cleaning and maintenance since a variety of debris fill them, causing water to back up and seep under roofing units. Water will eventually cause fasteners, sheathing, and roofing structure to deteri- orate. During winter, the daily freeze -thaw cycles can cause ice floes to develop under the roof surface. The pressure from these ice floes will dislodge the roofing material, especially slates, shingles, or tiles. Moreover, the buildup of ice dams above the gutters can trap enough moisture to rot the sheathing or the structural members. Many large public buildings have built-in gutters set within the perimeter of the roof. The downspouts for these gutters may run within the walls of the building, or drainage may be through the roof surface or through a parapet to exterior downspouts. These systems can be effective if properly main- tained; however, if the roof slope is inadequate for good runoff, or if the traps are allowed to clog, rainwater will form pools on the roof surface. Interior downspouts can collect debris and thus back up, perhaps leaking water into the sur- rounding walls. Exterior downspouts may fill with water, which in cold weather may freeze and crack the pipes. Con- duits from the built-in gutter to the exterior downspout may also leak water into the surrounding roof structure or walls. Failure of the flashing system is usually a major cause of roof deterioration. Flashing should be carefully inspected for failure caused by either poor workmanship, thermal stress, or metal deterioration (both of flashing material itself and of the fasteners). With many roofing materials, the replacement of flashing on an existing roof is a major operation, which may require taking up large sections of the roof surface. Therefore, the installation of top quality flashing material on Temporary stabilization or "mothballing" with materials such as plywood and building paper can protect the roof of a project until it can be properly repaired or replaced. (Narbonne House, Salem, Massachusetts) These two views of the same house demonstrate how the use of a substitute material can drastically affect the o, crali churu(Ict of u .structure. The textural interest of the original tile roof was lost with the use of asphalt shingles. Recent preservation efforts are replacing the tile roof. (Frank House, Kearney, Nebraska, photo courtesy of the Nebraska State Historical Society, Lincoln, Nebraska) a new or replaced roof should be a primary consideration. Remember, some roofing and flashing materials are not compatible. Roof fasteners and clips should also be made of a material compatible with all other materials used, or coated to prevent rust. For example, the tannic acid in oak will corrode iron nails. Some roofs such as slate and sheet metals may fail if nailed too rigidly. If the roof structure appears sound and nothing indicates recent movement, the area to be examined most closely is the roof substrate —the sheathing or the battens. The danger spots would be near the roof plates, under any exterior patches, at the intersections of the roof planes, or at vertical surfaces such as dormers. Water penetration, indicating a breach in the roofing surface or flashing, should be readily apparent, usual- ly as a damp spot or stain. Probing with a small pen knife may reveal any rot which may indicate previously undetected damage to the roofing membrane. Insect infestation evident by small exit holes and frass (a sawdust -like debris) should also be noted. Condensation on the underside of the roofing is undesirable and indicates improper ventilation. Moisture will have an adverse effect on any roofing material; a good roof stays dry inside and out. Repair or Replace Understanding potential weaknesses of roofing material also requires knowledge of repair difficulties. Individual slates can be replaced normally without major disruption to the rest of the roof, but replacing flashing on a slate roof can require substantial removal of surrounding slates. If it is the substrate or a support material that has deteriorated, many surface materials such as slate or tile can be reused if handled care- fully during the repair. Such problems should be evaluated at the outset of any project to determine if the roof can be effec- tively patched, or if it should be completely replaced. Will the repairs be effective? Maintenance costs tend to multiply once trouble starts. As the cost of labor escalates, repeated repairs could soon equal the cost of a new roof. The more durable the surface is initially, the easier it will be to maintain. Some roofing materials such as slate are expen- sive to install, but if top quality slate and flashing are used, it will last 40-60 years with minimal maintenance. Although the installation cost of the roof will be high, low maintenance needs will make the lifetime cost of the roof less expensive. Historical Research In a restoration project, research of documents and physical investigation of the building usually will establish the roof's history. Documentary research should include any original plans or building specifications, early insurance surveys, newspaper descriptions, or the personal papers and files of people who owned or were involved in the history of the building. Old photographs of the building might provide evidence of missing details. Along with a thorough understanding of any written history of the building, a physical investigation of the roofing and its structure may reveal information about the roof's construc- tion history. Starting with an overall impression of the struc- ture, are there any changes in the roof slope, its configura- tion, or roofing materials? Perhaps there are obvious patches or changes in patterning of exterior brickwork where a gable roof was changed to a gambrel, or where a whole upper story was added. Perhaps there are obvious stylistic changes in the roof line, dormers, or ornamentation. These observations could help one understand any important alteration, and could help establish the direction of further investigation. Because most roofs are physically out of the range of careful scrutiny, the "principle of least effort" has probably limited the extent and quality of previous patching or replac- ing, and usually considerable evidence of an earlier roof sur- face remains. Sometimes the older roof will be found as an underlayment of the current exposed roof. Original roofing may still be intact in awkward places under later features on a roof. Often if there is any unfinished attic space, remnants of roofing may have been dropped and left when the roof was being built or repaired. If the configuration of the roof has been changed, some of the original material might still be in place under the existing roof. Sometimes whole sections of the roof and roof framing will have been left intact under the higher roof. The profile and/or flashing of the earlier roof may be apparent on the interior of the walls at the level of the alteration. If the sheathing or lathing appears to have survived changes in the roofing surface, they may contain evidence of the roofing systems. These may appear either as dirt marks, which provide "shadows" of a roofing material, or as nails broken or driven down into the wood, rather than pulled out during previous alterations or repairs. Wooden headers in the roof framing may indicate that earlier chimneys or skylights have been removed. Any metal ornamentation that might have existed may be indicated by anchors or unusual markings along the ridge or at other edges of the roof. This primary evidence is essential for a full understanding of the roof's history. Caution should be taken in dating early "fabric" on the evidence of a single item, as recycling of materials is not a mid-20t h- century innovation. Carpenters have been reusing materials, sheathing, and framing members in the interest of economy for centuries. Therefore, any analysis of the mate- rials found, such as nails or sawmarks on the wood, requires an accurate knowledge of the history of local building prac- tices before any final conclusion can be accurately reached. It is helpful to establish a sequence of construction history for the roof and roofing materials; any historic fabric or pertinent evidence in the roof should be photographed, measured, and recorded for future reference. During the repair work, useful evidence might unexpectedly appear. It is essential that records be kept of any type of work on a historic building, before, during, and after the project. Photographs are generally the easiest and fastest method, and should include overall views and details at the gutters, flash- ing, dormers, chimneys, valleys, ridges, and eaves. All photographs should be immediately labeled to insure accurate identification at a later date. Any patterning or design on the roofing deserves particular attention. For example, slate roofs are often decorative and have subtle changes in size, color, and texture, such as a gradually decreasing coursing length from the eave to the peak. If not carefully noted before a project begins, there may be problems in replacing the sur- face. The standard reference for this phase of the work is Recording Historic Buildings, compiled by Harley J. McKee for the Historic American Buildings Survey, National Park Service, Washington, D.C., 1970. Replacing the Historic Roofing Material Professional advice will be needed to assess the various aspects of replacing a historic roof. With some exceptions, most historic roofing materials are available today. If not, an architect or preservation group who has previously worked with the same type material may be able to recommend sup- pliers. Special roofing materials, such as tile or embossed metal shingles, can be produced by manufacturers of related products that are commonly used elsewhere, either on the ex- terior or interior of a structure. With some creative thinking and research, the historic materials usually can be found. Because of the roofs visibility, the slate detailing around the dormers is important to the character of this structure. Note how the slates swirl from a horizontal pattern on the main roof to a diamond pattern on the dormer roofs and side walls. (18th and Que Streets, NW, Washington, D.C.) 6 Craft Practices: Determining the craft practices used in the in- stallation of a historic roof is another major concern in roof restoration. Early builders took great pride in their work, and experience has shown that the "rustic" or irregular designs commercially labled "Early American" are a 20th-century in- vention. For example, historically, wood shingles underwent several distinct operations in their manufacture including splitting by hand, and smoothing the surface with a draw knife. In modern nomenclature, the same item would be a "tapersplit" shingle which has been dressed. Unfortunately, the rustic appearance of today's commercially available "handsplit" and re -sawn shingle bears no resemblance to the hand -made roofing materials used on early American buildings. Good design and quality materials for the roof surface, fastenings, and flashing minimize roofing failures. This is essential on roofs such as on the National Cathedral where a thorough maintenance inspec- tion and minor repairs cannot be done easily without special scaf- folding. However, the success of the roof on any structure depends on frequent cleaning and repair of the gutter system. (Washington, D. C., photo courtesy of John Burns, A. L A.) Early craftsmen worked with a great deal of common sense; they understood their materials. For example they knew that wood shingles should be relatively narrow; shingles much wider than about 6" would split when walked on, or they may curl or crack from varying temperature and moisture. It is im- portant to understand these aspects of craftsmanship, re- membering that people wanted their roofs to be weather -tight and to last a long time. The recent use of "mother -goose" shingles on historic structures is a gross underestimation of the early craftsman's skills. Supervision: Finding a modern craftsman to reproduce his- toric details may take some effort. It may even involve some special instruction to raise his understanding of cer- tain historic craft practices. At the same time, it may be pointless (and expensive) to follow historic craft practices in any construction that will not be visible on the finished product. But if the roofing details are readily visible, their appearance should be based on architectural evidence or on historic prototypes. For instance, the spacing of the seams on a standing -seam metal roof will affect the building's overall scale and should therefore match the original dimensions of the seams. Many older roofing practices are no longer performed because of modern improvements. Research and review of specific detailing in the roof with the contractor before begin- ning the project is highly recommended. For example, one early craft practice was to finish the ridge of a wood shingle roof with a roof "comb" —that is, the top course of one slope of the roof was extended uniformly beyond the peak to shield the ridge, and to provide some weather protection for the raw horizontal edges of the shingles on the other slope. If the "comb" is known to have been the correct detail, it should be used. Though this method leaves the top course vulnerable to the weather, a disguised strip of flashing will strengthen this weak point. Detail drawings or a sample mock-up will help ensure that the contractor or craftsman understands the scope and special requirements of the project. It should never be assumed that the modern carpenter, slater, sheet metal worker, or roofer will know all the historic details. Supervision is as important as any other stage of the process. Special problems inherent in the design of an elaborate historic roof can be controlled through the use of good materials and regular maintenance. The shape and detailing are essential elements of the building's historic character, and should not be modified, despite the use of alternative surface materials. (Gam well House, Bellingham, Washington) Alternative Materials The use of the historic roofing material on a structure may be restricted by building codes or by the availability of the materials, in which case an appropriate alternative will have to be found. Some municipal building codes allow variances for roofing materials in historic districts. In other instances, individual variances may be obtained. Most modern heating and cooking is fueled by gas, electricity, or oil —none of which emit the hot embers that historically have been the cause of roof fires. Where wood burning fireplaces or stoves are used, spark ar- restor screens at the top of the chimneys help to prevent flam- ing material from escaping, thus reducing the number of fires that start at the roof. In most states, insurance rates have been equalized to reflect revised considerations for the risks in- volved with various roofing materials. In a rehabilitation project, there may be valid reasons for replacing the roof with a material other than the original. The historic roofing may no longer be available, or the cost of ob- taining specially fabricated materials may be prohibitive. But the decision to use an alternative material should be weighed carefully against the primary concern to keep the historic character of the building. If the roof is flat and is not visible from any elevation of the building, and if there are advan- tages to substituting a modern built-up composition roof for what might have been a flat metal roof, then it may make bet- ter economic and construction sense to use a modern roofing method. But if the roof is readily visible, the alternative material should match as closely as possible the scale, texture, and coloration of the historic roofing material. Asphalt shingles or ceramic tiles are common substitute ma- terials intended to duplicate the appearance of wood shingles, slates, or tiles. Fire -retardant, treated wood shingles are cur- rently available. The treated wood tends, however, to be brit- tle, and may require extra care (and expense) to install. In some instances, shingles laid with an interlay of fire-retardent building paper may be an acceptable alternative. Lead -coated copper, terne-coated steel, and aluminum/ zinc -coated steel can successfully replace tin, terne plate, zinc, or lead. Copper -coated steel is a less expensive (and less durable) substitute for sheet copper. The search for alternative roofing materials is not new. As early as the 18th century, fear of fire cause many wood shingle or board roofs to be replaced by sheet metal or clay tile. Some historic roofs were failures from the start, based on over- ambitious and naive use of materials as they were first devel- oped. Research on a structure may reveal that an inadequately designed or a highly combustible roof was replaced early in its history, and therefore restoration of a later roof material would have a valid precedent. In some cities, the substitution of sheet metal on early row houses occurred as soon as the rolled material became available. Cost and ease of maintenance may dictate the substitution of a material wholly different in appearance from the original. The practical problems ( wind, weather, and roof pitch) should be weighed against the historical consideration of scale, texture, and color. Sometimes the effect of the alter- native material will be minimal. But on roofs with a high degree of visibility and patterning or texture, the substitution may seriously alter the architectural character of the building. Temporary Stabilization It may be necessary to carry out an immediate and temporary stabilization to prevent further deterioration until research can determine how the roof should be restored or rehabili- tated, or until funding can be provided to do a proper job. A simple covering of exterior plywood or roll roofing might pro- vide adequate protection, but any temporary covering should be applied with caution. One should be careful not to overload the roof structure, or to damage or destroy historic evidence or fabric that might be incorporated into a new roof at a later date. In this sense, repairs with caulking or bituminous patching compounds should be recognized as po- tentially harmful, since they are difficult to remove, and at their best, are very temporary. Precautions The architect or contractor should warn the owner of any precautions to be taken against the specific hazards in install- ing the roofing material. Soldering of sheet metals, for in- stance, can be a fire hazard, either from the open flame or from overheating and undected smoldering of the wooden substrate materials. Thought should be given to the design and placement of any modern roof appurtenances such as plumbing stacks, air vents, or TV antennas. Consideration should begin with the placement of modern plumbing on the interior of the build- ing, otherwise a series of vent stacks may pierce the roof mem- brane at various spots creating maintenance problems as well as aesthetic ones. Air handling units placed in the attic space will require vents which, in turn, require sensitive design. In- corporating these in unused chimneys has been very successful 7 in the past. Whenever gutters and downspouts are needed that were not on the building historically, the additions should be made as unobtrusively as possible, perhaps by painting them out with a color compatible with the nearby wall or trim. Maintenance Although a new roof can be an object of beauty, it will not be protective for long without proper maintenance. At least twice a year, the roof should be inspected against a checklist. All changes should be recorded and reported. Guidelines should be established for any foot traffic that may be required for the maintenance of the roof. Many roofing materials should not be walked on at all. For some —slate, asbestos, and clay tile —a self-supporting ladder might be hung over the ridge of the roof, or planks might be spanned across the roof surface. Such items should be specifically designed and kept in a storage space accessible to the roof. If exterior work ever requires hanging scaffolding, use caution to insure that the anchors do not penetrate, break, or wear the roofing surface, gutters, or flashing. Any roofing system should be recognized as a membrane that is designed to be self-sustaining, but that can be easily damaged by intrusions such as pedestrian traffic or fallen tree branches. Certain items should be checked at specific times. For example, gutters tend to accumulate leaves and debris during the spring and fall and after heavy rain. Hidden gutter screening both at downspouts and over the full length of the gutter could help keep them clean. The surface material would require checking after a storm as well. Periodic checking of the underside of the roof from the attic after a storm or winter freezing may give early warning of any leaks. Generally, damage from water or ice is less likely on a roof that has good flashing on the outside and is well ventilated and insulated on the inside. Specific instructions for the maintenance of the different roof materials should be available from the architect or contractor. Summary The essential ingredients for replacing and maintaining a historic roof are: • Understanding the historic character of the building and being sympathetic to it. • Careful examination and recording of the existing roof and any evidence of earlier roofs. • Consideration of the historic craftsmanship and detail- ing and implementing them in the renewal wherever visible. • Supervision of the roofers or maintenance personnel to assure preservation of historic fabric and proper under- standing of the scope and detailing of the project. • Consideration of alternative materials where the origi- nal cannot be used. • Cyclical maintenance program to assure that the staff understands how to take care of the roof and of the par- ticular trouble spots to safeguard. With these points in mind, it will be possible to preserve the architectural character and maintain the physical integrity of the roofing on a historic building. This Preservation Brief was written by Sarah M. Sweetser, Architec- tural Historian, Technical Preservation Services Division. Much of the technical information was based upon an unpublished report pre- pared under contract for this office by John G. and Diana S. Waite. Some of the historical information was from Charles E. Peterson, FAIA, "American Notes," Journal of the Society of Architectural Historians. The illustrations for this brief not specifically credited are from the files of the Technical Preservation Services Division. This publication was prepared pursuant to Executive Order 11593, "Protection and Enhancement of the Cultural Environment," which directs the Secretary of the Interior to "develop and make available to Federal agencies and State and local governments information concerning professional methods and tech- 8 Decorative features such as cupolas require extra maintenance. The ,flashing is carefully detailed to promote run-off, and the wooden ribb- ing must be kept well -painted. This roof surface, which was originally tin plate, has been replaced with lead -coated copper for maintenance purposes. (Lyndhurst, Tarrytown, New York, photo courtesy of the National Trust for Historic Preservation) niques for preserving, improving, restoring and maintaining historic proper- ties." The Brief has been developed under the technical editorship of Lee H. Nelson, AIA, Chief, Preservation Assistance Division, National Park Service, U.S. Department of the Interior, Washington, D.C. 20240. Comments on the usefulness of this information are welcome and can be sent to Mr. Nelson at the above address. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the author and the National Park Service are appreciated. February 1978. Additional readings on the subject of roofing are listed below. Boaz, Joseph N., ed. Architectural Graphic Standards. New York: John Wiley and Sons, Inc., 1970. (Modern roofing types and detail- ing) Briggs, Martin S. A Short History of the Building Crafts. London: Oxford University Press, 1925. (Descriptions of historic roofing materials) Bulletin of the Association for Preservation Technology. Vol. 2 (nos. 1-2) 1970. (Entirely on roofing) Holstrom, Ingmar; and Sandstrom, Christina. Maintenance of Old Buildings: Preservation from the Technical and Antiquarian Stand- point. Stockholm: National Swedish Building Research, 1972. (Contains a section on roof maintenance problems) Insall, Donald. The Care of Old Buildings Today. London: The Architectural Press, 1972. (Excellent guide to some problems and solutions for historic roofs) Labine, R.A. Clem. "Repairing Slate Roofs." The Old House Jour- nal 3 (no. 12, Dec. 1975): 6-7. Lefer, Henry. "A Birds -eye View." Progressive Architecture. (Mar. 1977), pp. 88-92. (Article on contemporary sheet metal) National Slate Association. Slate Roofs. Reprint of 1926 edition, now available from the Vermont Structural Slate Co., Inc., Fairhaven, VT 05743. (An excellent reference for the many designs and details of slate roofs) Peterson, Charles E. "Iron in Early American Roofs." The Smith- sonian Journal of History 3 (no. 3). Edited by Peter C. Welsh. Washington, D.C.: Smithsonian Institution, 1968, pp. 41-76. Waite, Diana S. Nineteenth Century Tin Roofing and its Use at Hyde Hall. Albany: New York State Historic Trust, 1971. --. "Roofing for Early America." Building Early America. Edited by Charles E. Peterson. Radnor, Penn.: Chilton Book Co., 1976. U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services John H. Myers The windows on many historic buildings are an important aspect of the architectural character of those buildings. Their design, craftsmanship, or other qualities may make them worthy of preservation. This is self-evident for or- namental windows, but it can be equally true for warehouses or factories where the windows may be the most dominant visual element of an otherwise plain building (see figure 1). Evaluating the significance of these windows and planning for their repair or replace- ment can be a complex process involving both objective and subjective considerations. The Secretary of the In- terior's Standards for Rehabilitation, and the accompany- ing guidelines, call for respecting the significance of original materials and features, repairing and retaining them wherever possible, and when necessary, replacing them in kind. This Brief is based on the issues of significance and repair which are implicit in the standards, but the primary emphasis is on the technical issues of planning for the repair of windows including evaluation of their physical condition, techniques of repair, and design considerations when replacement is necessary. Figure 1. Windows are frequently important visual focal points, especial- ly on simple facades such as this mill building. Replacement of the multi - pane windows here with larger panes could dramatically change the ap- pearance of the building. The areas of missing windows convey the im- pression of such a change. Photo: John T. Lowe Preservation Briefs: 9 The Repair of Historic Wooden Windows Much of the technical section presents repair techniques as an instructional guide for the do-it-yourselfer. The infor- mation will be useful, however, for the architect, contrac- tor, or developer on large-scale projects. It presents a methodology for approaching the evaluation and repair of existing windows, and considerations for replacement, from which the professional can develop alternatives and specify appropriate materials and procedures. Architectural or Historical Significance Evaluating the architectural or historical significance of windows is the first step in planning for window treat- ments, and a general understanding of the function and history of windows is vital to making a proper evalua- tion. As a part of this evaluation, one must consider four basic window functions: admitting light to the interior spaces, providing fresh air and ventilation to the in- terior, providing a visual link to the outside world, and enhancing the appearance of a building. No single factor can be disregarded when planning window treatments; for example, attempting to conserve energy by closing up or reducing the size of window openings may result in the use of more energy by increasing electric lighting loads and decreasing passive solar heat gains. Historically, the first windows in early American houses were casement windows; that is, they were hinged at the side and opened outward. In the beginning of the eigh- teenth century single- and double -hung windows were in- troduced. Subsequently many styles of these vertical sliding sash windows have come to be associated with specific building periods or architectural styles, and this is an important consideration in determining the significance of windows, especially on a local or regional basis. Site - specific, regionally oriented architectural comparisons should be made to determine the significance of windows in question. Although such comparisons may focus on specific window types and their details, the ultimate deter- mination of significance should be made within the con- text of the whole building, wherein the windows are one architectural element (see figure 2). After all of the factors have been evaluated, windows should be considered significant to a building if they: 1) are original, 2) reflect the original design intent for the building, 3) reflect period or regional styles or building practices, 4) reflect changes to the building resulting from major periods or events, or 5) are examples of ex- ceptional craftsmanship or design. Once this evaluation of significance has been completed, it is possible to pro - For sale by the Superintendent of Documents, U.S. Government Printing Ofliee, Washington, D.C. 29M lintel C Qu li CI HeadHead �� 'p p '[glazing ffi 4 - top rail rabbet U4, C�=C putty parting bead Jamb muntin 7�7f 7�-_ f�t I� .. meeting rail , weights sash panes weight pocket Il n parting bead stile Jamb interior stop z[ n putty Sill [ • o bottom rail �i ] 1° �[� " sill stool Muntin Profiles EXt., jo, """ r , These are only three examples u x E Sill of many possible profiles. Mun- tins can contribute substantially Window Elevation Window Sections to window significance. Figure 2. These drawings of window details identify major components, terminology, and installation details for a wooden double -hung window. ceed with planning appropriate treatments, beginning with an investigation of the physical condition of the windows. Physical Evaluation The key to successful planning for window treatments is a careful evaluation of existing physical conditions on a unit -by -unit basis. A graphic or photographic system may be devised to record existing conditions and illustrate the scope of any necessary repairs. Another effective tool is a window schedule which lists all of the parts of each win- dow unit. Spaces by each part allow notes on existing conditions and repair instructions. When such a schedule is completed, it indicates the precise tasks to be performed in the repair of each unit and becomes a part of the specifications. In any evaluation, one should note at a minimum, 1) window location, 2) condition of the paint, 3) condition of the frame and sill, 4) condition of the sash (rails, stiles and muntins), 5) glazing problems, 6) hard- ware, and 7) the overall condition of the window (ex- cellent, fair, poor, and so forth). Many factors such as poor design, moisture, vandalism, insect attack, and lack of maintenance can contribute to window deterioration, but moisture is the primary con- tributing factor in wooden window decay. All window units should be inspected to see if water is entering around the edges of the frame and, if so, the joints or seams should be caulked to eliminate this danger. The glazing putty should be checked for cracked, loose, or missing sections which allow water to saturate the wood, especial- ly at the joints. The back putty on the interior side of the pane should also be inspected, because it creates a seal which prevents condensation from running down into the joinery. The sill should be examined to insure that it slopes downward away from the building and allows water to drain off. In addition, it may be advisable to cut a dripline along the underside of the sill. This almost in- visible treatment will insure proper water run-off, particu- larly if the bottom of the sill is flat. Any conditions, in- cluding poor original design, which permit water to come in contact with the wood or to puddle on the sill must be corrected as they contribute to deterioration of the win- dow. One clue to the location of areas of excessive moisture is the condition of the paint; therefore, each window should be examined for areas of paint failure. Since ex- cessive moisture is detrimental to the paint bond, areas of paint blistering, cracking, flaking, and peeling usually identify points of water penetration, moisture saturation, and potential deterioration. Failure of the paint should not, however, be mistakenly interpreted as a sign that the wood is in poor condition and hence, irreparable. Wood is frequently in sound physical condition beneath unsight- ly paint. After noting areas of paint failure, the next step is to inspect the condition of the wood, particularly at the points identified during the paint examination. Each window should be examined for operational soundness beginning with the lower portions of the frame and sash. Exterior rainwater and interior condensation can flow downward along the window, entering and collecting at points where the flow is blocked. The sill, joints be- tween the sill and jamb, corners of the bottom rails and muntin joints are typical points where water collects and deterioration begins (see figure 3). The operation of the window (continuous opening and closing over the years and seasonal temperature changes) weakens the joints, causing movement and slight separation. This process makes the joints more vulnerable to water which is readi- ly absorbed into the end -grain of the wood. If severe deterioration exists in these areas, it will usually be ap- parent on visual inspection, but other less severely deteri- orated areas of the wood may be tested by two traditional methods using a small ice pick. An ice pick or an awl may be used to test wood for soundness. The technique is simply to jab the pick into a wetted wood surface at an angle and pry up a small sec- Figure 3. Deterioration of poorly maintained windows usually begins on horizontal surfaces and at joints where water can collect and saturate the wood. The problem areas are clearly indicated by paint failure due to moisture. Photo: Baird M. Smith, A/A tion of the wood. Sound wood will separate in long fibrous splinters, but decayed wood will lift up in short ir- regular pieces due to the breakdown of fiber strength. Another method of testing for soundness consists of pushing a sharp object into the wood, perpendicular to the surface. If deterioration has begun from the hidden side of a member and the core is badly decayed, the visi- ble surface may appear to be sound wood. Pressure on the probe can force it through an apparently sound skin to penetrate deeply into decayed wood. This technique is especially useful for checking sills where visual access to the underside is restricted. Following the inspection and analysis of the results, the scope of the necessary repairs will be evident and a plan for the rehabilitation can be formulated. Generally the ac- tions necessary to return a window to "like new" condi- tion will fall into three broad categories: 1) routine main- tenance procedures, 2) structural stabilization, and 3) parts replacement. These categories will be discussed in the following sections and will be referred to respectively as Repair Class I, Repair Class II, and Repair Class I11. Each successive repair class represents an increasing level of difficulty, expense, and work time. Note that most of the points mentioned in Repair Class I are routine main- tenance items and should be provided in a regular main- tenance program for any building. The neglect of these routine items can contribute to many common window problems. Before undertaking any of the repairs mentioned in the following sections all sources of moisture penetration should be identified and eliminated, and all existing decay fungi destroyed in order to arrest the deterioration pro- cess. Many commercially available fungicides and wood preservatives are toxic, so it is extremely important to follow the manufacturer's recommendations for applica- tion, and store all chemical materials away from children and animals. After fungicidal and preservative treatment the windows may be stabilized, retained, and restored with every expectation for a long service life. Repair Class I: Routine Maintenance Repairs to wooden windows are usually labor intensive and relatively uncomplicated. On small scale projects this allows the do-it-yourselfer to save money by repairing all or part of the windows. On larger projects it presents the opportunity for time and money which might other- wise be spent on the removal and replacement of existing windows, to be spent on repairs, subsequently saving all or part of the material cost of new window units. Regard- less of the actual costs, or who performs the work, the evaluation process described earlier will provide the knowledge from which to specify an appropriate work program, establish the work element priorities, and iden- tify the level of skill needed by the labor force. The routine maintenance required to upgrade a window to "like new" condition normally includes the following steps: 1) some degree of interior and exterior paint removal, 2) removal and repair of sash (including reglaz- ing where necessary), 3) repairs to the frame, 4) weather- stripping and reinstallation of the sash, and 5) repainting. These operations are illustrated for a typical double -hung wooden window (see figures 4a-f), but they may be adapted to other window types and styles as applicable. Historic windows have usually acquired many layers of paint over time. Removal of excess layers or peeling and flaking paint will facilitate operation of the window and restore the clarity of the original detailing. Some degree of paint removal is also necessary as a first step in the prop- er surface preparation for subsequent refinishing (if paint color analysis is desired, it should be conducted prior to the onset of the paint removal). There are several safe and effective techniques for removing paint from wood, depending on the amount of paint to be removed. Several techniques such as scraping, chemical stripping, and the use of a hot air gun are discussed in "Preservation Briefs: 10 Paint Removal from Historic Woodwork" (see Addi- tional Reading section at end). Paint removal should begin on the interior frames, be- ing careful to remove the paint from the interior stop and the parting bead, particularly along the seam where these stops meet the jamb. This can be accomplished by run- ning a utility knife along the length of the seam, breaking the paint bond. It will then be much easier to remove the stop, the parting bead and the sash. The interior stop may be initially loosened from the sash side to avoid visible scarring of the wood and then gradually pried loose using a pair of putty knives, working up and down the stop in small increments (see figure 4b). With the stop removed, the lower or interior sash may be withdrawn. The sash cords should be detached from the sides of the sash and their ends may be pinned with a nail or tied in a knot to prevent them from falling into the weight pocket. Removal of the upper sash on double -hung units is similar but the parting bead which holds it in place is set into a groove in the center of the stile and is thinner and more delicate than the interior stop. After removing any paint along the seam, the parting bead should be carefully pried out and worked free in the same manner as the in- terior stop. The upper sash can be removed in the same manner as the lower one and both sash taken to a conve- nient work area (in order to remove the sash the interior stop and parting bead need only be removed from one side of the window). Window openings can be covered with polyethylene sheets or plywood sheathing while the sash are out for repair. The sash can be stripped of paint using appropriate techniques, but if any heat treatment is used (see figure 40, the glass should be removed or protected from the sudden temperature change which can cause breakage. An 3 Figure 4a. The following series of photographs of the repair of a historic double -hung window use a unit which is structurally sound but has many layers of paint, some cracked and missing putty, slight separation at the joints, broken sash cords, and one cracked pane. Photo: John H. Myers ;r P4' Figure 4d. Reglazing or replacement of the putty requires that the existing putty be removed manually, the glazing points be extracted, the glass removed, and the back putty scraped out. To reglaze, a bed of putty is laid around the perimeter of the rabbet, the pane is pressed into place, glazing points are inserted to hold the pane (shown), and a final seal of putty is beveled around the edge of the glass. Photo: John H. Myers Figure 4b. After removing paint from the seam between the interior stop and the jamb, the stop can be pried out and gradually worked loose using a pair of putty knives as shown. To avoid visible scarring of the wood, the sash can be raised and the stop pried loose initially from the outer side. Photo: John H. Myers Figure 4e. A common repair is the replacement of broken sash cords with new cords (shown) or with chains. The weight pocket is often accessible through a removable plate in the jamb, or by removing the interior trim. Photo: John H. Myers Figure 4c. Sash can be removed and repaired in a convenient work area. Paint is being removed from this sash with a hot air gun while an asbestos sheet protects the glass from sudden temperature change. Photo: John H. Myers Figure 4f. Following the relatively simple repairs, the window is weathertight, like new in appearance, and serviceable for many years to come. Both the historic material and the detailing and craftsmanship of this original window have been preserved. Photo: John H. Myers 4 overlay of aluminum foil on gypsum board or asbestos can protect the glass from such rapid temperature change. It is important to protect the glass because it may be historic and often adds character to the window. Deteriorated putty should be removed manually, taking care not to damage the wood along the rabbet. If the glass is to be removed, the glazing points which hold the glass in place can be extracted and the panes numbered and removed for cleaning and reuse in the same open- ings. With the glass panes out, the remaining putty can be removed and the sash can be sanded, patched, and primed with a preservative primer. Hardened putty in the rabbets may be softened by heating with a soldering iron at the point of removal. Putty remaining on the glass may be softened by soaking the panes in linseed oil, and then removed with less risk of breaking the glass. Before reinstalling the glass, a bead of glazing compound or linseed oil putty should be laid around the rabbet to cushion and seal the glass. Glazing compound should only be used on wood which has been brushed with linseed oil and primed with an oil based primer or paint. The pane is then pressed into place and the glaz- ing points are pushed into the wood around the perim- eter of the pane (see figure 4d). The final glazing com- pound or putty is applied and beveled to complete the seal. The sash can be refinished as desired on the inside and painted on the outside as soon as a "skin" has formed on the putty, usually in 2 or 3 days. Exterior paint should cover the beveled glazing compound or putty and lap over onto the glass slightly to complete a weathertight seal. After the proper curing times have elapsed for paint and putty, the sash will be ready for reinstallation. While the sash are out of the frame, the condition of the wood in the jamb and sill can be evaluated. Repair and refinishing of the frame may proceed concurrently with repairs to the sash, taking advantage of the curing times for the paints and putty used on the sash. One of the most common work items is the replacement of the sash cords with new rope cords or with chains (see figure 4e). The weight pocket is frequently accessible through a door on the face of the frame near the sill, but if no door exists, the trim on the interior face may be removed for access. Sash weights may be increased for easier window operation by elderly or handicapped persons. Additional repairs to the frame and sash may include consolidation or replacement of deteriorated wood. Techniques for these repairs are discussed in the following sections. The operations just discussed summarize the efforts necessary to restore a window with minor deterioration to "like new" condition (see figure 4f). The techniques can be applied by an unskilled person with minimal training and experience. To demonstrate the practicality of this ap- proach, and photograph it, a Technical Preservation Ser- vices staff member repaired a wooden double -hung, two over two window which had been in service over ninety years. The wood was structurally sound but the window had one broken pane, many layers of paint, broken sash cords and inadequate, worn-out weatherstripping. The staff member found that the frame could be stripped of paint and the sash removed quite easily. Paint, putty and glass removal required about one hour for each sash, and the reglazing of both sash was accomplished in about one hour. Weatherstripping of the sash and frame, replace- ment of the sash cords and reinstallation of the sash, part- ing bead, and stop required an hour and a half. These times refer only to individual operations; the entire proc- ess took several days due to the drying and curing times for putty, primer, and paint, however, work on other win- dow units could have been in progress during these lag times. Repair Class II: Stabilization The preceding description of a window repair job focused on a unit which was operationally sound. Many windows will show some additional degree of physical deteriora- tion, especially in the vulnerable areas mentioned earlier, but even badly damaged windows can be repaired using simple processes. Partially decayed wood can be water- proofed, patched, built-up, or consolidated and then painted to achieve a sound condition, good appearance, and greatly extended life. Three techniques for repairing partially decayed or weathered wood are discussed in this section, and all three can be accomplished using products available at most hardware stores. One established technique for repairing wood which is split, checked or shows signs of rot, is to: 1) dry the wood, 2) treat decayed areas with a fungicide, 3) water- proof with two or three applications of boiled linseed oil (applications every 24 hours), 4) fill cracks and holes with putty, and 5) after a "skin" forms on the putty, paint the surface. Care should be taken with the use of fungicide which is toxic. Follow the manufacturers' directions and use only on areas which will be painted. When using any technique of building up or patching a flat surface, the finished surface should be sloped slightly to carry water away from the window and not allow it to puddle. Caulk- ing of the joints between the sill and the jamb will help reduce further water penetration. When sills or other members exhibit surface weathering they may also be built-up using wood putties or home- made mixtures such as sawdust and resorcinol glue, or whiting and varnish. These mixtures can be built up in successive layers, then sanded, primed, and painted. The same caution about proper slope for flat surfaces applies to this technique. Wood may also be strengthened and stabilized by con- solidation, using semi -rigid epoxies which saturate the porous decayed wood and then harden. The surface of the consolidated wood can then be filled with a semi -rigid epoxy patching compound, sanded and painted (see figure 5). Epoxy patching compounds can be used to build up Figure 5. This illustrates a two-part epoxy patching compound used to fill the surface of a weathered sill and rebuild the missing edge. When the epoxy cures, it can be sanded smooth and painted to achieve a durable and waterproof repair. Photo: John H. Myers missing sections or decayed ends of members. Profiles can be duplicated using hand molds, which are created by pressing a ball of patching compound over a sound sec- tion of the profile which has been rubbed with butcher's wax. This can be a very efficient technique where there are many typical repairs to be done. Technical Preserva- tion Services has published Epoxies for Wood Repairs in Historic Buildings (see Additional Reading section at end), which discusses the theory and techniques of epoxy repairs. The process has been widely used and proven in marine applications; and proprietary products are avail- able at hardware and marine supply stores. Although epoxy materials may be comparatively expensive, they hold the promise of being among the most durable and long lasting materials available for wood repair. Any of the three techniques discussed can stabilize and restore the appearance of the window unit. There are times, however, when the degree of deterioration is so ad- vanced that stabilization is impractical, and the only way to retain some of the original fabric is to replace damaged parts. Repair Class III: Splices and Parts Replacement When parts of the frame or sash are so badly deteriorated that they cannot be stabilized there are methods which permit the retention of some of the existing or original fabric. These methods involve replacing the deteriorated parts with new matching pieces, or splicing new wood in- to existing members. The techniques require more skill and are more expensive than any of the previously dis- cussed alternatives. It is necessary to remove the sash and/or the affected parts of the frame and have a carpenter or woodworking mill reproduce the damaged or missing parts. Most millwork firms can duplicate parts, such as muntins, bottom rails, or sills, which can then be incorporated into the existing window, but it may be necessary to shop around because there are several factors controlling the practicality of this approach. Some wood- working mills do not like to repair old sash because nails or other foreign objects in the sash can damage expensive knives (which cost far more than their profits on small repair jobs); others do not have cutting knives to duplicate muntin profiles. Some firms prefer to concen- trate on larger jobs with more profit potential, and some may not have a craftsman who can duplicate the parts. A little searching should locate a firm which will do the job, and at a reasonable price. If such a firm does not exist locally, there are firms which undertake this kind of repair and ship nationwide. It is possible, however, for the advanced do-it-yourselfer or craftsman with a table saw to duplicate moulding profiles using techniques discussed by Gordie Whittington in "Simplified Methods for Reproducing Wood Mouldings," Bulletin of the Association for Preservation Technology, Vol. III, No. 4, 1971, or illustrated more recently in The Old House, Time -Life Books, Alexandria, Virginia, 1979. The repairs discussed in this section involve window frames which may be in very deteriorated condition, possibly requiring removal; therefore, caution is in order. The actual construction of wooden window frames and sash is not complicated. Pegged mortise and tenon units can be disassembled easily, if the units are out of the building. The installation or connection of some frames to the surrounding structure, especially masonry walls, can complicate the work immeasurably, and may even require dismantling of the wall. It may be useful, therefore, to take the following approach to frame repair: 1) conduct regular maintenance of sound frames to achieve the longest life possible, 2) make necessary repairs in place wherever possible, using stabilization and splicing tech- niques, and 3) if removal is necessary, thoroughly in- vestigate the structural detailing and seek appropriate pro- fessional consultation. Another alternative may be considered if parts replace- ment is required, and that is sash replacement. If extensive replacement of parts is necessary and the job becomes prohibitively expensive it may be more practical to pur- chase new sash which can be installed into the existing frames. Such sash are available as exact custom reproduc- tions, reasonable facsimiles (custom windows with similar profiles), and contemporary wooden sash which are similar in appearance. There are companies which still manufacture high quality wooden sash which would duplicate most historic sash. A few calls to local build- ing suppliers may provide a source of appropriate replace- ment sash, but if not, check with local historical associations, the state historic preservation office, or preservation related magazines and supply catalogs for information. If a rehabilitation project has a large number of win- dows such as a commercial building or an industrial com- plex, there may be less of a problem arriving at a solu- tion. Once the evaluation of the windows is completed and the scope of the work is known, there may be a potential economy of scale. Woodworking mills may be interested in the work from a large project; new sash in volume may be considerably less expensive per unit; crews can be assembled and trained on site to perform all of the window repairs; and a few extensive repairs can be absorbed (without undue burden) into the total budget for a large number of sound windows. While it may be expensive for the average historic home owner to pay seventy dollars or more for a mill to grind a custom knife to duplicate four or five bad muntins, that cost becomes negligible on large commercial projects which may have several hundred windows. Most windows should not require the extensive repairs discussed in this section. The ones which do are usually in buildings which have been abandoned for long periods or have totally lacked maintenance for years. It is necessary to thoroughly investigate the alternatives for windows which do require extensive repairs to arrive at a solution which retains historic significance and is also economically feasible. Even for projects requiring repairs identified in this section, if the percentage of parts replacement per window is low, or the number of windows requiring repair is small, repair can still be a cost effective solution. Weatherization A window which is repaired should be made as energy ef- ficient as possible by the use of appropriate weather- stripping to reduce air infiltration. A wide variety of products are available to assist in this task. Felt may be fastened to the top, bottom, and meeting rails, but may have the disadvantage of absorbing and holding moisture, particularly at the bottom rail. Rolled vinyl strips may also be tacked into place in appropriate locations to reduce infiltration. Metal strips or new plastic spring strips may be used on the rails and, if space permits, in the channels between the sash and jamb. Weatherstripping is a historic treatment, but old weatherstripping (felt) is not likely to perform very satisfactorily. Appropriate con- temporary weatherstripping should be considered an in- tegral part of the repair process for windows. The use of sash locks installed on the meeting rail will insure that the sash are kept tightly closed so that the weatherstripping will function more effectively to reduce infiltration. Although such locks will not always be historically accu- rate, they will usually be viewed as an acceptable contem- porary modification in the interest of improved thermal performance. Many styles of storm windows are available to improve the thermal performance of existing windows. The use of exterior storm windows should be investigated whenever feasible because they are thermally efficient, cost-effective, reversible, and allow the retention of original windows (see "Preservation Briefs: 3"). Storm window frames may be made of wood, aluminum, vinyl, or plastic; however, the use of unfinished aluminum storms should be avoided. The visual impact of storms may be minimized by selecting colors which match existing trim color. Arched top storms are available for windows with special shapes. Although interior storm windows appear to offer an attractive option for achieving double glazing with minimal visual impact, the potential for damaging con- densation problems must be addressed. Moisture which becomes trapped between the layers of glazing can con- dense on the colder, outer prime window, potentially leading to deterioration. The correct approach to using in- terior storms is to create a seal on the interior storm while allowing some ventilation around the prime window. In actual practice, the creation of such a durable, airtight seal is difficult. Window Replacement Although the retention of original or existing windows is always desirable and this Brief is intended to encourage that goal, there is a point when the condition of a win- dow may clearly indicate replacement. The decision proc- ess for selecting replacement windows should not begin with a survey of contemporary window products which are available as replacements, but should begin with a look at the windows which are being replaced. Attempt to understand the contribution of the window(s) to the ap- pearance of the facade including: 1) the pattern of the openings and their size; 2) proportions of the frame and sash; 3) configuration of window panes; 4) muntin pro- files; 5) type of wood; 6) paint color; 7) characteristics of the glass; and 8) associated details such as arched tops, hoods, or other decorative elements. Develop an under- standing of how the window reflects the period, style, or regional characteristics of the building, or represents tech- nological development. Armed with an awareness of the significance of the ex- isting window, begin to search for a replacement which retains as much of the character of the historic window as possible. There are many sources of suitable new win- dows. Continue looking until an acceptable replacement can be found. Check building supply firms, local wood- working mills, carpenters, preservation oriented maga- zines, or catalogs or suppliers of old building materials, for product information. Local historical associations and state historic preservation offices may be good sources of information on products which have been used success- fully in preservation projects. Consider energy efficiency as one of the factors for replacements, but do not let it dominate the issue. Energy conservation is no excuse for the wholesale destruction of historic windows which can be made thermally efficient by historically and aesthetically acceptable means. In fact, a historic wooden window with a high quality storm win- dow added should thermally outperform a new double - glazed metal window which does not have thermal breaks (insulation between the inner and outer frames in- tended to break the path of heat flow). This occurs because the wood has far better insulating value than the metal, and in addition many historic windows have high ratios of wood to glass, thus reducing the area of highest heat transfer. One measure of heat transfer is the U-value, the number of Btu's per hour transferred through a square foot of material. When comparing thermal performance, the lower the U-value the better the performance. Accord- ing to ASHRAE 1977 Fundamentals, the U-values for single glazed wooden windows range from 0.88 to 0.99. The addition of a storm window should reduce these figures to a range of 0.44 to 0.49. A non -thermal break, double -glazed metal window has a U-value of about 0.6. Conclusion Technical Preservation Services recommends the retention and repair of original windows whenever possible. We believe that the repair and weatherization of existing wooden windows is more practical than most people realize, and that many windows are unfortunately re- placed because of a lack of awareness of techniques for evaluation, repair, and weatherization. Wooden windows which are repaired and properly maintained will have greatly extended service lives while contributing to the historic character of the building. Thus, an important ele- ment of a building's significance will have been preserved for the future. Additional Reading ASHRAE Handbook-1977 Fundamentals. New York: American Society of Heating, Refrigerating and Air-conditioning Engineers, 1978 (chapter 26). Ferro, Maximillian. Preservation: Present Pathway to Fall River's Future. Fall River, Massachusetts: City of Fall River, 1979 (chapter 7). "Fixing Double -Hung Windows." Old House Journal (no. 12, 1979): 135. Look, David W. "Preservation Briefs: 10 Paint Removal from Historic Woodwork." Washington, DC: Technical Preservation Services, U.S. Department of the Interior, forthcoming. Morrison, Hugh. Early American Architecture. New York: Oxford University Press, 1952. Phillips, Morgan, and Selwyn, Judith. Epoxies for Wood Repairs in Historic Buildings. Washington, DC: Technical Preservation Ser- vices, U.S. Department of the Interior (Government Printing Office, Stock No. 024-016-00095-1), 1978. Rehab Right. Oakland, California: City of Oakland Planning Depart- ment, 1978 (pp. 78-83). "Sealing Leaky Windows." Old House Journal (no. 1, 1973): 5. Smith, Baird M. "Preservation Briefs: 3 Conserving Energy in Historic Buildings." Washington, DC: Technical Preservation Services, U.S. Department of the Interior, 1978. 1981 1OPRESERVATION BRIEFS Exterior Paint Problems on Historic Woodwork Kay D. Weeks and David W. Look, AIA U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services A cautionary approach to paint removal is included in the guidelines to "The Secretary of the Interior Standards for Historic Preservation Projects." Removing paints down to bare wood surfaces using harsh methods can permanently damage those surfaces; therefore such methods are not recommended. Also, total removal obliterates evidence of the historical paints and their sequence and architectural context. This Brief expands on that advice for the architect, build- ing manager, contractor, or homeowner by identifying and describing common types of paint surface conditions and failures, then recommending appropriate treatments for preparing exterior wood surfaces for repainting' to assure the best adhesion and greatest durability of the new paint. Although the Brief focuses on responsible methods of "paint removal," several paint surface conditions will be described which do not require any paint removal, and still others which can be successfully handled by limited paint removal. In all cases, the information is intended to address the concerns related to exterior wood. It will also be generally assumed that, because houses built before 1950 involve one or more layers of lead -base paint,2 the majori- ty of conditions warranting paint removal will mean deal- ing with this toxic substance along with the dangers of the paint removal tools and chemical strippers themselves. Purposes of Exterior Paint Paint' applied to exterior wood must withstand yearly ex- tremes of both temperature and humidity. While never ex- pected to be more than a temporary physical shield — requiring re -application every 5-8 years —its importance should not be minimized. Because one of the main causes of wood deterioration is moisture penetration, a primary purpose for painting wood is to exclude such moisture, thereby slowing deterioration not only of a building's ex- terior siding and decorative features but, ultimately, its underlying structural members. Another important pur- pose for painting wood is, of course, to define and accent architectural features and to improve appearance. Treating Paint Problems in Historic Buildings Exterior paint is constantly deteriorating through the proc- esses of weathering, but in a program of regular mainte- nance —assuming all other building systems are function- ing properly —surfaces can be cleaned, lightly scraped, and hand sanded in preparation for a new finish coat. Un- fortunately, these are ideal conditions. More often, com- plex maintenance problems are inherited by owners of historic buildings, including areas of paint that have failed" beyond the point of mere cleaning, scraping, and hand sanding (although much so-called "paint failure" is attributable to interior or exterior moisture problems or surface preparation and application mistakes with previous coats). Although paint problems are by no means unique to historic buildings, treating multiple layers of hardened, brittle paint on complex, ornamental —and possibly fragile —exterior wood surfaces necessarily requires an ex- tremely cautious approach (see figure 1). In the case of re- cent construction, this level of concern is not needed because the wood is generally less detailed and, in addi- tion, retention of the sequence of paint layers as a partial record of the building's history is not an issue. When historic buildings are involved, however, a special set of problems arises —varying in complexity depending upon their age, architectural style, historical importance, and physical soundness of the wood —which must be carefully evaluated so that decisions can be made that are sensitive to the longevity of the resource. Justification for Paint Removal At the outset of this Brief, it must be emphasized that removing paint from historic buildings —with the excep- tion of cleaning, light scraping, and hand sanding as part of routine maintenance —should be avoided unless abso- lutely essential. Once conditions warranting removal have General paint type recommendations will be made, but paint color recommenda- tions are beyond the scope of this Brief. z Douglas R. Shier and William Hall, Analysis of Housing Data Collected in a Lead - Based Paint Survey in Pittsburgh, Pennsylvania, Part 1, National Bureau of Stan- dards, Inter -Report 77-1250, May 1977. Any pigmented liquid, liquefiable, or mastic composition designed for application to a substrate in a thin layer which is converted to an opaque solid film after ap- plication. Paint and Coatings Dictionary, 1978. Federation of Societies for Coat- ings and Technology. For purposes of the Brief, this includes any area of painted exterior woodwork displaying signs of peeling, cracking, or alligatoring to bare wood. See descrip- tions of these and other paint surface conditions as well as recommended treat- ments on pp. 5-10. 4N Fig. 1 Excessive paint build-up on architectural details such as this ornamental bracket does not in itself justify total paint removal. If paint is cracked and peeling down to bare wood, however, it should be removed using the gentlest means possible. Photo: David W. Look, AIA. been identified, the general approach should be to remove paint to the next sound layer using the gentlest means possible, then to repaint (see figure 2). Practically speak- ing as well, paint can adhere just as effectively to existing paint as to bare wood, providing the previous coats of paint are also adhering uniformly and tightly to the wood and the surface is properly prepared for repainting — cleaned of dirt and chalk and dulled by sanding. But, if painted exterior wood surfaces display continuous patterns of deep cracks or if they are extensively blistering and peeling so that bare wood is visible, then the old paint should be completely removed before repainting. The only other justification for removing all previous layers of paint is if doors, shutters, or windows have literally been "painted shut," or if new wood is being pieced -in adjacent to old painted wood and a smooth transition is desired (see figure 3). Paint Removal Precautions Because paint removal is a difficult and painstaking proc- ess, a number of costly, regrettable experiences have oc- curred —and continue to occur —for both the historic building and the building owner. Historic buildings have been set on fire with blow torches; wood irreversibly scarred by sandblasting or by harsh mechanical devices such as rotary sanders and rotary wire strippers; and layers of historic paint inadvertently and unnecessarily removed. In addition, property owners, using techniques that substitute speed for safety, have been injured by toxic lead vapors or dust from the paint they were trying to Fig. 2 A traditionally painted bay window has been stripped to bare wood, then varnished. In addition to being historically inac- curate, the varnish will break down faster as a result of the sun's ultraviolet rays than would primer and finish coats of paint. Photo: David W. Look, AIA. Fig. 3 If damage to parts of a wooden element is severe, new sections of wood will need to be pieced -in. When such piecing is required, paint on the adjacent woodwork should be removed so that the old and new woods will make a smooth profile when joined. After repainting, the repair should be virtually impossible to detect. Photo: Morgan W. Phillips. remove or by misuse of the paint removers themselves. Owners of historic properties considering paint removal should also be aware of the amount of time and labor in- volved. While removing damaged layers of paint from a door or porch railing might be readily accomplished within a reasonable period of time by one or two people, removing paint from larger areas of a building can, with - out professional assistance, easily become unmanageable and produce less than satisfactory results. The amount of work involved in any paint removal project must there- fore be analyzed on a case -by -case basis. Hiring qualified professionals will often be a cost-effective decision due to the expense of materials, the special equipment required, and the amount of time involved. Further, paint removal companies experienced in dealing with the inherent health and safety dangers of paint removal should have pur- chased such protective devices as are needed to mitigate any dangers and should also be aware of State or local en- vironmental and/or health regulations for hazardous waste disposal. All in all, paint removal is a messy, expensive, and potentially dangerous aspect of rehabilitating or restoring historic buildings and should not be undertaken without careful thought concerning first, its necessity, and second, which of the available recommended methods is the safest and most appropriate for the job at hand. Repainting Historic Buildings for Cosmetic Reasons If existing exterior paint on wood siding, eaves, window sills, sash, and shutters, doors, and decorative features shows no evidence of paint deterioration such as chalking, blistering, peeling, or cracking, then there is no physical reason to repaint, much less remove paint! Nor is color fading, of itself, sufficient justification to repaint a historic building. The decision to repaint may not be based altogether on paint failure. Where there is a new owner, or even where ownership has remained constant through the years, taste in colors often changes. Therefore, if repainting is primarily to alter a building's primary and accent colors, a technical factor of paint accumulation should be taken into consideration. When paint builds up to a thickness of approximately 1/16" (approximately 16-30 layers), one or more extra coats of paint may be enough to trigger crack- ing and peeling in limited or even widespread areas of the building's surface. This results because excessively thick paint is less able to withstand the shrinkage or pull of an additional coat as it dries and is also less able to tolerate thermal stresses. Thick paint invariably fails at the weakest point of adhesion —the oldest layers next to the wood. Cracking and peeling follow. Therefore, if there are no signs of paint failure, it may be somewhat risky to add still another layer of unneeded paint simply for color's sake (extreme changes in color may also require more than one coat to provide proper hiding power and full color). When paint appears to be nearing the critical thickness, a change of accent colors (that is, just to limited portions of the trim) might be an acceptable com- promise without chancing cracking and peeling of paint on wooden siding. If the decision to repaint is nonetheless made, the "new" color or colors should, at a minimum, be appropriate to the style and setting of the building. On the other hand, where the intent is to restore or accurately reproduce the colors originally used or those from a significant period in the building's evolution, they should be based on the results of a paint analysis.' Identification of Exterior Paint Surface Conditions/Recommended Treatments It is assumed that a preliminary check will already have been made to determine, first, that the painted exterior surfaces are indeed wood —and not stucco, metal, or other wood substitutes —and second, that the wood has not decayed so that repainting would be superfluous. For ex- ample, if any area of bare wood such as window sills has been exposed for a long period of time to standing water, wood rot is a strong possibility (see figure 4). Repair or replacement of deteriorated wood should take place before repainting. After these two basic issues have been resolved, the surface condition identification process may commence. The historic building will undoubtedly exhibit a variety of exterior paint surface conditions. For example, paint on the wooden siding and doors may be adhering firmly; paint on the eaves peeling; and paint on the porch balusters and window sills cracking and alligatoring. The accurate identification of each paint problem is therefore the first step in planning an appropriate overall solution. Paint surface conditions can be grouped according to their relative severity: CLASS I conditions include minor blemishes or dirt collection and generally require no paint removal; CLASS II conditions include failure of the top layer or layers of paint and generally require limited paint removal; and CLASS III conditions include substantial or multiple -layer failure and generally require total paint removal. It is precisely because conditions will vary at dif- ferent points on the building that a careful inspection is critical. Each item of painted exterior woodwork (i.e., siding, doors, windows, eaves, shutters, and decorative elements) should be examined early in the planning phase and surface conditions noted. CLASS I Exterior Surface Conditions Generally Requiring No Paint Removal • Dirt, Soot, Pollution, Cobwebs, Insect Cocoons, etc. Cause of Condition Environmental "grime" or organic matter that tends to cling to painted exterior surfaces and, in particular, pro- tected surfaces such as eaves, do not constitute a paint problem unless painted over rather than removed prior to repainting. If not removed, the surface deposits can be a barrier to proper adhesion and cause peeling. Recommended Treatment Most surface matter can be loosened by a strong, direct stream of water from the nozzle of a garden hose. Stubborn dirt and soot will need to be scrubbed off using I/2 cup of household detergent in a gallon of water with a medium soft bristle brush. The cleaned surface should then be rinsed thoroughly, and permitted to dry before further inspection to determine if repainting is necessary. Quite often, cleaning provides a satisfactory enough result to postpone repainting. See the Reading List for paint research and documentation information. See also The Serretw_u of the Interiors Standards for Historic Preseri,ation Projects -with Guidelines for Appluing the Standards for recommended approaches on paints and finishes within various types of project work treatments. 3 • Mildew Cause of Condition Mildew is caused by fungi feeding on nutrients contained in the paint film or on dirt adhering to any sur- face. Because moisture is the single most important factor in its growth, mildew tends to thrive in areas where dampness and lack of sunshine are problems such as window sills, under eaves, around gutters and down- spouts, on the north side of buildings, or in shaded areas near shrubbery. It may sometimes be difficult to distin- guish mildew from dirt, but there is a simple test to differentiate: if a drop of household bleach is placed on the suspected surface, mildew will immediately turn white whereas dirt will continue to look like dirt. Recommended Treatment Because mildew can only exist in shady, warm, moist areas, attention should be given to altering the environ- ment that is conducive to fungal growth. The area in question may be shaded by trees which need to be pruned back to allow sunlight to strike the building; or may lack rain gutters or proper drainage at the base of the building. If the shady or moist conditions can be altered, the mildew is less likely to reappear. A recommend solution for removing mildew consists of one cup non -ammoniated detergent, one quart household bleach, and one gallon water. When the surface is scrubbed with this solution using a medium soft brush, the mildew should disappear; however, for particularly stubborn spots, an additional quart of bleach may be added. After the area is mildew - free, it should then be rinsed with a direct stream of water from the nozzle of a garden hose, and permitted to dry thoroughly. When repainting, specially formulated "mildew -resistant" primer and finish coats should be used. • Excessive Chalking Cause of Condition Chalking —or powdering of the paint surface —is caused by the gradual disintegration of the resin in the paint film. (The amount of chalking is determined both by the for- mulation of the paint and the amount of ultraviolet light to which the paint is exposed.) In moderation, chalking is the ideal way for a paint to "age," because the chalk, when rinsed by rainwater, carries discoloration and dirt away with it and thus provides an ideal surface for repainting. In excess, however, it is not desirable because the chalk can wash down onto a surface of a different color beneath the painted area and cause streaking as well as rapid disintegration of the paint film itself. Also, if a paint contains too much pigment for the amount of binder (as the old white lead carbonate/oil paints often did), excessive chalking can result. Recommended Treatment The chalk should be cleaned off with a solution of 1/2 cup household detergent to one gallon water, using a medium soft bristle brush. After scrubbing to remove the chalk, the surface should be rinsed with a direct stream of water from the nozzle of a garden hose, allowed to dry thoroughly, (but not long enough for the chalking process to recur) and repainted, using a non -chalking paint. • Staining Cause of Condition Staining of paint coatings usually results from excess Fig. 4 Paint films wear unevenly depending on exposure and location. Exterior locations which are susceptible to accelerated deterioration are horizontal surfaces such as window sills. These and similar areas will require repainting more often than less vulnerable surfaces. In the case of this window sill where paint has peeled off and adjacent areas have cracked and alligatored, the paint should be totally removed. Prior to repainting, any weathered wood should be rejuvenated using a solution of 3 cups exterior varnish, 1 oz. paraffin wax, and mineral spirits/ paint thinner/or turpentine to make 1 gallon. Liberal brush ap- plication should be made. This formula was tested over a 20-year period by the U.S. Department of Agriculture's Forest Products Laboratory and proved to be just as effective as water- repellent preservatives containing pentachlorophenol. After the surface has thoroughly dried (2-3 days of warm weather), the treated surface can be painted. A high quality oil -base primer followed by two top coats of a semi -gloss oil -enamel or latex - enamel paint is recommended. Photo: Baird M. Smith, AIA. moisture reacting with materials within the wood sub- strate. There are two common types of staining, neither of which requires paint removal. The most prevalent type of stain is due to the oxidation or rusting of iron nails or metal (iron, steel, or copper) anchorage devices. A second type of stain is caused by a chemical reaction between moisture and natural extractives in certain woods (red cedar or redwood) which results in a surface deposit of colored matter. This is most apt to occur in new replace- ment wood within the first 10-15 years. Recommended Treatment In both cases, the source of the stain should first be lo- cated and the moisture problem corrected. When stains are caused by rusting of the heads of nails used to attach shingles or siding to an exterior wall or by rusting or oxidizing iron, steel, or copper anchorage devices adjacent to a painted surface, the metal objects themselves should be hand sanded and coated with a rust - inhibitive primer followed by two finish coats. (Exposed nail heads should ideally be countersunk, spot primed, and the holes filled with a high quality wood filler except where exposure of the nail head was part of the original construction system or the wood is too fragile to with- stand the countersinking procedure.) Discoloration due to color extractives in replacement wood can usually be cleaned with a solution of equal parts denatured alcohol and water. After the affected area 4 has been rinsed and permitted to dry, a "stain -blocking primer" especially developed for preventing this type of stain should be applied (two primer coats are recommended for severe cases of bleeding prior to the finish coat). Each primer coat should be allowed to dry at least 48 hours. CLASS 1I Exterior Surface Conditions Generally Requiring Limited Paint Removal • Crazing Cause of Condition Crazing —fine, jagged interconnected breaks in the top layer of paint —results when paint that is several layers thick becomes excessively hard and brittle with age and is consequently no longer able to expand and contract with the wood in response to changes in temperature and hu- midity (see figure 5). As the wood swells, the bond be- tween paint layers is broken and hairline cracks appear. Although somewhat more difficult to detect as opposed to other more obvious paint problems, it is well worth the time to scrutinize all surfaces for crazing. If not corrected, exterior moisture will enter the crazed surface, resulting in further swelling of the wood and, eventually, deep crack- ing and alligatoring, a Class III condition which requires total paint removal. Recommended Treatment Crazing can be treated by hand or mechanically sanding the surface, then repainting. Although the hairline cracks may tend to show through the new paint, the surface will be protected against exterior moisture penetration. coat can sometimes result since, upon aging, the oil paint becomes harder and less elastic than the latex paint. If latex paint is applied over old, chalking oil paint, peeling can also occur because the latex paint is unable to pene- trate the chalky surface and adhere. Recommended Treatment First, where salts or impurities have caused the peeling, the affected area should be washed down thoroughly after scraping, then wiped dry. Finally, the surface should be hand or mechanically sanded, then repainted. Where peeling was the result of using incompatible paints, the peeling top coat should be scraped and hand or mechanically sanded. Application of a high quality oil type exterior primer will provide a surface over which either an oil or a latex topcoat can be successfully used. Fig. 6 This is an example of intercoat peeling. A latex top coat was applied directly over old oil paint and, as a result, the latex paint was unable to adhere. If latex is being used over oil, an oil - base primer should be applied first. Although much of the peel- ing latex paint can be scraped off, in this case, the best solution may be to chemically dip strip the entire shutter to remove all of the paint down to bare wood, rinse thoroughly, then repaint. Photo: Mary L. Oehrlein, AIA. Fig. 5 Crazing —or surface cracking —is an exterior surface condi- tion which can be successfully treated by sanding and painting. • Solvent Blistering Photo: Courtesy, National Decorating Products Association. • Intercoat Peeling Cause of Condition Intercoat peeling can be the result of improper surface preparation prior to the last repainting. This most often occurs in protected areas such as eaves and covered porches because these surfaces do not receive a regular rinsing from rainfall, and salts from air -borne pollutants thus accumulate on the surface. If not cleaned off, the new paint coat will not adhere properly and that layer will peel. Another common cause of intercoat peeling is incom- patibility between paint types (see figure 6). For example, if oil paint is applied over latex paint, peeling of the top Cause of Condition Solvent blistering, the result of a less common applica- tion error, is not caused by moisture, but by the action of ambient heat on paint solvent or thinners in the paint film. If solvent -rich paint is applied in direct sunlight, the top surface can dry too quickly and, as a result, solvents become trapped beneath the dried paint film. When the solvent vaporizes, it forces its way through the paint film, resulting in surface blisters. This problem occurs more often with dark colored paints because darker colors ab- sorb more heat than lighter ones. To distinguish between solvent blistering and blistering caused by moisture, a blister should be cut open. If another layer of paint is visi- ble, then solvent blistering is likely the problem whereas if bare wood is revealed, moisture is probably to blame. Solvent blisters are generally small. Recommended Treatment Solvent -blistered areas can be scraped, hand or mechan- ically sanded to the next sound layer, then repainted. In order to prevent blistering of painted surfaces, paint should not be applied in direct sunlight. • Wrinkling Cause of Condition Another error in application that can easily be avoided is wrinkling (see figure 7). This occurs when the top layer of paint dries before the layer underneath. The top layer of paint actually moves as the paint underneath (a primer, for example) is drying. Specific causes of wrinkling in- clude: (1) applying paint too thick; (2) applying a second coat before the first one dries; (3) inadequate brushing out; and (4) painting in temperatures higher than recom- mended by the manufacturer. Recommended Treatment The wrinkled layer can be removed by scraping followed by hand or mechanical sanding to provide as even a sur- face as possible, then repainted following manufacturer's application instructions. Fig. 7 Wrinkled layers can generally be removed by scraping anc sanding as opposed to total paint removal. Following manufac- turers' application instructions is the best way to avoid this sur- face condition. Photo: Courtesy, National Decorating Products Association. CLASS III Exterior Surface Conditions Generally Requiring Total Paint Removal If surface conditions are such that the majority of paint will have to be removed prior to repainting, it is suggested that a small sample of intact paint be left in an inconspicuous area either by covering the area with a metal plate, or by marking the area and identifying it in some way. (When repainting does take place, the sample should not be painted over). This will enable future investigators to have a record of the building's paint history. • Peeling Cause of Condition Peeling to bare wood is most often caused by excess in- terior or exterior moisture that collects behind the paint film, thus impairing adhesion (see figure 8). Generally beginning as blisters, cracking and peeling occur as mois- ture causes the wood to swell, breaking the adhesion of the bottom layer. Recommended Treatment There is no sense in repainting before dealing with the moisture problems because new paint will simply fail. Therefore, the first step in treating peeling is to locate and remove the source or sources of the moisture, not only because moisture will jeopardize the protective coating of paint but because, if left unattended, it can ultimately cause permanent damage to the wood. Excess interior moisture should be removed from the building through in- stallation of exhaust fans and vents. Exterior moisture should be eliminated by correcting the following condi- tions prior to repainting: faulty flashing; leaking gutters; defective roof shingles; cracks and holes in siding and trim; deteriorated caulking in joints and seams; and shrubbery growing too close to painted wood. After the moisture problems have been solved, the wood must be permitted to dry out thoroughly. The damaged paint can then be scraped off with a putty knife, hand or mechani- cally sanded, primed, and repainted. Fig. 8 Peeling to bare wood —one of the most common types of paint failure —is usually caused by an interior or exterior moisture problem. Photo: Anne E. Grimmer. C racking/ Alligatoring Cause of Condition Cracking and alligatoring are advanced stages of craz- ing (see figure 9). Once the bond between layers has been broken due to intercoat paint failure, exterior moisture is able to penetrate the surface cracks, causing the wood to swell and deeper cracking to take place. This process con- tinues until cracking, which forms parallel to grain, ex- tends to bare wood. Ultimately, the cracking becomes an overall pattern of horizontal and vertical breaks in the paint layers that looks like reptile skin; hence, "alligator- ing." In advanced stages of cracking and alligatoring, the surfaces will also flake badly. Recommended Treatment If cracking and alligatoring are present only in the top layers they can probably be scraped, hand or mechanical- ly sanded to the next sound layer, then repainted. How- ever, if cracking and/or alligatoring have progressed to bare wood and the paint has begun to flake, it will need to be totally removed. Methods include scraping or paint removal with the electric heat plate, electric heat gun, or chemical strippers, depending on the particular area in- volved. Bare wood should be primed within 48 hours, then repainted. old LL _,_ Fig. 9 Cracking, alligatoring, and flaking are evidence of long- term neglect of painted surfaces. The remaining paint on the clapboard shown here can be removed with an electric heat plate and wide -bladed scraper. In addition, unsound wood should be replaced and moisture problems corrected before primer and top coats of paint are applied. Photo David W. Look, AIA. Selecting the Appropriate/Safest Method to Remove Paint After having presented the "hierarchy" of exterior paint surface conditions —from a mild condition such as mildew- ing which simply requires cleaning prior to repainting to serious conditions such as peeling and alligatoring which require total paint removal —one important thought bears repeating: if a paint problem has been identified that war- rants either limited or total paint removal, the gentlest method possible for the particular wooden element of the historic building should be selected from the many avail- able methods. The treatments recommended —based upon field testing as well as onsite monitoring of Department of Interior grant-in-aid and certification of rehabilitation projects — are therefore those which take three over-riding issues into consideration (1) the continued protection and preserva- tion of the historic exterior woodwork; (2) the retention of the sequence of historic paint layers; and (3) the health and safety of those individuals performing the paint removal. By applying these criteria, it will be seen that no paint removal method is without its drawbacks and all recommendations are qualified in varying degrees. Methods for Removing Paint After a particular exterior paint surface condition has been identified, the next step in planning for repainting —if paint removal is required —is selecting an appropriate method for such removal. The method or methods selected should be suitable for the specific paint problem as well as the particular wooden element of the building. Methods for paint removal can be divided into three categories (frequently, however, a combination of the three methods is used). Each method is defined below, then discussed further and specific recommendations made: Abrasive —"Abrading" the painted surface by manual and/or mechanical means such as scraping and sanding. Generally used for surface preparation and limited paint removal. Thermal —Softening and raising the paint layers by apply- ing heat followed by scraping and sanding. Generally used for total paint removal. Chemical —Softening of the paint layers with chemical strippers followed by scraping and sanding. Generally used for total paint removal. • Abrasive Methods (Manual) If conditions have been identified that require limited paint removal such as crazing, intercoat peeling, solvent blistering, and wrinkling, scraping and hand sanding should be the first methods employed before using mechanical means. Even in the case of more serious condi- tions such as peeling —where the damaged paint is weak and already sufficiently loosened from the wood surface — scraping and hand sanding may be all that is needed prior to repainting. Recommended Abrasive Methods (Manual) Putty Knife/Paint Scraper: Scraping is usually accom- plished with either a putty knife or a paint scraper, or both. Putty knives range in width from one to six inches and have a beveled edge. A putty knife is used in a push- ing motion going under the paint and working from an area of loose paint toward the edge where the paint is still firmly adhered and, in effect, "beveling' the remaining layers so that as smooth a transition as possible is made between damaged and undamaged areas (see figure 10). Paint scrapers are commonly available in 1%,,, 21/2, and 31/2 inch widths and have replaceable blades. In addition, profiled scrapers can be made specifically for use on moldings. As opposed to the putty knife, the paint scraper is used in a pulling motion and works by raking the damaged areas of paint away. The obvious goal in using the putty knife or the paint scraper is to selectively remove the affected layer or layers of paint; however, both of these tools, particularly the paint scraper with its hooked edge, must be used with care to properly prepare the surface and to avoid gouging the wood. Sandpaper/Sanding Block/Sanding sponge: After manually removing the damaged layer or layers by scraping, the uneven surface (due to the almost inevitable removal of varying numbers of paint layers in a given area) will need to be smoothed or "feathered out" prior to repainting. As stated before, hand sanding, as opposed to harsher mechanical sanding, is recommended if the area is rela- tively limited. A coarse grit, open -coat flint sand- paper —the least expensive kind —is useful for this purpose because, as the sandpaper clogs with paint it must be discarded and this process repeated until all layers adhere uniformly. Blocks made of wood or hard rubber and covered with sandpaper are useful for handsanding flat surfaces. Sand- ing sponges —rectangular sponges with an abrasive aggre- gate on their surfaces —are also available for detail work that requires reaching into grooves because the sponge easily conforms to curves and irregular surfaces. All sand- ing should be done with the grain. 7 Summary of Abrasive Methods (Manual) Recommended: Putty knife, paint scraper, sandpaper, sanding block, sanding sponge. Applicable areas of building: All areas. For use on: Class I, Class Il, and Class III conditions. Health/Safety factors: Take precautions against lead dust, eye damage; dispose of lead paint residue properly. Fig. 10 An excellent example of inadequate scraping before re- painting, the problems here are far more than cosmetic. This im- properly prepared surface will permit moisture to get behind the paint film which, in turn, will result in chipping and peeling. Photo: Baird M. Smith, AIA. • Abrasive Methods (Mechanical) If hand sanding for purposes of surface preparation has not been productive or if the affected area is too large to consider hand sanding by itself, mechanical abrasive methods, i.e., power -operated tools may need to be employed; however, it should be noted that the majority of tools available for paint removal can cause damage to fragile wood and must be used with great care. Recommended Abrasive Methods (Mechanical) Orbital sander: Designed as a finishing or smoothing tool — not for the removal of multiple layers of paint —the oribital sander is thus recommended when limited paint removal is required prior to repainting. Because it sands in a small diameter circular motion (some models can also be switched to a back -and -forth vibrating action), this tool is particularly effective for "feathering" areas where paint has first been scraped (see figure 11). The abrasive surface varies from about 3 X 7 inches to 4 X 9 inches and sandpaper is attached either by clamps or sliding clips. A medium grit, open -coat aluminum oxide sandpaper should be used; fine sandpaper clogs up so quickly that it is inef- fective for smoothing paint. Belt sander: A second type of power tool —the belt sander — can also be used for removing limited layers of paint but, in this case, the abrasive surface is a continuous belt of sandpaper that travels at high speeds and consequently of- fers much less control than the orbital sander. Because of the potential for more damage to the paint or the wood, use of the belt sander (also with a medium grit sandpaper) should be limited to flat surfaces and only skilled operators should be permitted to operate it within a historic preservation project. i girls � Fig. 11 The orbital sander can be used for limited paint removal, i.e., for smoothing flat surfaces after the majority of deteriorated paint has already been scraped off. Photo: Charles F. Fisher, III. Not Recommended Rotary Drill Attachments: Rotary drill attachments such as the rotary sanding disc and the rotary wire stripper should be avoided. The disc sander —usually a disc of sandpaper about S inches in diameter secured to a rubber based attachment which is in turn connected to an electric drill or other motorized housing —can easily leave visible circular depressions in the wood which are difficult to hide, even with repainting. The rotary wire stripper —clus- ters of metals wires similarly attached to an electric drill - type unit —can actually shred a wooden surface and is thus to be used exclusively for removing corrosion and paint from metals. Waterblasting: Waterblasting above 600 p.s.i. to remove paint is not recommended because it can force water into the woodwork rather than cleaning loose paint and grime from the surface; at worst, high pressure waterblasting causes the water to penetrate exterior sheathing and damages interior finishes. A detergent solution, a medium soft bristle brush, and a garden hose for purposes of rins- ing, is the gentlest method involving water and is recom- mended when cleaning exterior surfaces prior to repaint- ing. 8 Sandblasting: Finally —and undoubtedly most vehemently "not recommended" —sandblasting painted exterior wood- work will indeed remove paint, but at the same time can scar wooden elements beyond recognition. As with rotary wire strippers, sandblasting erodes the soft porous fibers (spring wood) faster than the hard, dense fibers (summer wood), leaving a pitted surface with ridges and valleys. Sandblasting will also erode projecting areas of carvings and moldings before it removes paint from concave areas (see figure 12). Hence, this abrasive method is potentially the most damaging of all possibilities, even if a contractor promises that blast pressure can be controlled so that the paint is removed without harming the historic exterior woodwork. (For Additional Information, See Presevation Briefs 6, "Dangers of Abrasive Cleaning to Historic Build- ings".) Fig. 12 Sandblasting has permanently damaged this ornamental bracket. Even paint will not be able to hide the deep erosion of the wood. Photo: David W. Look, AIA. Summary of Abrasive Methods (Mechanical) Recommended: Orbital sander, belt sander (skilled opera- tor only). Applicable areas of building: Flat surfaces, i.e., siding, eaves, doors, window sills. For use on: Class I1 and Class III conditions. Health/Safety factors: Take precautions against lead dust and eye damage; dispose of lead paint residue properly. Not Recommended: Rotary drill attachments, high pressure waterblasting, sandblasting. • Thermal Methods Where exterior surface conditions have been identified that warrant total paint removal such as peeling, crack- ing, or alligatoring, two thermal devices —the electric heat plate and the electric heat gun —have proven to be quite successful for use on different wooden elements of the historic building. One thermal method —the blow torch —is not recommended because it can scorch the wood or even burn the building down! Recommended Thermal Methods Electric heat plate: The electric heat plate (see figure 13) operates between 500 and 800 degrees Fahrenheit (not hot enough to vaporize lead paint), using about 15 amps of power. The plate is held close to the painted exterior sur- face until the layers of paint begin to soften and blister, then moved to an adjacent location on the wood while the softened paint is scraped off with a putty knife (it should be noted that the heat plate is most successful when the paint is very thick!). With practice, the operator can suc- cessfully move the heat plate evenly across a flat surface such as wooden siding or a window sill or door in a con- tinuous motion, thus lessening the risk of scorching the wood in an attempt to reheat the edge of the paint suffi- ciently for effective removal. Since the electric heat plate's coil is "red hot," extreme caution should be taken to avoid igniting clothing or burning the skin. If an extension cord is used, it should be a heavy-duty cord (with 3-prong grounded plugs). A heat plate could overload a circuit or, even worse, cause an electrical fire; therefore, it is recom- mended that this implement be used with a single circuit and that a fire extinguisher always be kept close at hand. U Fig. 13 The electric heat plate (with paint scraper) is particularly useful for removing paint down to bare wood on flat surfaces such as doors, window frames, and siding. After scraping, some light sanding will probably be necessary to smooth the surface prior to application of primer and top coats. Photo: David W. Look, AIA. Electric heat gun: The electric heat gun (electric hot-air gun) looks like a hand-held hairdryer with a heavy-duty metal case (see figure 14). It has an electrical resistance coil that typically heats between 500 and 750 degrees Fahrenheit and, again, uses about 15 amps of power which requires a heavy-duty extension cord. There are some heat guns that operate at higher temperatures but they should not be purchased for removing old paint because of the danger of lead paint vapors. The tempera- ture is controlled by a vent on the side of the heat gun. When the vent is closed, the heat increases. A fan forces a stream of hot air against the painted woodwork, causing a blister to form. At that point, the softened paint can be peeled back with a putty knife. It can be used to best ad- vantage when a paneled door was originally varnished, then painted a number of times. In this case, the paint will come off quite easily, often leaving an almost pristine varnished surface behind. Like the heat plate, the heat gun works best on a heavy paint build-up. (It is, however, not very successful on only one or two layers of paint or on surfaces that have only been varnished. The varnish sim- ply becomes sticky and the wood scorches.) Although the heat gun is heavier and more tiring to use than the heat plate, it is particularly effective for remov- ing paint from detail work because the nozzle can be directed at curved and intricate surfaces. Its use is thus more limited than the heat plate, and most successfully used in conjunction with the heat plate. For example, it takes about two to three hours to strip a paneled door with a heat gun, but if used in combination with a heat plate for the large, flat area, the time can usually be cut in half. Although a heat gun seldom scorches wood, it can cause fires (like the blow torch) if aimed at the dusty cavity between the exterior sheathing and siding and in- terior lath and plaster. A fire may smolder for hours be- fore flames break through to the surface. Therefore, this thermal device is best suited for use on solid decorative elements, such as molding, balusters, fretwork, or "ginger- bread." Fig. 14 The nozzle on the electric heat gun permits hot air to be aimed into cavities on solid decorative elements such as this ap- plied column. After the paint has been sufficiently softened, it can be removed with a profiled scraper. Photo: Charles E. Fisher, III. Not Recommended Blow Torch: Blow torches, such as hand-held propane or butane torches, were widely used in the past for paint removal because other thermal devices were not available. With this technique, the flame is directed toward the paint until it begins to bubble and loosen from the surface. Then the paint is scraped off with a putty knife. Although this is a relatively fast process, at temperatures between 3200 and 3800 degrees Fahrenheit the open flame is not only capable of burning a careless operator and causing severe damage to eyes or skin, it can easily scorch or ig- nite the wood. The other fire hazard is more insidious. Most frame buildings have an air space between the ex- terior sheathing and siding and interior lath and plaster. This cavity usually has an accumulation of dust which is also easily ignited by the open flame of a blow torch. Finally, lead -base paints will vaporize at high tempera- tures, releasing toxic fumes that can be unknowingly in- haled. Therefore, because both the heat plate and the heat gun are generally safer to use —that is, the risks are much more controllable —the blow torch should definitely be avoided! Summary of Thermal Methods Recommended: Electric heat plate, electric heat gun. Applicable areas of building: Electric heat plate —flat sur- faces such as siding, eaves, sash, sills, doors. Electric heat gun —solid decorative molding, balusters, fretwork, or "gingerbread." For use on: Class III conditions. Health/Safety factors: Take precautions against eye damage and fire. Dispose of lead paint residue properly. Not Recommended: Blow torch. • Chemical Methods With the availability of effective thermal methods for total paint removal, the need for chemical methods —in the context of preparing historic exterior woodwork for repainting —becomes quite limited. Solvent -base or caustic strippers may, however, play a supplemental role in a number of situations, including: • Removing paint residue from intricate decorative features, or in cracks or hard to reach areas if a heat gun has not been completely effective; • Removing paint on window muntins because heat devices can easily break the glass; • Removing varnish on exterior doors after all layers of paint have been removed by a heat plate/heat gun if the original varnish finish is being restored; • Removing paint from detachable wooden elements such as exterior shutters, balusters, columns, and doors by dip -stripping when other methods are too laborious. Recommended Chemical Methods (Use With Extreme Caution) Because all chemical paint removers can involve potential health and safety hazards, no wholehearted recommenda- tions can be made from that standpoint. Commonly known as "paint removers" or "strippers," both solvent -base or caustic products are commercially available that, when poured, brushed, or sprayed on painted exterior wood- work are capable of softening several layers of paint at a time so that the resulting "sludge" —which should be remembered is nothing less than the sequence of historic 10 paint layers —can be removed with a putty knife. Detachable wood elements such as exterior shutters can also be "dip -stripped." Solvent -base Strippers: The formulas tend to vary, but generally consist of combinations of organic solvents such as methylene chloride, isopropanol, toluol, xylol, and methanol; thickeners such as methyl cellulose; and various additives such as paraffin wax used to prevent the volatile solvents from evaporating before they have time to soak through multiple layers of paint. Thus, while some solvent -base strippers are quite thin and therefore un- suitable for use on vertical surfaces, others, called "semi - paste" strippers, are formulated for use on vertical sur- faces or the underside of horizontal surfaces. However, whether liquid or semi -paste, there are two important points to stress when using any solvent -base stripper: First, the vapors from the organic chemicals can be highly toxic if inhaled; skin contact is equally danger- ous because the solvents can be absorbed; second, many solvent -base strippers are flammable. Even though appli- cation out-of-doors may somewhat mitigate health and safety hazards, a respirator with special filters for organic solvents is recommended and, of course, solvent -base strippers should never be used around open flames, lighted cigarettes, or with steel wool around electrical outlets. Although appearing to be the simplest for exterior use, a particular type of solvent -base stripper needs to be men- tioned here because it can actually cause the most prob- lems. Known as "water-rinsable," such products have a high proportion of methylene chloride together with emul- sifiers. Although the dissolved paint can be rinsed off with water with a minimum of scraping, this ultimately creates more of a problem in cleaning up and properly disposing of the sludge. In addition, these strippers can leave a gummy residue on the wood that requires removal with solvents. Finally, water-rinsable strippers tend to raise the grain of the wood more than regular strippers. On balance, then, the regular strippers would seem to work just as well for exterior purposes and are perhaps even better from the standpoint of proper lead sludge disposal because they must be hand 'scraped as opposed to rinsed off (a coffee -can with a wire stretched across the top is one effective way to collect the sludge; when the putty knife is run across the wire, the sludge simply falls into the can. Then, when the can is filled, the wire is removed, the can capped, and the lead paint sludge dis- posed of according to local health regulations). Caustic Strippers: Until the advent of solvent -base strip- pers, caustic strippers were used exclusively when a chemical method was deemed appropriate for total paint removal prior to repainting or refinishing. Now, it is more difficult to find commercially prepared caustic solutions in hardware and paint stores for home -owner use with the exception of lye (caustic soda) because solvent -base strippers packaged in small quantities tend to dominate the market. Most commercial dip stripping companies, however, continue to use variations of the caustic bath process because it is still the cheapest method available for remov- ing paint. Generally, dip stripping should be left to professional companies because caustic solutions can dissolve skin and permanently damage eyes as well as present serious disposal problems in large quantities. If exterior shutters or other detachable elements are be- ing sent out° for stripping in a caustic solution, it is wise to see samples of the company's finished work. While some companies do a first-rate job, others can leave a residue of paint in carvings and grooves. Wooden ele- ments may also be soaked too long so that the wood grain is raised and roughened, requiring extensive hand sanding later. In addition, assurances should be given by these companies that caustic paint removers will be neutralized with a mild acid solution or at least thoroughly rinsed with water after dipping (a caustic residue makes the wood feel slippery). If this is not done, the lye residue will cause new paint to fail. Summary of Chemical Methods Recommended, with extreme caution: Solvent -base strip- pers, caustic strippers. Applicable areas of buildings: decorative features, window muntins, doors, exterior shutters, columns, balusters, and railings. For use on: Class III Conditions. Health/Safety factors: Take precautions against inhaling toxic vapors; fire; eye damage; and chemical poisoning from skin contact. Dispose of lead residue properly General Paint Type Recommendations Based on the assumption that the exterior wood has been painted with oil paint many times in the past and the ex- isting top coat is therefore also an oil paint,' it is recom- mended that for CLASS I and CLASS II paint surface con- ditions, a top coat of high quality oil paint be applied when repainting. The reason for recommending oil rather than latex paints is that a coat of latex paint applied directly over old oil paint is more apt to fail. The con- siderations are twofold. First, because oil paints continue to harden with age, the old surface is sensitive to the added stress of shrinkage which occurs as a new coat of paint dries. Oil paints shrink less upon drying than latex paints and thus do not have as great a tendency to pull the old paint loose. Second, when exterior oil paints age, the binder releases pigment particles, causing a chalky surface. Although for best results, the chalk (or dirt, etc.) should always be cleaned off prior to repainting, a coat of new oil paint is more able to penetrate a chalky residue and adhere than is latex paint. Therefore, unless it is possible to thoroughly clean a heavy chalked surface, oil paints —on balance —give better adhesion. If however, a latex top coat is going to be applied over several layers of old oil paint, an oil primer should be applied first (the oil primer creates a flat, porous surface to which the latex can adhere). After the primer has thoroughly dried, a latex top coat may be applied. In the long run, changing paint types is more time consuming and expensive. An application of a new oil -type top coat on the old oil paint is, thus, the preferred course of action. ° Marking the original location of the shutter by number (either by stamping numbers into the end grain with metal numeral dies or cutting numbers into the end with a pen knife) will minimize difficulties when rehanging them. If the top coat is latex paint (when viewed by the naked eye or, preferably, with a magnifying glass, it looks like a series of tiny craters) it may either be repainted with new latex paint or with oil paint. Normal surface preparation should precede any repainting. 11 If CLASS III conditions have necessitated total paint removal, there are two options, both of which assure pro- tection of the exterior wood: (1) an oil primer may be ap- plied followed by an oil -type top coat, preferably by the same manufacturer; or (2) an oil primer may be applied followed by a latex top coat, again using the same brand of paint. It should also be noted that primers were never intended to withstand the effects of weathering; therefore, the top coat should be applied as soon as possible after the primer has dried. Conclusion The recommendations outlined in this Brief are cautious because at present there is no completely safe and effec- tive method of removing old paint from exterior wood- work. This has necessarily eliminated descriptions of several methods still in a developmental or experimental stage, which can therefore neither be recommended nor precluded from future recommendation. With the ever- increasing number of buildings being rehabilitated, however, paint removal technology should be stimulated and, in consequence, existing methods refined and new methods developed which will respect both the historic wood and the health and safety of the operator. Special thanks go to Baird M. Smith, AIA (formerly Chief, Preservation Tech- nology Branch, TPS) for providing general direction in the development of the manuscript. In addition, the following individuals are to be thanked for their contributions as technical experts in the field: Royal T. Brown, National Paint and Coatings Association, Washington, D.C.; Dr. Judith E. Selwyn, Preservation Tech- nology Associates, Boston, Massachusetts; and Dennis R. Vacca, Pratt & Lambert Co., Carlstadt, New Jersey. Finally, thanks go to several National Park Service staff members whose valuable comments were incorporated into the text and who con- tributed to the production of the brief: James A. Caufield, Anne E. Grimmer, Jean E. Travers, David G. Battle, Sharon C. Park, AIA, Charles E. Fisher III, Sara K. Blumenthal, and Martha A. Gutrick. Reading List Batcheler, Penelope Hartshorne, "Paint Color Research and Restoration." Technical Leaflet 15. Nashville: American Association for State and Local History (undated). "Danger: Restoration May Be Hazardous to Your Health." The Old House Journal. Vol. 4, No. 5 (May 1976), pp. 9-11. Gola, Edward F. "Avoiding Mistakes in Exterior Painting." The Old House Journal. Vol. 4, No. 6 (June 1976), pp. 1, 4-5. "How to Assure a Satisfactory Paint Job." Scientific Section: Circular 784. Washington, DC: National Paint, Varnish and Lacquer Association (undated). Labine, Clem. "Selecting the Best Exterior Paint." The Old House Jour- nal. Vol. 4, No. 7 (July 1976), pp. 1, 10-11. Morton, W. Brown III and Hume, Gary L. The Secretary of the Interior's Standards for Historic Preservation Projects with Guidelines for Applying the Standards. Washington, DC: Department of In- terior, 1979. Paint Problem Solver. St. Louis: National Decorating Products Associa- tion, 1980. "Special Issue: Exterior Painting." The Old House Journal. Vol. 4, No. 4 (April 1981), pp. 71-94. Thorsen, John W. "Hazardous Waste: What is it? How to Handle it." Professional Decorating & Coating Action. Vol. 43, No. 4 (September 1981), pp. 4-5. This publication has been prepared pursuant to The Economic Recovery Tax Act of 1981, which directs the Secretary of the Interior to certify rehabilitations of historic buildings that are consistent with their historic character; the advice and guidance in this brief will assist property owners in complying with the re- quirements of this law. Preservation Briefs 10 has been developed under the technical editorship of Lee H. Nelson, AIA, Chief, Preservation Assistance Division, National Park Service, U.S. Department of the Interior, Washington, D.C. 20240. Comments on the usefulness of this information are welcomed and can be sent to Mr. Nelson at the above address. This publication is not copyrighted and can be reproduced without penalty. Nor- mal procedures for credit to the authors and the National Park Service are appre- ciated. September 1982 For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 17 PRESERVATION BRIEFS Architectural Character: Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character Lee H. Nelson, FAIA U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services The Secretary of the Interior's "Standards for Historic Preservation Projects" embody two important goals: 1) the preservation of historic materials and, 2) the preservation of a building's distinguishing character. Every old building is unique, with its own identity and its own distinctive character. Character refers to all those visual aspects and physical features that comprise the appearance of every historic building. Character -defining elements include the overall shape of the building, its materials, craftsmanship, decorative details, interior spaces and features, as well as the various aspects of its site and environment. The purpose of this Brief is to help the owner or the architect identify those features or elements that give the building its visual character and that should be taken into account in order to preserve them to the max- imum extent possible. There are different ways of understanding old buildings. They can be seen as examples of specific building types, which are usually related to a building's function, such as schools, courthouses or churches. Buildings can be studied as examples of using specific materials such as concrete, wood, steel, or limestone. They can also be considered as examples of an historical period, which is often related to a specific ar- chitectural style, such as Gothic Revival farmhouses, one-story bungalows, or Art Deco apartment buildings. There are many other facets of an historic building besides its functional type, its materials or construction or style that contribute to its historic qualities or significance. Some of these qualities are feelings con- veyed by the sense of time and place or in buildings associated with events or people. A complete understanding of any property may require documen- tary research about its style, construction, function, its furnishings or contents; knowledge about the original builder, owners, and later occupants; and knowledge about the evolutionary history of the building. Even though buildings may be of historic, rather than ar- chitectural significance, it is their tangible elements that embody its significance for association with specific events or persons and it is those tangible elements both on the exterior and interior that should be preserved. Therefore, the approach taken in this Brief is limited to identifying those visual and tangible aspects of the historic building. While this may aid in the planning process for carrying out any ongoing or new use or restoration of the building, this approach is not a substitute for developing an understanding about the significance of an historic building and the district in which it is located. If the various materials, features and spaces that give a building its visual character are not recognized and preserved, then essential aspects of its character may be damaged in the process of change. A building's character can be irreversibly damaged or changed in many ways, for example, by inappropriate repointing of the brickwork, by removal of a distinctive side porch, by changes to the window sash, by changes to the setting around the building, by changes to the major room arrangements, by the introduction of an atrium, by painting previously unpainted wood- work, etc. A Three -Step Process to Identify A Building's Visual Character This Brief outlines a three -step approach that can be used by anyone to identify those materials, features and spaces that contribute to the visual character of a building. This approach involves first examining the building from afar to understand its overall setting and architectural context; then moving up very close to ap- preciate its materials and the craftsmanship and surface finishes evident in these materials; and then going into and through the building to perceive those spaces, rooms and details that comprise its interior visual character. Step 1: Identify the Overall Visual Aspects Identifying the overall visual character of a building is nothing more than looking at its distinguishing physical aspects without focusing on its details. The major con- tributors to a building's overall character are embodied in the general aspects of its setting; the shape of the building; its roof and roof features, such as chimneys or cupolas; the various projections on the building, such as porches or bay windows; the recesses or voids in a building, such as open galleries, arcades, or recessed balconies; the operzhkgs for windows and doorways; and finally the various exterior inaterials that contribute to the building's character. Step one involves looking at the building from a distance to understand the character of its site and setting, and it involves walking around the building where that is possible. Some buildings will have one or more sides that are more important than the others because they are more highly visible. This does not mean that the rear of the building is of no value whatever but it simply means that it is less important to the overall character. On the other hand, the rear may have an interesting back porch or offer a private garden space or some other aspect that may contribute to the visual character. Such a general approach to looking at the building and site will provide a better understanding of its overall character without having to resort to an infinitely long checklist of its possible features and details. Regardless of whether a building is complicated or relatively plain, it is these broad categories that contribute to an understanding of the overall character rather than the specifics of architectural features such as moldings and their profiles. Step 2: Identify the Visual Character at Close Range Step two involves looking at the building at close range or arm's length, where it is possible to see all the sur- face qualities of the materials, such as their -color and texture, or surface evidence of craftsmanship or age. In some instances, the visual character is the result of the juxtaposition of materials that are contrastingly different in their color and texture. The surface qualities of the materials may be important because they impart the very sense of craftsmanship and age that distinguishes historic buildings from other buildings. Furthermore, many of these close up qualities can be easily damaged or obscured by work that affects those surfaces. Ex- amples of this could include painting previously un- painted masonry, rotary disk sanding of smooth wood siding to remove paint, abrasive cleaning of tooled stonework, or repointing reddish mortar joints with gray portland cement. There is an almost infinite variety of surface materials, textures and finishes that are part of a building's character which are fragile and easily lost. Step 3: Identify the Visual Character of the Interior Spaces, Features and Finishes Perceiving the character of interior spaces can be somewhat more difficult than dealing with the exterior. In part, this is because so much of the exterior can be seen at one time and it is possible to grasp its essential character rather quickly. To understand the interior character, it is necessary to move through the spaces one at a time. While it is not difficult to perceive the character of one individual room, it becomes more dif- ficult to deal with spaces that are interconnected and interrelated. Sometimes, as in office buildings, it is the vestibules or lobbies or corridors that are important to the interior character of the building. With other groups of buildings the visual qualities of the interior are related to the plan of the building, as in a church with its axial plan creating a narrow tunnel -like space which obviously has a different character than an open space like a sports pavilion. Thus the shape of the space may be an essential part of its character. With some buildings it is possible to perceive that there is a visual linkage in a sequence of spaces, as in a hotel, from the lobby to the grand staircase to the ballroom. Closing off the openings between those spaces would change the character from visually linked spaces to a series of closed spaces. For example, in a house that has a front and back parlor linked with an open archway, the two rooms are perceived together, and this visual relation- ship is part of the character of the building. To close off the open archway would change the character of such a residence. The importance of interior features and finishes to the character of the building should not be overlooked. In relatively simple rooms, the primary visual aspects may be in features such as fireplace mantels, lighting fixtures or wooden floors. In some rooms, the absolute plainness is the character -defining aspect of the interior. So-called secondary spaces also may be important in their own way, from the standpoint of history or because of the family activities that occurred in those rooms. Such secondary spaces, while perhaps historically significant, are not usually perceived as im- portant to the visual character of the building. Thus we do not take them into account in the visual understanding of the building. Conclusion Using this three -step approach, it is possible to conduct a walk through and identify all those elements and features that help define the visual character of the building. In most cases, there are a number of aspects about the exterior and interior that are important to the character of an historic building. The visual emphasis of this brief will make it possible to ascertain those things that should be preserved because their loss or alteration would diminish or destroy aspects of the historic character whether on the outside, or on the inside of the building. For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 2 Overall Visual Character. Shape The shape of a building can be an important aspect of its overall visual character. The building illustrated here, for ex- ample, has a distinctive horizontal box -like shape with the middle portion of the box projecting up an extra story. This building has other visual aspects that help define its overall character, including the pattern of vertical bands of win- dows, the decorative horizontal bands which separate the base of the building from the upper floors, the dark brown color of the brick, the large arched entranceway, and the castle -like tower behind the building. Overall Visual Character. Openings Window and door openings can be important to the overall visual character of historic buildings. This view shows only part of a much larger building, but the windows clearly help define its character, partly because of their shape and rhythm: the upper floor windows are grouped in a 4,3,4,1,4 rhythm, and the lower floor windows are arranged in a regular 1,1,1, ... rhythm. The individual windows are tall, narrow and arched, and they are accented by the different colored arched heads, which are connected where there are multiple windows so that the color contrast is a part of its character. If additional windows were inserted in the gap of the upper floors, the character would be much changed, as it would if the window heads were painted to match the color of the brick walls. Photo by Susan I. Dynes tt H Overall Visual Character. Shape It should not be assumed that only large or unusual buildings have a shape that is distinctive or identifiable. The front wall of this modest commercial building has a simple three-part shape that is the controlling aspect of its overall visual character. It consists of a large center bay with a two story opening that combines the storefront and the windows above. The upward projecting parapet and the decorative stonework also relate to and emphasize its shape. The flank- ing narrow bays enframe the side windows and the small iron balconies, and the main entrance doorway into the store. Any changes to the center portion of this three-part shape, could drastically affect the visual character of this building. Photo by Emogene A. Bevitt Overall Visual Character. Openings The opening illustrated here dominates the visual character of this building because of its size, shape, location, materials, and craftsmanship. Because of its relation to the generous staircase, this opening places a strong emphasis on the prin- cipal entry to the building. Enclosing this arcade -like entry with glass, for example, would materially and visually change the character of the building. Photo by Lee H. Nelson. 3 Overall Visual Character. Roof and Related Features This building has a number of character -defining aspects which include the windows and the decorative stonework, but certainly the roof and its related features are visually im- portant to its overall visual character. The roof is not only highly visible, it has elaborate stone dormers, and it also has decorative metalwork and slatework. The red and black slates of differing sizes and shapes are laid in patterns that extend around the roof of this large and freestanding building. Any changes to this patterned slatework, or to the other roofing details would damage the visual character of the building. Photo by Laurie R. Hammel r Overall Visual Character. Roof and Related Features On this building, the most important visual aspects of its character are the roof and its related features such as the dormers and chimneys. The roof is important to the visual character because its steepness makes it highly visible, and its prominence is reinforced by the patterned tinwork, the six dormers and the two chimneys. Changes to the roof or its features, such as removal or alterations to the dormers, for example, would certainly change the character of this building. This does not discount the importance of its other aspects, such. as the porch, the windows, the brickwork, or its setting; but the roof is clearly crucial to understanding the overall visual character of this building as seen from a distance. Photo by Lee H. Nelson Overall Visual Character: Projections A projecting porch or balcony can be very important to the overall visual character of almost any building and to the district in which it is located. Despite the size of this building (3 1/2 stories), and its distinctive roofline profile, and despite the importance of the very large window open- ings, the lacy wrap -around iron balcony is singularly impor- tant to the visual character of this building. It would seriously affect the character to remove the balcony, to enclose it, or to replace it with a balcony lacking the same degree of detail of the original material. Photo by Baird M. Smith Overall Visual Character: Projections Since these are row houses, any evaluation of their visual exterior character is necessarily limited to the front and rear walls; and while there are a number of things competing for attention in the front, it is the half round projecting bays with their conical roofs that contribute most prominently to the visual character. Their removal would be a devastating loss to the overall character, but even if preserved, the character could be easily damaged by changes to their color (as seen in the left bay which has been painted a dark color), or changes to their windows, or changes to their tile roofs. Though these houses have other fine features that contribute to the visual character and are worthy of preser- vation, these half -round bays demonstrate the importance of projecting features on an already rich and complex facade. Because of the repetitive nature of these projecting bays on adjacent row houses, along with the buildings' size, scale, openings, and materials, they also contribute to the overall visual character of the streetscape in the historic district. Any evaluation of the visual character of such a building should take into account the context of this building within the district. Photo by Lee H. Nelson Overall Visual Character: Projections Many buildings have projecting features such as porches, bay windows, or overhanging roofs, that help define their overall visual character. This projecting porch because of its size and shape, and because it copies the pitch and material of the main roof, is an important contributor to the visual character of this simple farmhouse. The removal or alteration of this porch would drastically alter the character of this building. If the porch were enclosed with wood or glass, or if gingerbread brackets were added to the porch columns, if the tin roof was replaced with asphalt, or if the porch railing was opened to admit a center stairway, the overall visual character could be seriously damaged. Although this project- ing porch is an important feature, almost any other change to this house, such as changes to the window pattern, or changes to the main roof, or changes to the setting, would also change its visual character. Photo by Hugh C. Miller Overall Visual Character: Trim If one were to analyze the overall shape or form of this building, it would be seen that it is a gable -roofed house with dormers and a wrap -around porch. It is similar to many other houses of the period. It is the wooden trim on the eaves and around the porch that gives this building its own identify and its special visual character. Although such wooden trim is vulnerable to the elements, and must be kept painted to prevent deterioration; the loss of this trim would seriously damage the overall visual character of this building, and its loss would obliterate much of the close-up visual character so dependent upon craftsmanship for the moldings, carvings, and the see -through jigsaw work. Photo by Hugh C. Miller Overall Visual Character: Setting In the process of identifying the overall visual character, the aspect of setting should not be overlooked. Obviously, the setting of urban row houses differs from that of a mansion with a designed landscape. However, there are many in- stances where the relationship between the building and its place on the streetscape, or its place in the rural environ- ment, in other words its setting, may be an important con- tributor to its overall character. In this instance, the corner tower and the arched entryway are important contributors to the visual character of the building itself, but there is also a relationship between the building and the two converging streets that is also an im- portant aspect of this historic building. The curb, sidewalk, fence, and the yard interrelate with each other to establish a setting that is essential to the overall visual character of the historic property. Removing these elements or replacing them with a driveway or parking court would destroy an important visual aspect. Photo by Lee H. Nelson Overall Visual Character: Setting Among the various visual aspects relating to the setting of an historic property are such site features as gardens, walks, fences, etc. This can include their design and materials. There is a dramatic difference in the visual character be- tween these two fence constructions —one utilizing found materials with no particular regard to their uniformity of size or placement, and the other being a product of the machine age utilizing cast iron components assembled into a pattern of precision and regularity. If the corral fence were to be repaired or replaced with lumberyard materials its character would be dramatically compromised. The rhythm and regularity of the cast iron fence is so important to its visual character that its character could be altered by accidental damage or vandalism, if some of the fence top spikes were broken off thus interrupting the rhythm or pattern. Photos by Lee H. Nelson Overall Visual Character. Setting Even architecturally modest buildings frequently will have a setting that contributes to their overall character. In this very urban district, set -backs are the exception, so that the small front yard is something of a luxury, and it is important to the overall character because of its design and materials, which include the iron fence along the sidewalk, the curved walk leading to the porch, and the various plantings. In a district where parking spaces are in great demand, such front yards are sometimes converted to off-street parking, but in this instance, that would essentially destroy its setting and would drastically change the visual character of this historic property. Photo by Lee H. Nelson 6 Arm's Length Visual Character: Materials At arm's length, the visual character is most often deter- mined by the surface qualities of the materials and crafts- manship; and while these aspects are often inextricably related, the original choice of materials often plays the domi- nant role in establishing the close -range character because of the color, texture, or shape of the materials. In this instance, the variety and arrangement of the materials is important in defining the visual character, start- ing with the large pieces of broken stone which form the projecting base for the building walls, then changing to a wall of roughly rectangular stones which vary in size, color, and texture, all with accentuated, projecting beads of mortar, then there is a rather precise and narrow band of cut and dressed stones with minimal mortar joints, and finally, the main building walls are composed of bricks, rather uniform in color, with fairly generous mortar joints. It is the jux- taposition and variety of these materials (and of course, the craftsmanship) that is very important to the visual character. Changing the raised mortar joints, for example, would drastically alter the character at arm's length. Photo by Lee H. Nelson Arm's Length Visual Character: Craft Details There are many instances where craft details dominate the arm's length visual character. As seen here, the craft details are especially noticeable because the stones are all of a uniform color, and they are all squared off, but their sur- faces were worked with differing tools and techniques to create a great variety of textures, resulting in a tour -de -force of craft details. This texture is very important at dose range. It was a deliberately contrived surface that is an important contributor to the visual character of this building. Photo by Lee H. Nelson Arm's Length Visual Character. Craft Details The arm's length visual character of this building is a com- bination of the materials and the craft details. Most of the exterior walls of this building consist of early 20th century Roman brick, precisely made, unusually long bricks, in vary- ing shades of yellow -brown, with a noticeable surface spot- ting of dark iron pyrites. While this brick is an important contributor to the visual character, the related craft details are perhaps more important, and they consist of: unusually precise coursing of the bricks, almost as though they were laid up using a surveyor's level; a row of recessed bricks every ninth course, creating a shadow pattern on the wall; deeply recessed mortar joints, creating a secondary pattern of shadows; and a toothed effect where the bricks overlap each other at the corner of the building. The cumulative ef- fect of this artisanry is important to the arm's length visual character, and it is evident that it would be difficult to match if it were damaged, and the effect could be easily damaged through insensitive treatments such as painting the brickwork or by careless repointing. Photo by Lee H. Nelson Arm's Length Visual Character: Craft Details On some buildings, there are subtle aspects of visual character that cannot be perceived from a distance. This is especially true of certain craft details that can be seen only at close range. On this building, it is easily understood that the narrow, unpainted, and weathered clapboards are an important aspect of its overall visual character; but at close range there are a number of subtle but very important craft details that contribute to the handmade quality of this building, and which clearly differentiate it from a building with machine sawn clapboards. The clapboards seen here were split by hand and the bottom edges were not dressed, so that the boards vary in width and thickness, and thus they give a very uneven shadow pattern. Because they were split from oak that is unpainted, there are occasional wavy rays in the wood that stand against the grain. Also noticeable is the fact that the boards are of relatively short lengths, and that they have feather -edged ends that overlap each other, a detail that is very different from butted joints. The occasional large nail heads and the differential silver- gray weathering add to the random quality of the clap- boards. All of these qualities contribute to the arm's length visual character. Photo by Lee H. Nelson Arm's Length Visual Character. Craft Details While hand -split clapboards are distinctive visual elements in their own way, machine -sawn and painted wood siding is equally important to the overall visual character in most other instances. At arm's length, however, the machine sawn siding may not be so distinctive; but there might be other details that add visual character to the wooden building, such as the details of wooden trim and louvered shutters around the windows (as seen here), or similar sur- face textures on other buildings, such as the saw marks on wall shingles, the joints in leaded glass, decorative tinwork on a rain conductor box, the rough surface of pebble -dash stuccowork, or the pebbly surface of exposed aggregate concrete. Such surfaces can only be seen at arm's length and they add to the visual character of a historic building. Photo by Hugh C. Miller Interior Visual Character: Individually Important Spaces In assessing the interior visual character of any historic building, it is necessary to ask whether there are spaces that are important to the character of this particular building, whether the building is architecturally rich or modest, or even if it is a simple or utilitarian structure. The character of the individually important space which is illustrated here is a combination of its size, the twin curv- ing staircases, the massive columns and curving vaulted ceilings, in addition to the quality of the materials in the floor and in the stairs. If the ceiling were to be lowered to provide space for heating ducts, or if the stairways were to be enclosed for code reasons, the shape and character of this space would be damaged, even if there was no perma- nent physical damage. Such changes can easily destroy the visual character of an individually important interior space. Thus, it is important that the visual aspects of a building's interior character be recognized before planning any changes or alterations. Photo by National Portrait Gallery J. Interior Visual Character: Related Spaces Many buildings have interior spaces that are visually or physically related so that, as you move through them, they are perceived not as separate spaces, but as a sequence of related spaces that are important in defining the interior character of the building. The example which is illustrated here consists of three spaces that are visually linked to each other. The first of these spaces is the vestibule which is of a generous size and unusual in its own right, but more im- portant, it visually relates to the second space which is the main stairhall. The hallway is the circulation artery for the building, and leads both horizontally and vertically to other rooms and spaces, but especially to the open and inviting stairway. The stairway is the third part of this sequence of related spaces, and it provides continuing access to the upper floors. These related spaces are very important in defining the in- terior character of this building. Almost any change to these spaces, such as installing doors between the vestibule and the hallway, or enclosing the stair would seriously impact their character and the way that character is perceived. Top photo by Mel Chamowitz, others by John Tennant Interior Visual Character: Interior Features Interior features are three-dimensional building elements or architectural details that are an integral part of the building as opposed to furniture. Interior features are often impor- tant in defining the character of an individual room or space. In some instances, an interior feature, like a large and ornamental open stairway may dominate the visual character of an entire building. In other instances, a modest iron stairway (like the one illustrated here) may be an im- portant interior feature, and its preservation would be crucial to preserving the interior character of the building. Such features can also include the obvious things like fireplace mantles, plaster ceiling medallions, or panelling, but they also extend to features like hardware, lighting fix- tures, bank tellers cages, decorative elevator doors, etc. Photo by David W. Look Gi Interior Visual Character: Interior Features Modern heating or cooling devices usually add little to the interior character of a building; but historically, radiators, for instance, may have contributed to the interior character by virtue of their size or shape, or because of their specially designed bases, piping, and decorative grillage or enclosures. Sometimes they were painted with several col- ors to highlight their integral, cast -in details. In more recent times, it has been common to overpaint and conceal such distinctive aspects of earlier heating and plumbing devices, so that we seldom have the opportunity to realize how important they can be in defining the character of interior rooms and spaces. For that reason, it is important to iden- tify their character -defining potential, and consider their preservation, retention, or restoration. Photo by David W. Look Interior Visual Character: Surface Materials and Finishes When identifying the visual character of historic interior spaces one should not overlook the importance of those materials and finishes that comprise the surfaces of walls, floors and ceilings. The surfaces may have evidence of either hand -craft or machine -made products that are impor- tant contributors to the visual character, including patterned or inlaid designs in the wood flooring, decorative painting practices such as stenciling, imitation marble or wood grain, wallpapering, tinwork, tile floors, etc. The example illustrated here involves a combination of real marble at the base of the column, imitation marble pat- terns on the plaster surface of the column (a practice called scagliola), and a tile floor surface that uses small mosaic tiles arranged to form geometric designs in several different colors. While such decorative materials and finishes may be important in defining the interior visual character of this particular building, it should be remembered that in much more modest buildings, the plainness of surface materials and finishes may be an essential aspect of their historic character. Photo by Lee H. Nelson Fragility of A Building's Visual Character Some aspects of a building's visual character are fragile and are easily lost. This is true of brickwork, for example, which can be irreversibly damaged with inappropriate cleaning techniques or by insensitive repointing practices. At least two factors are important contributors to the visual character of brickwork, namely the brick itself and the craftsmanship. Between these, there are many more aspects worth noting, such as color range of bricks, size and shape variations, texture, bonding patterns, together with the many variable qualities of the mortar joints, such as color, width of joint and tooling. These qualities could be easily damaged by painting the brick, by raking out the joint with power tools, or repointing with a joint that is too wide. As seen here during the process of repointing, the visual character of this front wall is being dramatically changed from a wall where the bricks predominate, to a wall that is visually dominated by the mortar joints. Photo by Lee H. Nelson 10 Preservation Briefs 17 The Architectural Character Checklist/Questionnaire Lee H. Nelson, FAIA National Park Service This checklist can be taken to the building and used to identify those aspects that give the building and setting its essential visual qualities and character. This checklist consists of a series of questions that are designed to help in identifying those things that contribute to a building's character. The use of this checklist involves the three -step process of looking for: 1) the overall visual aspects, 2) the visual character at close range, and 3) the visual character of interior spaces, features and finishes. Because this is a process to identify architectural character, it does not address those intangible qualities that give a property or building or its contents its historic significance, instead this checklist is organized on the assumption that historic significance is embodied in those tangible aspects that include the building's setting, its form and fabric. Step One 1. Shape What is there about the form or shape of the building that gives the building its identity? Is the shape distinctive in relation to the neighboring buildings? Is it simply a low, squat box, or is it a tall, narrow building with a corner tower? Is the shape highly consistent with its neighbors? Is the shape so complicated because of wings, or ells, or dif- ferences in height, that its complexity is important to its character? Conversely, is the shape so simple or plain that adding a feature like a porch would change that character? Does the shape convey its historic function as in smoke stacks or silos? Notes on the Shape or Form of the Building: 2. Roof and Roof Features Does the roof shape or its steep (or shallow) slope con- tribute to the building's character? Does the fact that the roof is highly visible (or not visible at all) contribute to the architectural identity of the building? Are certain roof features important to the profile of the building against the sky or its background, such as cupolas, multiple chimneys, dormers, cresting, or weathervanes? Are the roofing materials or their colors or their patterns (such as patterned slates) more noticeable than the shape or slope of the roof? Notes on the Roof and Roof Features: 3. Openings Is there a rhythm or pattern to the arrangement of win- dows or other openings in the walls; like the rhythm of windows in a factory building, or a three-part window in the front bay of a house; or is there a noticeable relation- ship between the width of the window openings and the wall space between the window openings? Are there distinctive openings, like a large arched entranceway, or decorative window lintels that accentuate the importance of the window openings, or unusually shaped windows, or patterned window sash, like small panes of glass in the windows or doors, that are important to the character? Is the plainness of the window openings such that adding shutters or gingerbread trim would radically change its character? Is there a hierarchy of facades that make the front windows more important than the side windows? What about those walls where the absence of windows establishes its own character? Notes on the Openings: 4. Projections Are there parts of the building that are character -defining because they project from the walls of the building like porches, cornices, bay windows, or balconies? Are there turrets, or widely overhanging eaves, projecting pediments or chimneys? Notes on the Projections: 5. Trim and Secondary Features Does the trim around the windows or doors contribute to the character of the building? Is there other trim on the walls or around the projections that, because of its decora- tion or color or patterning contributes to the character of the building? Are there secondary features such as shutters, decorative gables, railings, or exterior wall panels? Notes on the Trim and Secondary Features: 6. Materials Do the materials or combination of materials contribute to the overall character of the building as seen from a distance because of their color or patterning, such as broken faced stone, scalloped wall shingling, rounded rock foundation walls, boards and battens, or textured stucco? Notes on the Materials: 7. Setting What are the aspects of the setting that are important to the visual character? For example, is the alignment of buildings along a city street and their relationship to the sidewalk the essential aspect of its setting? Or, conversely, is the essential character dependent upon the tree plantings and out buildings which surround the farmhouse? Is the front yard important to the setting of the modest house? Is the specific site important to the setting such as being on a hilltop, along a river, or, is the building placed on the site in such a way to enhance its setting? Is there a special rela- tionship to the adjoining streets and other buildings? Is there a view? Is there fencing, planting, terracing, walkways or any other landscape aspects that contribute to the setting? Notes on the Setting: 11 Step Two windows, hardware, wainscotting, panelling, trim, church pews, courtroom bars, teller cages, waiting room benches? 12 8. Materials at Close Range Are there one or more materials that have an inherent tex- ture that contributes to the close range character, such as stucco, exposed aggregate concrete, or brick textured with vertical grooves? Or materials with inherent colors such as smooth orange -colored brick with dark spots of iron pyrites, or prominently veined stone, or green serpentine stone? Are there combinations of materials, used in jux- taposition, such as several different kinds of stone, com- binations of stone and brick, dressed stones for window lintels used in conjunction with rough stones for the wall? Has the choice of materials or the combinations of materials contributed to the character? Notes on the Materials at Close Range: 9. Craft Details Is there high quality brickwork with narrow mortar joints? Is there hand -tooled or patterned stonework? Do the walls exhibit carefully struck vertical mortar joints and recessed horizontal joints? Is the wall shinglework laid up in pat- tems or does it retain evidence of the circular saw marks or can the grain of the wood be seen through the semi- transparent stain? Are there hand split or hand -dressed clapboards, or machine smooth beveled siding, or wood rusticated to look like stone, or Art Deco zigzag designs ex- ecuted in stucco? Almost any evidence of craft details, whether handmade or machinemade, will contribute to the character of a building because it is a manifestation of the materials, of the times in which the work was done, and of the tools and processes that were used. It further reflects the effects of time, of maintenance (and/or neglect) that the building has received over the years. All of these aspects are a part of the surface qualities that are seen only at close range. Notes on the Craft Details: Step Three 10. Individual Spaces Are there individual rooms or spaces that are important to this building because of their size, height, proportion, con- figuration, or function, like the center hallway in a house, or the bank lobby, or the school auditorium, or the ballroom in a hotel, or a courtroom in a county courthouse? Notes on the Individual Spaces: 11. Related Spaces and Sequences of Spaces Are there adjoining rooms that are visually and physically related with large doorways or open archways so that they are perceived as related rooms as opposed to separate rooms? Is there an important sequence of spaces that are related to each other, such as the sequence from the entry way to the lobby to the stairway and to the upper balcony as in a theatre; or the sequence in a residence from the en- try vestibule to the hallway to the front parlor, and on through the sliding doors to the back parlor; or the se- quence in an office building from the entry vestibule to the lobby to the bank of elevators? Notes on the Related Spaces and Sequences of Spaces: 12. Interior Features Are there interior features that help define the character of the building, such as fireplace mantels, stairways and balustrades, arched openings, interior shutters, inglenooks, cornices, ceiling medallions, light fixtures, balconies, doors, Notes on the Interior Features: 13. Surface Finishes and Materials Are there surface finishes and materials that can affect the design, the color or the texture of the interior? Are there materials and finishes or craft practices that contribute to the interior character, such as wooden parquet floors, checkerboard marble floors, pressed metal ceilings, fine hardwoods, grained doors or marblized surfaces, or polychrome painted surfaces, or stencilling, or wallpaper that is important to the historic character? Are there surface finishes and materials that, because of their plainness, are imparting the essential character of the interior such as hard or bright, shiny wall surfaces of plaster or glass or metal? Notes on the Surface Finishes and Materials: 14. Exposed Structure Are there spaces where the exposed structural elements define the interior character such as the exposed posts, beams, and trusses in a church or train shed or factory? Are there rooms with decorative ceiling beams (non- structural) in bungalows, or exposed vigas in adobe buildings? Notes on the Exposed Structure: This concludes the three -step process of identifying the visual aspects of historic buildings and is in- tended as an aid in preserving their character and other distinguishing qualities. It is not intended as a means of understanding the significance of historical properties or districts, nor of the events or people associated with them. That can only be done through other kinds of research and investigation. This Preservation Brief was originally developed as a slide talk/methodology in 1982 to discuss the use of the Secretary of the Interior's Standards for Rehabilitation in relation to preserving historic character; and it was amplified and modified in succeeding years to help guide preservation decisionmaking, initially for maintenance personnel in the National Park Service. A number of people contributed to the evolution of the ideas presented here. Special thanks go to Emogene Bevitt and Gary Hume, primarily for the many and frequent discussions relating to this approach in its evolutionary stages; to Mark Fram, Ontario Heritage Foun- dation, Toronto, for suggesting several additions to the Checklist; and more recently, to my co-workers, both in Washington and in our regional offices, especially Ward Jandl, Sara Blumenthal, Charles Fisher, Sharon Park, AIA, Jean Travers, Camille Martone, Susan Dynes, Michael Auer, Anne Grimmer, Kay Weeks, Betsy Chittenden, Patrick Andrus, Carol Shull, Hugh Miller, FAIA, Jerry Rogers, Paul Alley, David Look, AIA, Margaret Pepin- Donat, Bonnie Halda, Keith Everett, Thomas Keohan, the Preservation Services Division, Mid -Atlantic Region, and several reviewers in state preservation offices, especially Ann Haaker, Illinois; and Stan Graves, AIA, Texas; for pro- viding very critical and constructive review of the manuscript. This publication has been prepared pursuant to the Na- tional Historic Preservation Act of 1966, as amended. Com- ments on the usefulness of this information are welcomed and can be sent to Mr. Nelson, Preservation Assistance Division, National Park Service, U.S. Department of the In- terior, P.O. Box 37127, Washington, D.C. 20013-7127. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the author and the National Park Service are appreciated. 1 PRESERVATION BRIEFS Rehabilitating Interiors in Historic Buildings Identifying and Preserving Character -defining Elements H. Ward Jandl U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services A floor plan, the arrangement of spaces, and features and applied finishes may be individually or collectively important in defining the historic character of the building and the purpose for which it was constructed. Thus, their identification, reten- tion, protection, and repair should be given prime consideration in every preservation project. Caution should be exercised in developing plans that would radically change character -defining spaces or that would obscure, damage or destroy interior features or finishes. While the exterior of a building may be its most prominent visible aspect, or its "public face," its in- terior can be even more important in conveying the building's history and development over time. Rehabilitation within the context of the Secretary of the Interior's Standards for Rehabilitation calls for the preservation of exterior and interior portions or features of the building that are significant to its historic, architectural and cultural values. Interior components worthy of preservation may in- clude the building's plan (sequence of spaces and cir- culation patterns), the building's spaces (rooms and volumes), individual architectural features, and the various finishes and materials that make up the walls, floors, and ceilings. A theater auditorium or sequences of rooms such as double parlors or a lobby leading to a stairway that ascends to a mezzanine may comprise a building's most important spaces. In- dividual rooms may contain notable features such as plaster cornices, millwork, parquet wood floors, and hardware. Paints, wall coverings, and finishing techniques such as graining, may provide color, tex- ture, and patterns which add to a building's unique character. Virtually all rehabilitations of historic buildings in- volve some degree of interior alteration, even if the buildings are to be used for their original purpose. Interior rehabilitation proposals may range from preservation of existing features and spaces to total reconfigurations. In some cases, depending on the building, restoration may be warranted to preserve historic character adequately; in other cases, extensive alterations may be perfectly acceptable. This Preservation Brief has been developed to assist building owners and architects in identifying and evaluating those elements of a building's interior that contribute to its historic character and in planning for the preservation of those elements in the process of rehabilitation. The guidance applies to all building types and styles, from 18th century churches to 20th century office buildings. The Brief does not attempt to provide specific advice on preservation techniques and treatments, given the vast range of buildings, but rather suggests general preservation approaches to guide construction work. Identifying and Evaluating the Importance of Interior Elements Prior to Rehabilitation Before determining what uses might be appropriate and before drawing up plans, a thorough professional assessment should be undertaken to identify those tangible architectural components that, prior to rehabilitation, convey the building's sense of time and place —that is , its "historic character." Such an assessment, accomplished by walking through and taking account of each element that makes up the in- terior, can help ensure that a truly compatible use for the building, one that requires minimal alteration to the building, is selected. Researching The Building's History A review of the building's history will reveal why and when the building achieved significance or how it contributes to the significance of the district. This information helps to evaluate whether a particular rehabilitation treatment will be appropriate to the building and whether it will preserve those tangible components of the building that convey its significance for association with specific events or persons along with its architectural importance. In this regard, National Register files may prove useful in explaining why and for what period of time the building is significant. In some cases research may show that later alterations are significant to the building; in other cases, the alterations may be without historical or architectural merit, and may be removed in the rehabilitation. Identifying Interior Elements Interiors of buildings can be seen as a series of primary and secondary spaces. The goal of the assessment is to identify which elements contribute to the building's character and which do not. Sometimes it will be the sequence and flow of spaces, and not just the individual rooms themselves, that contribute to the building's character. This is par- ticularly evident in buildings that have strong central axes or those that are consciously asymmetrical in design. In other cases, it may be the size or shape of the space that is distinctive. The importance of some interiors may not be readily apparent based on a visual inspection; sometimes rooms that do not ap- pear to be architecturally distinguished are associated with important persons and events that occurred within the building. Primary spaces, are found in all buildings, both monumental and modest. Examples may include foyers, corridors, elevator lobbies, assembly rooms, stairhalls, and parlors. Often they are the places in the building that the public uses and sees; sometimes they are the most architecturally detailed spaces in the building, carefully proportioned and finished with costly materials. They may be functionally and ar- chitecturally related to the building's external ap- pearance. In a simpler building, a primary space may be distinguishable only by its location, size, propor- tions, or use. Primary spaces are always important to the character of the building and should be preserved. Secondary spaces are generally more utilitarian in appearance and size than primary spaces. They may include areas and rooms that service the building, such as bathrooms, and kitchens. Examples of secondary spaces in a commercial or office structure may include storerooms, service corridors, and in some cases, the offices themselves. Secondary spaces tend to be of less importance to the building and may accept greater change in the course of work without compromising the building's historic character. Spaces are often designed to interrelate both visu- ally and functionally. The sequence of spaces, such as vestibule -hall -parlor or foyer -lobby -stair -auditorium or stairhall-corridor-classroom, can define and express the building's historic function and unique character. Important sequences of spaces should be identified and retained in the rehabilitation project. Floor plans may also be distinctive and characteristic of a style of architecture or a region. Ex- amples include Greek Revival and shotgun houses. Floor plans may also reflect social, educational, and medical theories of the period. Many 19th century psychiatric institutions, for example, had plans based on the ideas of Thomas Kirkbride, a Philadelphia doc- tor who authored a book on asylum design. In addition to evaluating the relative importance of the various spaces, the assessment should identify ar- chitectural features and finishes that are part of the Figure 1. This architect -designed interior reflects early 20th cen- tury American taste: the checkerboard tile floor, wood wainscot, coffered ceiling, and open staircase are richly detailed and crafted by hand. Not only are the individual architectural features worthy of preservation, but the planned sequence of spaces —entry hall, stairs, stair landings, and loggia —imparts a grandeur that is characteristic of high style residences of this period. This interior is of Greystone, Los Angeles, California. Photography for NABS by Jack E. Boucher Figure 2. The interiors of mills and industrial buildings frequently are open, unadorned spaces with exposed structural elements. While the new uses to which this space could be put are many — retail, residential, or office —the generous floor -to -ceiling height and exposed truss system are important character -defining features and should be retained in the process of rehabilitation. Figure 3. The floor plan at left is characteristic of many 19th century Greek Revival houses, with large rooms flanking a central hall. In the process of rehabilitation, the plan (at right) was drastically altered to accommodate two duplex apartments. The open stair was replaced with one that is enclosed, two fireplaces were eliminated, and Greek Revival trim around windows and doors was removed. The symmetry of the rooms themselves was destroyed with the insertion of bathrooms and kitchens. Few vestiges of the 19th century interior survived the rehabilitation. Drawing by Neal A. Vogel Figure 4. Many institutional buildings possess distinctive spaces or floor plans that are important in conveying the significance of the property. Finding new compatible uses for these buildings and preserving the buildings' historic character can be a difficult, if not impossible, task. One such case is Mechanics Hall in Worcester, Massachusetts, constructed between 1855 and 1857. This grand hall, which occupies the entire third floor of the building, could not be subdivided without destroying the integrity of the space. interior's history and character. Marble or wood wainscoting in corridors, elevator cabs, crown molding, baseboards, mantels, ceiling medallions, window and door trim, tile and parquet floors, and staircases are among those features that can be found in historic buildings. Architectural finishes of note may include grained woodwork, marbleized columns, and plastered walls. Those features that are characteristic of the building's style and period of construction should, again, be retained in the rehabilitation. Figure 5. The interior of a simply detailed worker's house of the 19th century may be as important historically as the richly or- namented interior seen in figure 1. Although the interior of this house has not been properly maintained, the wide baseboards, flat window trim, and four -panel door are characteristic of workers' housing during this period and deserve retention during rehabilitation. Features and finishes, even if machine -made and not exhibiting particularly fine craftsmanship, may be character -defining; these would include pressed metal ceilings and millwork around windows and doors. The interior of a plain, simple detailed worker's house of the 19th century may be as important historically as a richly ornamented, high -style townhouse of the same period. Both resources, if equally intact, convey important information about the early inhabitants and deserve the same careful at- tention to detail in the preservation process. The location and condition of the building's existing heating, plumbing, and electrical systems also need to be noted in the assessment. The visible features of historic systems —radiators, grilles, light fixtures, switchplates, bathtubs, etc. —can contribute to the overall character of the building, even if the systems themselves need upgrading. Assessing Alterations and Deterioration In assesessing a building's interior, it is important to ascertain the extent of alteration and deterioration that may have taken place over the years; these fac- tors help determine what degree of change is ap- propriate in the project. Close examination of existing fabric and original floorplans, where available, can reveal which alterations have been additive, such as new partitions inserted for functional or structural reasons and historic features covered up rather than destroyed. It can also reveal which have been sub- tractive, such as key walls removed and architectural features destroyed. If an interior has been modified by additive changes and if these changes have not ac- quired significance, it may be relatively easy to remove the alterations and return the interior to its historic appearance. If an interior has been greatly altered through subtractive changes, there may be more latitude in making further alterations in the process of rehabilitation because the integrity of the interior has been compromised. At the same time, if the interior had been exceptionally significant, and solid documentation on its historic condition is available, reconstruction of the missing features may be the preferred option. It is always a recommended practice to photograph interior spaces and features thoroughly prior to rehabilitation. Measured floor plans showing the ex- isting conditions are extremely useful. This documen- tation is invaluable in drawing up rehabilitation plans and specifications and in assessing the impact of changes to the property for historic preservation cer- tification purposes. Drawing Up Plans and Executing Work If the historic building is to be rehabilitated, it is critical that the new use not require substantial altera- tion of distinctive spaces or removal of character - defining architectural features or finishes. If an in- terior loses the physical vestiges of its past as well as its historic function, the sense of time and place associated both with the building and the district in which it is located is lost. The recommended approaches that follow address common problems associated with the rehabilitation of historic interiors and have been adapted from the Secretary of the Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings. Adherence to these suggestions can help ensure that character -defining interior elements are preserved in the process of rehabilitation. The checklist covers a range of situations and is not intended to be all- inclusive. Readers are strongly encouraged to review the full set of guidelines before undertaking any rehabilitation project. Figure 6. This corridor, located in the historic Monadnock Building in Chicago, has glazed walls, oak trim, and marble wainscotting, and is typical of those found in late 19th and early 20th century office buildings. Despite the simplicity of the features, a careful attention to detail can be noted in the patterned tile floor, bronze mail chute, and door hardware. The retention of corridors like this one should be a priority in rehabilitation proj- ects involving commercial buildings. Figure 7. When the Monadnock Building was rehabilitated, ar- chitects retained the basic floor plan on the upper floors consisting of a double -loaded corridor with offices opening onto it. The original floor -to -ceiling height in the corridors and outside offices —the most important spaces —was maintained by installing needed air conditioning ductwork in the less important anterooms. In this way, the most significant interior spaces were preserved intact. Drawing by Neal A. Vogel Recommended Approaches for Rehabilitating Historic Interiors 1. Retain and preserve floor plans and interior spaces that are important in defining the overall historic character of the building. This includes the size, configuration, proportion, and relationship of rooms and corridors; the relationship of features to spaces; and the spaces themselves such as lobbies, reception halls, entrance halls, double parlors, theaters, auditoriums, and important industrial or commercial use spaces. Put service functions required by the building's new use, such as bathrooms, mechanical equipment, and office machines, in secondary spaces. 2. Avoid subdividing spaces that are characteristic of a building type or style or that are directly associated with specific persons or patterns of events. Space may be subdivided both vertically through the insertion of new partitions or horizon- tally through insertion of new floors or mez- zanines. The insertion of new additional floors should be considered only when they will not damage or destroy the structural system or obscure, damage, or destroy character -defining spaces, features, or finishes. If rooms have already been subdivided through an earlier insensitive renovation, consider removing the partitions and restoring the room to its original proportions and size. 3. Avoid making new cuts in floors and ceilings where such cuts would change character -defining spaces and the historic configuration of such spaces. Inserting of a new atrium or a lightwell is appropriate only in very limited situations where the existing interiors are not historically or architec- turally distinguished. 4. Avoid installing dropped ceilings below or- namental ceilings or in rooms where high ceilings are part of the building's character. In addition to obscuring or destroying significant details, such treatments will also change the space's propor- tions. If dropped ceilings are installed in buildings that lack character -defining spaces, such as mills and factories, they should be well set back from the windows so they are not visible from the exterior. 5. Retain and preserve interior features and finishes that are important in defining the overall historic character of the building. This might in- clude columns, doors, cornices, baseboards, fireplaces and mantels, paneling, light fixtures, elevator cabs, hardware, and flooring; and wallpaper, plaster, paint, and finishes such as sten- ciling, marbleizing, and graining; and other decorative materials that accent interior features and provide color, texture, and patterning to walls, floors, and ceilings. 6. Retain stairs in their historic configuration and location. If a second means of egress is required, consider constructing new stairs in secondary spaces. (For guidance on designing compatible new additions, see Preservation Brief 14, "New Exterior Additions to Historic Buildings.") The application of fire -retardant coatings, such as intumescent paints; the installation of fire suppression systems, such as sprinklers; and the construction of glass enclosures can in many cases permit retention of stairs and other character -defining features. 7. Retain and preserve visible features of early mechanical systems that are important in defining the overall historic character of the building, such as radiators, vents, fans, grilles, plumbing fixtures, switchplates, and lights. If new heating, air condi- tioning, lighting and plumbing systems are in- stalled, they should be done in a way that does not destroy character -defining spaces, features and finishes. Ducts, pipes, and wiring should be in- stalled as inconspicuously as possible: in secondary spaces, in the attic or basement if possible, or in closets. 8. Avoid "furring out" perimeter walls for insula- tion purposes. This requires unnecessary removal of window trim and can change a room's propor- tions. Consider alternative means of improving thermal performance, such as installing insulation in attics and basements and adding storm windows. 9. Avoid removing paint and plaster from tradi- tionally finished surfaces, to expose masonry and wood. Conversely, avoid painting previously un- painted millwork. Repairing deteriorated plaster - work is encouraged. If the plaster is too deteriorated to save, and the walls and ceilings are not highly ornamented, gypsum board may be an acceptable replacement material. The use of paint colors appropriate to the period of the building's construction is encouraged. 10. Avoid using destructive methods —propane and butane torches or sandblasting —to remove paint or other coatings from historic features. Avoid harsh cleaning agents that can change the appearance of wood. (For more information regarding appropriate cleaning methods, consult Preservation Brief 6, "Dangers of Abrasive Cleaning to Historic Buildings.") Figure 8. Furring out exterior walls to add insulation and suspending new ceilings to hide ductwork and wiring can change a room's proportions and can cause interior features to appear fragmented. In this case, a school was converted into apartments, and individual classrooms became living rooms, bedrooms, and kitchens. On the left is an illustration of a classroom prior to rehabilitation; note the generous floor -to -ceiling height, wood wainscotting, molded baseboard, picture molding, and Eastlake Style door and window trim. After rehabilitation, on the right, only fragments of the historic detailing survive: the ceiling has been dropped below the picture molding, the remaining wainscotting appears to be randomly placed, and some of the window trim has been obscured. Together with the subdivision of the classrooms, these rehabilitation treatments prevent a clear understanding of the original classroom's design and space. If thermal performance must be improved, alternatives to furring out walls and suspending new ceilings, such as installing insulation in attics and basements, should be considered. Drawings by Neal A. Vogel Figure 10. In this case plaster has been removed from perimeter walls, leaving brick exposed. In removing finishes from historic masonry walls, not only is there a loss of historic finish, but raw, unfinished walls are exposed, giving the interior an appearance it never had. Here, the exposed brick is of poor quality and the mortar joints are wide and badly struck. Plaster should have been retained and repaired, as necessary. Figure 9. The tangible reminders of early mechanical systems can be worth saving. In this example, in the Old Post Office in Washington, D.C., radiators encircle Corinthian columns in a decorative manner. Note, too, the period light fixtures. These features were retained when the building was rehabilitated as retail and office space. Photo: Historic American Buildings Survey Figure 11. These dramatic "before" and "after" photographs show a severely deteriorated space restored to its original elegance: plaster has been repaired and painted, the scagliola columns have been restored to match marble using traditional craft techniques, and missing decorative metalwork has been re -installed in front of the windows. Although some reorganization of the space took place, notably the relocation of the front desk, the overall historic character of the space has been preserved. These views are of the lobby in the Willard Hotel, Washington, D.C. Credit: Commercial Photographers (left); Carol M. Highsmith (right) Meeting Building, Life Safety and Fire Codes Buildings undergoing rehabilitation must comply with existing building, life safety and fire codes. The application of codes to specific projects varies from building to building, and town to town. Code re- quirements may make some reuse proposals imprac- tical; in other cases, only minor changes may be needed to bring the project into compliance. In some situations, it may be possible to obtain a code variance to preserve distinctive interior features. (It should be noted that the Secretary's Standards for Rehabilitation take precedence over other regulations and codes in determining whether a rehabilitation project qualifies for Federal tax benefits.) A thorough understanding of the applicable regulations and close coordination with code officials, building inspectors, and fire marshals can prevent the alteration of signifi- cant historic interiors. Sources of Assistance Rehabilitation and restoration work should be undertaken by professionals who have an established reputation in the field. Given the wide range of interior work items, from ornamental plaster repair to marble cleaning and the application of graining, it is possible that a number of specialists and subcontractors will need to be brought in to bring the project to completion. State Historic Preservation Officers and local preservation organiza- tions may be a useful source of information in this regard. Good sources of information on appropriate preservation techniques for specific interior features and finishes include the Bulletin of the Association for Preservation Technology and The Old -House Journal; other useful publications are listed in the bibliography. Protecting Interior Elements During Rehabilitation Architectural features and finishes to be preserved in the process of rehabilitation should be clearly marked on plans and at the site. This step, along with careful supervision of the interior demolition work and protection against arson and vandalism, can pre- vent the unintended destruction of architectural elements that contribute to the building's historic character. Protective coverings should be installed around architectural features and finishes to avoid damage in the course of construction work and to protect workers. Staircases and floors, in particular, are sub- jected to dirt and heavy wear, and the risk exists of incurring costly or irreparable damage. In most cases, the best, and least costly, preservation approach is to design and construct a protective system that enables stairs and floors to be used yet protects them from damage. Other architectural features such as mantels, doors, wainscotting, and decorative finishes may be protected by using heavy canvas or plastic sheets. Summary In many cases, the interior of a historic building is as important as its exterior. The careful identification and evaluation of interior architectural elements, after undertaking research on the building's history and use, is critically important before changes to the building are contemplated. Only after this evaluation should new uses be decided and plans be drawn up. The best rehabilitation is one that preserves and pro- tects those rooms, sequences of spaces, features and finishes that define and shape the overall historic character of the building. This Preservation Brief is based on a discussion paper prepared by the author for a National Park Service regional workshop held in March, 1987, and on a paper written by Gary Hume, "Interior Spaces in Historic Buildings," October, 1987. Appreciation is extended to the staff of Technical Preservation Serv- ices Branch and to the staff of NPS regional offices who reviewed the manuscript and provided many useful suggestions. Special thanks are given to Neal A. Vogel, a summer intern with the NPS, for many of the illustrations in this Brief. This publication has been prepared pursuant to the National Historic Preservation Act of 1966, as amended. Preservation Briefs 18 was developed under the editorship of Lee H. Nelson, FAIA, Chief, Preservation Assistance Division, National Park Serv- ice, U.S. Department of the Interior, P.O. Box 37127, Washington, D.C. 20013-7127. Comments on the usefulness of this information are welcomed and may be sent to Mr. Nelson at the above address. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the author and the National Park Service are appreciated. Selected Reading List There are few books written exclusively on preserv- ing historic interiors, and most of these tend to focus on residential interiors. Articles on the subject appear regularly in The Old -House journal, the Bulletin of the Association for Preservation Technology, and Historic Preservation Magazine. Ferro, Maximilian L., and Melissa L. Cook. Electric Wiring and Lighting in Historic American Buildings. New Bedford, Massachusetts: AFC/A Nortek Company, 1984. Fisher, Charles E. Temporary Protection of Historic Stair- ways During Rehabilitation Work. Preservation Tech Note. Washington, D.C.: Preservation Assistance Division, National Park Service, U.S. Department of the Interior, 1985. Jennings, Jan, and Herbert Gottfried. American Ver- nacular Interior Architecture 1870-1940. New York: Van Nostrand Reinhold Company, 1988. Johnson, Ed. Old House Woodwork Restoration: How to Restore Doors, Windows, Walls, Stairs and Decorative Trim to Their Original Beauty. Englewood Cliffs, New Jersey: Prentice -Hall, Inc., 1983. Labine, Clem, and Carolyn Flaherty (editors). The Old -House Journal Compendium. Woodstock, New York: The Overlook Press, 1980. The Secretary of the Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings. Washington, D.C.: Preservation Assistance Divi- sion, National Park Service, U.S. Department of the Interior, rev. 1983. U.S. Department of Housing and Urban Develop- ment. Rehabilitation Guidelines, volumes 1-11. Washington, D.C.: U.S. Department of Housing and Urban Development, 1980-84. Winkler, Gail Caskey, and Roger W. Moss. Victorian Interior Decoration: American Interiors 1830-1900. New York: Henry Holt and Company, 1986. October 1988 Cover: Detail of carving on interior shutter. Hammond -Harwood House, Annapolis, Maryland. For sale by the Superintendent of Documents, U.S. Government Printing Office Washington, D.C. 20402 2QPRESERVATION (7 BRIEFS Painting Historic Interiors Sara B. Chase U.S. Department of the Interior National Park Service Cultural Resources Preservation Assistance The paint Americans used in the past is undeniably part of a technological and commercial record. But beyond that, the colors we have chosen and continue to select for our interior living and working spaces —bright and exuberant, purposefully somber, or a combination of hues —reflect our nation's cultural influences and our individual and collective spirit (see Figures 1, 2). Paint color is a simple, direct expression of the time, and of taste, values, and mood. To consider paint only as a protective coating is to misunderstand its meaning as an important aspect of America's heritage. This Brief is about historic interior paints and choosing new paints for historic interiors if repainting is necessary or desirable. It addresses a variety of materials and features: plaster walls and ceilings; wooden doors, molding, and trim; and metal items such as radiators and railings. It provides background information about some of the types of paint which were used in the past, discusses the more common causes and effects of interior paint failure, and explains the principal factors guiding decisions about repainting, including what level of paint investigation may be appropriate. Careful thought should be given to each interior paint project, depending on the history of the building and its painted surfaces. Treatments may range from protecting extant decorative surfaces, to ordering custom-made paint that replicates the original paint color, to using today's paint straight off the shelf and out of the can. Figure 1. Researching the interior paint history is the key to a successful preservation or restoration project. The decorative detailing can be appreciated in this Puerto Rico theater primarily because of appropriate paint color and paint placement. Photo: Max Toro. Finally, stripping old paints or applying new oil/alkyd paints poses serious health and safety concerns; the State Historic Preservation Officer should be contacted for current legal and technical information on removal, disposal, and health and safety precautions. Constituents of Historic Paint: Pigment, Binder, and Vehicle Paint is a dispersion of small solid particles, usually crystalline, in a liquid A B C medium. Applied to a surface, this liquid has the special quality of becoming a solid, protective film when it dries. Paint also enhances the appearance of surfaces. A late Victorian writer observed that the coming of a painter to a house was cause for celebration. Indeed, these statements not only indicate the chemical and physical complexity of paint, but also its emotional impact. Pigment. Pigment made the paint opaque, thus preventing deterioration of the substrate caused by ultra -violet light, and added color, thus making the paint attractive. White lead, a whitish corrosion product of lead, was most often used to provide opacity. The white pigment in a colored paint is often called the "hiding" pigment. In addition to preventing the sun's damaging rays from hitting the surface of the substrate, the white lead also helped prevent the growth of mold and mildew. Not until early in the 20th century was a successful substitute, titanium dioxide (Ti02), patented, and even then, it did not come into prevalent use by itself until the mid-20th century (earlier in the century, titanium oxide and white lead were often mixed). Zinc oxide was used briefly as a hiding pigment after 1850 (see Figure 3). Figure 2. Paints —plain and colored —have been used throughout our history to define and accent interior spaces. Three examples serve to illustrate a variety of geographical and cultural influences, building types and uses, and interior designs from the 18th to the 20th century. (a) San Jose de Gracia Church, Las Trampas, New Mexico 0760). Photo: Kirk Gittings. (b) Frank Lloyd Wright Home and Studio, Oak Park, Ilinois (1889-98). Photo: Philip Turner for HABS. (c) U. S. Customs House, Trading Floor (1908), New York City. Photo: National Park Service files. Early tinting pigments for house paints consisted of the earth pigments —ochres, siennas, umbers made from iron - oxide -containing clay —and a few synthesized colorants such as Prussian blue, or mercuric sulfide (crimson). From the early 1800s on more pigments were developed and used to offer a wider and brighter variety of hues. Binder. The most common binder in interior paints was, and still is, oil. Chalk was sometimes added to water -based paints to help bind the pigment particles together. Other common binders included hide glue and gelatin. Vehicle. The fluid component was termed the vehicle, or medium, because it carried the pigment. Historically, vehicles included turpentine in oil paints and water in water -based paints, but other vehicles were sometimes used, such as milk in casein paints. Oil -Based and Water -Based Paints The two major types of paint are termed oil -based and water -based. For oil -based paints, linseed oil was frequently chosen because it is a drying oil. When thinned with an organic solvent such as turpentine for easier spreading, its drying speed was enhanced. To make the drying even faster, drying agents such as cobalt compounds were frequently added. Because the addition of driers was most successfully done in hot or boiling oil, boiled linseed oil was preferable. The drying rate of linseed oil paints was relatively rapid at first, for several days immediately after application, and paint soon felt dry to the touch; it is important to remember, however, that linseed oil paint continues to dry —or more precisely, to cross -link —over decades and thus continues to a point of brittleness as the paint ages. Strong and durable with a surface sheen, oil - based paints were mainly used for wood trim and metal. Whitewashes and distemper paints differed from oil paints in appearance primarily because the vehicle was water. Water -based paints were always flat, having no gloss of their own. Because the paint film dried to the touch as soon as 2 QI to 0 a �A� I� , \� 0 c MANUFACTURERS OF' NIIIIITr,� LEAD, Y � M Figure 3. There were numerous companies producing white lead in the United States by mid-19th century. Shown is one manufacturer's trade flyer. Of note, production figures for white lead showed a marked increase after 1850, but a steady decline after 1880. This was, in part, due to a change of taste and style at the end of the 19th century —stains and clear finishes were preferred over opaque paints for interior decorative treatments. the water evaporated, driers were not needed. Water -base paints were fairly strong, with the pigments well bound as in hide glue distempers, but they did not hold up to abrasion. Wood trim, therefore, was rarely painted with these types of paint historically, though interior plaster surfaces were frequently coated with whitewash and calcimine. Distemper paints were commonly used for decorative work. Recent Changes to Paint Constituents. Until the mid-20th century, almost all paints used in America could be divided according to the type of binder each had. Chemists sought to improve paints, especially when the two world wars made traditional paint components scarce and expensive. Modern paints are far more complex chemically and physically than early paints. More ingredients have been added to the simple three-part system of pigment, binder, and vehicle. Fillers or extenders such as clay and chalk were put in to make oil paints flow better and to make them Types of Historic Paints Historic paints were often �e made with what was available, rather than adhering to strict formulas. Recipes for successful formulas can be found in historic documents, such as newspapers, illustrating the combinations of ingredients which could be used to produce a paint. Oil -based paints: Linseed oil, a volatile thinner such as turpentine; a hiding pigment (usually white lead) and coloring pigments. Enamels: natural resin varnish was added to oil - based paint to provide a hard, more glossy surface. Glaze: a translucent layer applied to protect the paint and to impart a more uniform gloss surface. Usually made from linseed oil with natural resin varnish added. Some glazes have small quantities of tinting pigments such as verdigris or Prussian blue; some had no pigments added. Water -based paints: Water, pigment, and a binder, such as hide glue, other natural glues, or gums. Usually used on interior plaster surfaces. Whitewash: often used on interior plaster surfaces in utilitarian spaces and, at times, used on interior beams; consisted of water, slaked lime, salt, and a variety of other materials. Occasionally a pigment (usually an ochre or other earth pigment) was added to provide tint or color. Distemper: used for interior applications, were made from water, glues (one or more different natural glues, gelatine, and gums) with whiting as the basic white pigment to which other tinting pigments were added. Calcimine, or kalsomine: often used on interior surfaces and is another common name for distemper. Tempera: paint prepared with pigment, egg yolk or white and water; used almost exclusively for decorative treatments. Gouache: a water -based paint made of whiting, pigment, water, and gum arabic as the binder; used almost exclusively for decorative treatments. Milk -based paint: Casein: also called milk paint, was made with hydrated (slaked) lime, pigment, and milk. Most often oil was added, making a strong emulsion paint. Various recipes call for a large variety of additives to increase durability. Casein paints were also used for exterior surfaces. cheaper as well. Mildewcides and fungicides were prevalent and popular until their environmental hazards were seen to outweigh their benefits. New formulations which retard the growth of the mildew and fungi are being used. As noted, lead was eliminated after 1950. Most recently, volatile organic solvents in oil paint and thinners have been categorized as environmentally hazardous. I A major difference in modern paints is the change in binder from the use of natural boiled linseed oil to an alkyd oil which is generally derived from soybean or safflower oil. Use of synthetic resins, such as acrylics and epoxies, has become prevalent in paint manufacture in the last 30 years or so. Acrylic resin emulsions in latex paints, with water thinners, have also become common. Pre-1875 Paints Production and Appearance. How were paints made prior to the widespread use of factory -made paint after 1875? How did they look? The answers to these questions are provided more to underscore the differences between early paints and today's paints than for practical purposes. Duplicating the composition and appearance of historic paints, including the unevenness of color, the irregularity of surface texture, the depth provided by a glaze topcoat, and the directional lines of application, can be extremely challenging to a contemporary painter who is using modern materials. The pigments used in early paints were coarsely and unevenly ground, and they were dispersed in the paint medium by hand; thus, there is a subtle unevenness of color across the surface of many pre-1875 paints (see Figure 4). The dry pigments had to be ground in oil to form a paste and the paste had to be successively thinned with more oil and turpentine before the paint was ready for application. The thickness of the oil medium produced the shiny surface desired in the 18th century. In combination with the cylindrical (or round) shaped brushes with wood handles and boar bristles, it also produced a paint film with a surface texture of brush strokes. Figure 4. The Boston Stone (1737), a surviving relic of early paint production, was used for pigment grinding in the shop of Thomas Child of Boston, a London -trained painter and stainer. The early paint grinding tool is the logo of the National Paint and Coatings Association. Photo: Courtesy, SPNEA. Geographical Variation. The early churches and missions built by the French in Canada and the Spanish in the southwestern United States often had painted decoration on whitewashed plaster walls, done with early water -based paints. By the mid-17th century oil paint was applied to wood trim in many New England houses, and whitewash was applied to walls. These two types of paint, one capable of highly decorative effects such as imitating marble or expensive wood and the other cheap to make and relatively easy to apply, brightened and enhanced American interiors. In cities such as Boston, Philadelphia, New York, and later, Washington, painters and stainers who were trained guildsmen from England practiced their craft and instructed apprentices. The painter's palette of colors included black and white and grays, buffs and tans, ochre yellows and iron oxide reds, and greens (from copper compounds) as well as Prussian blue. That such painting was valued and that a glossy appearance on wood was important are substantiated by evidence of clear and tinted glazes which may be found by microscopic examination. Brush Marks. Early paints did not dry out to a flat level surface. Leveling, in fact, was a property of paint that was much sought after later, but until well into the 19th century, oil paints and whitewashes showed the signs of brush marks. Application therefore was a matter of stroking the brush in the right direction for the best appearance. The rule of thumb was to draw the brush in its final stokes in the direction of the grain of the wood. Raised -field paneling, then, required that the painter first cover the surface with paint and afterward draw the brush carefully along the vertical areas from bottom to top and along the top and bottom bevels of the panel horizontally from one side to the other. In the 19th and early 20th centuries, for very fine finishes, several coats were applied with each coat being rubbed down with rotten stone or pumice after drying. A four to five coat application was typical; however nine coats were not uncommon at the end of the century for finishes in some of the grand mansions. Generally, they were given a final glaze finish. Though expensive, this type of finish would last for decades and give a rich, smooth appearance. Color. Color matching is complicated by the fact that all early paints were made by hand. Each batch of paint, made by painters using books of paint "recipes" or using their own experience and instincts, might well have slight variations in color —a little darker or lighter, a little bluer and so on. The earliest known book of paint formulations by an American painter is the 1812 guide by Hezekiah Reynolds. It gives instructions for the relative quantities of tinting pigments to be added to a base, but even with proportions held constant, the amount of mixing, or dispersion, varied from workman to workman and resulted in color variations. Knowing all of the facts about early paints can aid in microscopic paint study. For example, finding very finely and evenly ground pigments, equally dispersed throughout the ground or vehicle, is an immediate clue that the paint was not made by hand but, rather, in a factory. By the first decades of the 19th century more synthetic pigments were available —chrome yellow, chrome green, and shades of red. Discoveries of light, bright, clear colors in the plaster and mosaic decoration of dwellings at Pompeii caught the fancy of many Americans and came together with the technology of paint to make for a new palette of choice, with more delicacy than many of the somewhat greyed -down colors of the 18th century. Of course, the blues which could be produced with Prussian blue in the 18th and 19th centuries were originally often strong in hue. That pigment —as were a number of others — is fugitive, that is, it faded fairly quickly and thus softened in appearance. It should be remembered that high style houses from the mid-17th to late 19th centuries often had wallpaper rather than paint on the walls of the important rooms and hallways. Glossy/Flat. Another paint innovation of the early 19th century was the use of flatter oil paints achieved by adding more turpentine to the oil, which thus both thinned and flatted them. By the 1830s the velvety look of flat paint was popular. Wherever decorative plaster was present, as it 4 frequently was during the height of the Federal period, distemper paints were the coating of choice. Being both thin and readily removable with hot water, they permitted the delicate plaster moldings and elaborate floral or botanical elements to be protected and tinted but not obscured by the buildup of many paint layers. (The use of water -based paints on ceilings continued through the Victorian years for the same reasons.) Unfortunately, flat paints attract dirt, which is less likely to adhere to high gloss surfaces, and are thus harder to wash. Victorians tended to use high gloss clear (or tinted) finishes such as varnish or shellac on much of their wood trim and to use flat or oil paints on walls and ceilings. Decorative Painting. In interiors, paint could be used creatively and imaginatively, most often to decorate rather than to protect. Decorative forms included stencilling, graining and marbleizing, and trompe 1'oeil (see Figures 5, 6). Figure 5. Owners of historic properties often find evidence of decorative painting on interior walls; however, the task of actually preserving or restoring decorative work, such as the complex stencilling pictured here, should only be undertaken by professionals who have specialized training and field experience. Photo: Courtesy, Alexis Elza. Figure 6. Historic doors may have grainin patterns or clear f t 'nishes under one or several coats of plain paint, such as these restored 18th and early 19th century doors. Graining may appear even on more vernacular doors of the pre-1850 vintage. Photo: Jack E. Boucher for HABS. Stencilling. Stencilled designs on walls were often used in the first half of the 19th century in place of wallpaper. Old Sturbridge Village, in Massachusetts, has paintings showing the interiors of a (c. 1815-1820) farmhouse which has both stencilled walls —imitating wallpaper —and painted floors or oiled and painted floor cloths, imitating fine carpets. By 1850 and for the next 60 years thereafter, stencilled and freehand -painted decoration for walls and ceilings became a high as well as a humble art. Owen Jones' Grammar of Ornament, published in 1859, provided the source for painted decoration from Portland to Peoria, Savannah to San Francisco. Graining and marbleizing. If floors, walls, and ceilings were decorated by paint in a variety of styles, the wood and stone trim of rooms was not omitted. The use of faux bois, that is, painting a plain or common wood such as pine to look like mahogany or some finer wood, or faux marbre, painting a wood or plaster surface to look like marble —realistically or fantastically —was common in larger homes of the 18th century. By the early 19th century, both stylized graining and marbleizing adorned the simple rural or small town houses as well. Often baseboards and stair risers were marbleized as were fireplace surrounds. Plain slate was painted to look like fine Italian marble. In many simple buildings, and, later, in the Victorian period, many prominent buildings such as town halls and churches, the wood trim was given a realistic graining to resemble quarter sawn oak, walnut, or a host of other exotic woods. Toompe L'oeil. Churches, courthouses, and state capitols frequently received yet another remarkable use of paint: trompe 1'oeil decoration. Applied by skilled artists and artisans, painted designs —most often using distemper paints or oils —could replicate three-dimensional architectural detailing such as ornate molded plaster moldings, medallions, panels, and more. Factory -Made Paints after 1875 An enormous growth of the paint industry began in the 1860s, stimulated by the invention of a suitable marketing container —the paint can. The first factory -made paints in cans consisted of more finely ground pigments in an oil base; after purchase, additional oil was added to the contents of the can to make up the paint. Such paints saved the time of hand -grinding pigments, and were discussed at length by John Masury in his numerous books. After 1875, factory -made paints were available at a reasonable cost and, as a result, greater numbers of people painted and decorated more of their buildings, and more frequently. The new commercial market created by ready -mixed paint became the cornerstone of our modern paint industry (see Figure 7). 20th Century Paints By the early decades of the 20th century, popular taste turned away from exuberant colors and decoration. Until the late 1920s both the Colonial Revival and Arts and Crafts styles tended toward more subdued colors and, in the case of Colonial Revival, a more limited palette. The use of faux finishes, however, continued. Residential architecture often featured stencilling, such as painted borders above wainscoting or at ceiling and wall edges to imitate decorative wallpaper. Institutional buildings in both cities PBrv>j�l pGlllll` LrG!%1. PG�fe>IIeGIf%a7:2.9/If��9. Fi�•1 II, 77 iGr,c.nrtJ Figure 7. This 1857 patent drawing of a paint can invented by Peter Brown shows a remarkable similarity in design to today's containers. An airtight, carryable container allowed the sale of small amounts of paint. It helped revolutionize the paint industry for typical consumers in the late 19th century because paint was now essentially available to anyone who wanted it. and small towns used wood graining on metal -clad doors, door and window frames, and staircases, and had stencilled ceilings as well. Many high style public buildings of the 1920s had painted ceilings which imitated the Spanish and Italian late medieval and Renaissance styles. Although stenciling, gilding, and faux finishes can be found, they did not express the modern style of the time. On the other hand, glaze treatments were often used in the early 20th century to "antique" walls and trim that had been painted with neutral colors, especially in Spanish Colonial Revival and Mission architecture. The glazes were applied by ragging, sponging, and other techniques which gave an interesting and uneven surface appearance. Colored plasters were sometimes used, and air brushing employed to give a craftsmanlike appearance to walls, trim, and ceilings. During the same period, Williamsburg paint colors were produced and sold to people who wanted their houses to have a "historic Georgian look." Churches, country clubs, and many private buildings adopted the Williamsburg style from the late 20s onward. Often decorated with simple molded plaster designs of the Art Deco and Art Modeme styles, interiors of the 1930s and 1940s were frequently accented with metal flake paints in a full range of metallic colors, from copper to bronze (see Figure 8). And enamels, deep but subdued hues, became popular. Paint technology had progressed and varying degrees of gloss were also available, including the mid- range enamels, variously called satin, semi -gloss, or eggshell. In contrast to Victorian paint treatments, this period was characterized by simplicity. To some extent, the Figure 8. The lobby foyer of the Paramount Theater in Sacramento, California (1931) features painted plaster columns and cornices which have been finished in gold and silver leaf. The theater, a National Historic landmark, is noted for its Art Deco style. Photo: Gabriel Moulin Studios. Bauhaus aesthetic influenced taste in the 1950s; interior paints were frequently chosen from a palette limited to a few "earth" colors and a "nearly neutral" palette of off- whites and pale greys. While the trend in colors and decorative treatments was defined by its simplicity, paint chemists were developing paints of increasing complexity. Experimentation had started early in the 20th century and accelerated greatly after World War H. Of greatest significance was the manufacture of the latex paints for consumer use. Synthetic resin emulsions carried in water offered advantages over the traditional oil paints, and even over the oil/alkyd paints: they did not yellow; they permitted water clean-up until dried, and they emitted no toxic or hazardous fumes from solvent evaporation. Paint Investigation Understanding each project's historic preservation goal and knowing what level of information needs to be collected to achieve that goal is an important responsibility of the purchaser of the service. Before someone is hired, the owner or manager needs to decide if a thorough investigation of painted surfaces is actually needed, and how to use the results when one is done. Specialists with both training and field experience conduct paint investigations. These experts use sophisticated instruments and procedures such as field sampling, cross- section analysis, and fluorescent and chemical staining to learn about the components and behaviors of historic paints (see Figure 9). In addition, they utilize written documentation, verbal research, and visual information about past painting in the building in conjunction with findings in the field (Figure 10). Paint investigation can make several contributions to a project. A complete analysis of the paint layers on surfaces within a structure can tell a great deal about the sequence of alterations that have occurred within a building, as well ■ A B Figure 9. Conservators are shown in the two-part process of conducting a complete paint investigation: (a) Paint samples are carefully collected onsite. (b) In the laboratory, an ultra violet light microscope is used to identify pigment and binding media. Paint samples are photographed with the camera mounted on top of the microscope. (right). Photo left: Courtesy, Matthew J. Mosca; Photo right: Courtesy, Andrea M. Gilmore. Figure 10. Written, oral, and pictorial documentation —such as this historical rendering —are combined with essential field research to provide the framework for sound historic preservation decisions. Photo: Courtesy, SPNEA. as potentially providing ranges of dates for some of these changes. By establishing a full sequence of paint layers (termed a chromochronology ), together with other research, alterations of various building spaces and features can be associated with specific paint layers. It is by establishing this association that the correct layer is identified; when the correct layer has been identified, the color may be matched. In addition to its archeological value, paint analysis can determine the types and colors of paint on a given surface (identification of thin glazes, decorative paint schemes, binders and pigments). Beyond color identification, then, paint analysis is also recommended to diagnose causes of paint failure. Knowing a paint binder can often explain causes as well as guide appropriate preservation or conservation treatments. Owners and managers should identify all of these needs before deciding on the extent of analysis. For example, a complete paint investigation is usually recommended as part of an historic structure report. For buildings with little documentation, additions and alterations can often be identified, and possibly dated, through analysis. Often the use of such seemingly expensive techniques can save money in the long run when determining the history of building change. It is possible to do some analysis on site; this is a much simpler process that can be undertaken for less cost than the complex laboratory procedures described above. However, the usefulness of onsite analysis is limited and the results will not be as precise as results from samples that are analyzed in a laboratory with a good microscope. Any short-cut approaches to paint analysis that do not follow scientific procedures are generally not worth the expense. In summary, if preservation and restoration treatments are being undertaken, a complete investigation is recommended; for a rehabilitation project, onsite analysis and color matching may provide an adequate palette. Choosing a Treatment Most projects involve re -painting. It is the historic appearance of the interior and the visual impression that will be created by new paint treatments that must be considered before choosing a particular course of action. The type and colors of paint obviously depend on the type of building and the use and interpretation of its interior spaces (see Figure 11). A consistent approach is best. Preservation. When the treatment goal is preservation, a building's existing historic features and finishes are maintained and repaired, saving as much of the historic paint as possible. Sometimes, cleaning and washing of Figure 11. A dark layer can be seen beneath the flaking lighter paint on these raised field panels. Depending on the project work goal and the period of the building's history being interpreted, any one of the paint layers could be duplicated in repainting. National Park Service files. 7 painted surfaces is all that is needed. Or a coating may be applied to protect important examples of history or art (see Figure 12). If repainting is required, the new paint is matched to existing paint colors using the safer, modern formulations. Re-creating earlier surface colors and treatments is not an objective. f` N Figure 12. When discovered, important examples of history such as this pencilled Civil War graffiti should be preserved. A conservator can easily clean the area, then apply a protective coating. The history this hand-written message possesses is well worth the sacrifice of surface uniformity, even if it interrupts a freshly painted surface. Photo: Kaye Simonson. Rehabilitation. In a typical rehabilitation, more latitude exists in choosing both the kind of new paint as well as color because the goal is the efficient re -use of interior spaces. Decisions about new paint often weigh factors such as economy and durability —use of a high quality standard paint from a local or national company and application by a qualified contractor. Color choices may be based on paint research reports prepared for interior rooms of comparable date and style. More often, though, current color values and taste are taken into account. Again, the safer paint formulations are used (see Figure 13). Figure 13. Part of a historic freight depot, this is not a high -style room and its painted surfaces are obviously in poor condition from long-term neglect. Interior spaces that are being converted for a new use in rehabilitation projects can benefit from being repainted to historic period colors rather than a neutral off- white. Photo: National Park Service files. Interiors of institutional buildings, such as university buildings, city halls, libraries, and churches often contain rich decorative detailing (Figure 14). During rehabilitation, careful choices should be made to retain or restore selected portions of the decorative work as well as match some of the earlier colors to evoke the historic sense of time and place. At the least, it is important to use period -typical paint color and paint placement. Figure 14. Holes left by insertion of toggle bolts used in the structural strengthening of this ceiling can be seen in the decorative plaster work. Without great expense, a skilled painter can now clean and touch up the damaged areas. This type of targeted repair work can benefit both public and private buildings. Photo: National Park Service files. Restoration. In a restoration project, the goal is to depict the property as it appeared during its period of greatest significance. This may or may not be the time of its original construction. For example, if a building dated from 1900 but historians deemed its significance to be the 1920s, the appropriate paint color match would be the 1920s layer, not the original 1900 layer. Based on historical research, onsite collection of paint samples, and laboratory analysis, surface colors and treatments can be re-created to reflect the property at a particular period of time. It should be noted that scholarly findings may yield a color scheme that is not suited to the taste of the contemporary owner, but is nonetheless historically accurate. In restoration, personal taste in color is not at issue; the evidence should be strictly followed. In the restoration process, colors are custom -matched by professionals to give an accurate representation. If an artist or artisan can be found, the historically replicated paint may be applied using techniques appropriate to the period of the restoration (see Figure 15). Although custom paint manufacture is seldom undertaken, color and glazing are capable of being customized. In some projects, paint may be custom-made using linseed oil and, if building code variances allow it, white lead. For example, the repainting of a number of rooms at Mount Vernon demonstrates that it is possible to replicate historic paints and applications in all aspects; however, as noted, replication of historic paint formulation is not practical for the majority of projects. Identifying Deteriorated and Damaged Paint Surfaces Because painted surfaces are subject to abrasion, soiling, water damage, sunlight, and application of incompatible paints they generally need to be repainted or at least reglazed appropriately from time to time. Abrasion. From the baseboards up to a level of about six feet off the floor, wood trim is constantly subjected to wear i Figure 15. The decorative work on the walls and ceilings of the Senate Chamber, Providence, Rhode Island, City Hall (1875) is a rich combination of paint and gilding on ornate plaster features. It was carefully restored in 1975. Photo: Kate Gilliat. © Providence Preservation Society. from being touched and inadvertently kicked, and from having furniture pushed against it (see Figure 16). Chair rails were in fact intended to take the wear of having chairs pushed back against them instead of against the more delicate plaster wall or expensive wallpaper. Doors in particular, sometimes beautifully grained, receive extensive handling. Baseboards get scraped by various cleaning devices, and the lower rails of windows, as well as window seats, take abuse. The paint in all of these areas tends to become abraded. Two things are important to bear in mind about areas of abraded paint. Samples taken to determine original paint colors and layer sequences will not be accurate except at undamaged edges. Also, dirt and oil or grease need to be removed before applying any new paint because new paint will not adhere to dirty, greasy surfaces. Dirt. Soiling is another problem of interior paint (see Figure 17). Fireplaces smoked; early coal-fired furnaces put out oily black soot; gas lights and candles left dark smudges. Sometimes the dirt got deposited on plaster walls or ceilings in a way that makes the pattern of the lath behind the plaster quite clear. Another source of dirt was polluted outside air, Figure 16. This residential door shows how scuffed and abraded interior painted surfaces can become over time, particularly if the feature is in a high - use area. In the preservation project, the door was simply cleaned and repainted the same color. Photo: Robert M. Smith, Jr. Figure 17. A Federal period fireplace needs careful preparation for repainting. While the soot must obviously be cleaned off, it is important to leave as much of the historic paint intact as possible. Photo: National Park Service files. from factories or other industries, infiltiating houses and other nearby buildings. Until smokestacks became very high, most air pollution was caused by nearby sources. In paint investigation, dirt on the surface of paint layers, as seen under the microscope, can be very useful in suggesting the length of time a given paint layer remained exposed, and in distinguishing a finish layer from a prime or undercoat layer. This kind of soiling can happen on any painted surface in a room, but may be slightly heavier in the recesses of moldings and on upward -facing horizontal edges. Using dirt as a sole measure, however, may be misleading if the surfaces have been cleaned. The fracture or bonding between paint layers is often used by professionals as a better means of indicating time differences between layers as well as indicating those layers that are part of a single decoration or painting. Water. Water, the usual source of deterioration for many kinds of material, is also a prime cause of interior paint failure (see Figure 18). As a liquid, it can come from roof leaks, from faulty plumbing or steam heating systems, or from fire -suppression systems that have misfired. As a vapor, it may come from such human activities as breathing, showering, or cooking. Plaster walls sealed with unpigmented hide -glue are notably susceptible to water damage because it forms a water-soluble layer between the plaster and the paint. This can cause the paint to lose Figure 18. The major crack along this cornice indicates that there has been long-term moisture problem in this room. Restoring the plaster work and repainting should be done only after the water problem is solved. Photo: Jack E. Boucher for HABS. i adhesion when even small amounts of moisture come into contact with the water-soluble sealer. Age/Sunlight. Finally, in historic interiors, especially where there is heavy paint build-up, paint can weaken and fail due to chemical or mechanical reasons. For example, the older linseed oil is, the more brittle it is (see Figure 19). It also darkens when it is covered and gets no ultra -violet exposure. In rooms where there is more sunlight on one area than on others, the oil or even oil/alkyd paint will get discernibly darker in the less exposed areas in as short a time as six months. Painted over, the oil medium in older paints gets quite yellow -brown, thus changing the color of the paint. Prussian blue is one of the tinting pigments that is particularly vulnerable to fading. Figure 19. Sunlight typically causes paint deterioration on windows and window sills. This alligatored surface can make paint research difficult, as later paints may have "run in" under earlier ones. This surface should be stripped of all degraded paint prior to repainting. Photo: Richard Graber. Incompatible Paints. Understanding some basic differences in the strength of various paints helps to explain certain paint problems. Paints that dry to a stronger film are incompatible with those which are weaker. Acrylic latex paints are stronger than oil/alkyd paints. Oil or oil/alkyd paint is stronger than water -based paint such as calcimine. When a stronger paint is applied over a weaker paint, it will tend to pull off any weaker paint which may have begun to lose its bond with its substrate. Thus, on many ceilings of older buildings where oil/alkyd paints have been applied over old calcimine, large strips of paint may be peeling. Oil or varnish glazes over older paints become brittle with age, and can make removal of later paints rather easy. Sometimes it is possible to take advantage of this characteristic to reveal an earlier decorative treatment such as graining or marbleizing. Getting under the edge of the glaze with a scalpel blade can make the removal of later paints relatively simple, and relatively harmless to the fancier paint treatment. Sometimes, paints separate from each other simply due to poor surface preparation in the past or the hardening of the earlier surface paint. Use of alkaline paint strippers can cause paint to lose adhesion. When insufficiently neutralized, they leave salts in wood which cause oil or oil/alkyd paints to fail to adhere to the surface. If dirt or oily residues are not cleaned from the surfaces to be painted, new paint will not remain well adhered. Surface Preparation First, it is important to note that the earlier, linseed oil - based paints were penetrating type paints, forming a bond by absorption into the substrate. Often these thin oil coatings were slightly tinted with an iron -oxide pigment so coverage could be seen; the next coating applied would adhere to this first oil layer. Modern paints, on the other hand, are primarily bonding paints with little ability to penetrate a substrate. For this reason, surface preparation is extremely important for today's paints. Before preparing the interior for repainting, all moisture penetration from failing roofs or gutters or from faulty plumbing or interior heating elements should be identified and corrected. A paint job is only as good as the preparation that goes before it. The surface to be painted, old or new, wood, plaster, masonry, or metal must be made sound and capable of taking the paint to be applied. Scraping and Sanding. The first step in preparing interior wood and plaster surfaces which are coherent and sound is to remove any loose paint (see Paint Hazards sidebar). Careful hand scraping is always advisable for historic surfaces. Use of mechanical sanders usually leaves traces of the sander's edges, visible through the new paint film. Hand sanding is also necessary to feather the edges of the firmly adhering layers down to the bare areas so that shadow lines are avoided. Preparing previously painted interior masonry for new paint is basically similar to preparing plaster. Metals elements, such as radiators, valences, or firebacks are somewhat different (see Figure 20). In order to get a sound paint job on metal items, the work is primarily that of sanding to remove any rust before repainting. If the existing paint is well adhered over the entire metal surface, then it may be necessary only to sand lightly to roughen the existing paint, thus providing some "tooth" for the primer and new paint layer. On wood, garnet sanding papers work well. Aluminum oxide and silicon carbide sandpapers are effective on other surfaces as well as wood; emery papers should be used on metals. Paint Removal. When should surfaces be completely stripped? Obviously, new paint is wasted when applied on Figure 20. Historic metal components, such as this decorative cast-iron radiator, should be preserved during interior work. Following surface preparation, repainting with rust -inhibiting primer and finish coats is recommended. Photo: Jack E. Boucher for HABS. 10 old paint which is loose, that is, extensively damaged and deteriorated. Sometimes paint on an architectural feature needs to be removed if it obscures delicate detailing (see Figure 21). For the most part, however, if the surface is intact —and the presence of lead paint has been shown to present no health dangers to building occupants —the existing paint can be overpainted. Well -adhered, intact paint layers (in at least one area of each room) should be covered with a sturdy protective tape, then painted over with the new paint and left in place to inform future research. The next owner may be interested in the building's past history, and methods of gleaning information from old paints grow more sophisticated all the time. Heat/Scraping. Propane torches should never be used because they can damage historic wood features. Also, charred areas of wood will not hold the new paint. Use of a heat gun or heat plate may be relatively fast, but has both health and safety drawbacks. Heat oxidizes lead paint, causing poisonous fumes. And old walls may contain fine debris which acts like tinder and smolders when heated, bursting into flame hours after the stripping. (Heat methods are best limited to those interior elements that can be safely removed from the building for stripping and re- installed). Finally, scraping to remove heat -loosened paint may gouge and scar the wood or plaster substrate if not done carefully. Rotary wire brushes cut into wood and should be avoided altogether. Chemical stripping. Removing paint from wood and plaster features can be done with either caustic strippers (potassium or sodium hydroxide) or solvent strippers (organic compounds such as methylene chloride, methanol, or toluol). Caustic strippers are fairly fast acting, but can weaken wood fibers if left on too long, causing them to raise and separate. They also leave alkaline residues which must be neutralized by an acidic wash (usually white vinegar which contains 4% acetic acid). It is difficult to make the neutralizing 100% effective and, when it is not, chemical reactions between the alkaline residues and the new paint may cause the paint to lose adhesion. Figure 21. Stripping paint may sometimes be necessary to reveal the delicate detail of an elaborate piece of interior decoration such as this wood column capital. If total paint removal is deemed appropriate, all paint information should be carefully recorded. Photo: National Park Service files. Methylene chloride and other organic compounds are as effective as caustic strippers, but their fumes may be both flammable and toxic. While they may leave wood and plaster surfaces free from harmful residue, the newly cleaned surface must be washed down with mineral spirits or denatured alcohol before priming in order to remove additives, such as wax, that were put in the stripper to retard its drying. All hazard warnings on the labels of chemical strippers should be heeded. Detergent or vinegar and water. Water -based paints can usually be scrubbed off with hot water with a detergent added. Calcimine and whitewash are difficult to remove; because of the lime or whiting content (calcium carbonate), however, they can be broken down with acids. While strong acids may work quickly, they are very dangerous. Acetic acid in its most common form, vinegar, (4% acetic acid) is often used instead. In areas where any calcimine remains and is evident as chalk, the area can be coated with white shellac, which provides a stable surface for the new paint. Air pressure. Air pressure of 200-500 psi is effective for flat surfaces if there is a weak substrate surface bond. A flat nozzle is inserted between the paint layer and substrate, and the air pressure simply lifts the loose paint up for easy removal. When used carefully, this method is fast and causes little damage. Patching and Repair. Once the substrate and its surface are sound and clean, free from crumbling, loose material or dust, the next step is to undercut and fill any cracks in plaster surfaces. Plaster which has lost its key and is sagging should be re -attached or replaced. Friable plaster and punky wood need to be consolidated. Wood surfaces should be made as smooth as they were historically so that the paint film will cover a relatively uniform surface. Rotted wood must be removed and new wood carefully spliced in. Finally, gypsum plaster finishes can be painted as soon as the water has evaporated; a lime putty coat or traditional finish plaster can be primed almost immediately after drying as well, using alkali -resistant primers such as acrylic latex. Priming. The importance of a primer can hardly be overstated. It is the intermediary material between the immediate substrate, which may be an old paint layer or may be bare wood, plaster, or metal (rarely stone, as around a fireplace opening), and the fresh paint itself. The primer must be capable of being absorbed to some extent by the material underneath while being compatible and cohesive with the paint to be applied on top. Most paint manufacturers will provide explicit instructions about which primers are most compatible with their paints. Those instructions should be followed. The question of a primer for latex paint continues to be debated. Traditionalists recommend that the. primer between an old oil paint and a new latex paint be an oil primer, but the improvements to latex paint in recent years have led many experts to the conclusion that today's top grade latex primers are best for latex finish paints. If a latex primer is selected, the label on the can should specify clearly that it is one which can bond to an older oil or oil/alkyd paint. The most important general rule to remember is that softer or weaker paints should always go over harder and 11 stronger paints. For instance, because latex is stronger than oil, an oil or oil/alkyd paint can go over a well adhered latex, but the reverse will run the risk of failure. Using primer and finish paints by a single company is a good way to guarantee compatibility. Choosing Modern Paint Types/Finish Coats Most frequently today, the project goal is preservation or rehabilitation. Because of the impracticality of replicating historic paints, restoration is least often undertaken. Given current laws restricting the use of toxic ingredients, such as lead, solvents, and thinners, contemporary substitute paints using safer ingredients need to be used. Many paint companies make latex paints in colors that are close to historic colors as well as appropriate gloss levels, but contain no white lead and no hazardous volatile organic compounds. Work on historic properties generally requires the services of a qualified paint contractor who has had at least five years of experience and who can list comparable jobs that a potential client can see. Then, too, getting a sample or a mock-up of any special work may be advisable before the job starts. While less experienced workers may be acceptable for preparing and priming, it is wise to have the most experienced painters on the finish work. Oil-based/alkyd paints. Today's version of oil paint has a binder that usually contains some linseed oil (read the paint -can label), but also has one of the improved synthesized oils, frequently soy -based, known as alkyds. They dry hard, have flexibility, and discolor far less than linseed oil. They can also be manufactured to dry with a high sheen, and can take enough tinting pigment to create even the very deep Victorian period colors. However, they all contain volatile organic compounds, and thus are forbidden by law in some parts of the United States. They are also less simple and more dangerous to use, as cleaning up involves mineral spirits. Acrylic water -borne paints (latex). Latex paints are synthetic resins carried in water. Before the paint dries or cross -links, it can be cleaned up with water. Early in the history of latex paints, some contained styrene/butadiene resins. Now nearly all top -grade latex paints contain acrylic resins, which are superior. Also, until fairly recently, the latex paints, while offering great strength, quick drying, and water clean-up, had some disadvantages for jobs which needed to have an historic look. Today, there are latex product lines with better gloss characteristics and more historic colors from which to choose. In addition, latex paints often have excellent color retention with very little fading. Still, it is always a good idea to buy a quart and "test paint" the color chosen for the job on site before making a total commitment. Calcimine/whitewash. Modern water -based paints such as calcimine can be purchased today and have much the same appearance as the early ones. The same is true of modern whitewash, although today's whitewashes do not leave the same ropy surface texture as the early ones. Glazes. Glazes were often part of historic paint treatments. Traditionally oil and turpentine, sometimes with a scant amount of pigment, today's glazes can be formulated with a water base and are relatively simple to apply by brush. An experienced decorative painter should be consulted before Types of Modern Paint Oil-based/alkyd: Non-volatile oils and resins, with thinners. (Alkyds are synthetic, gelatinous resins compounded from acids and alcohol.) Accept almost any type of coloring/hiding pigments. For use on interior wood and metal. Acrylic water -borne paints (latex): Suspension of acrylic or polyvinyl resins in water, with other resins, plus hiding and coloring pigments and extenders. Dries by evaporation. Commercially produced acrylic or latex enamels are also available in a complete range of gloss levels which are produced with the addition of various acrylic polymers. Use on interior plaster especially. Enamels: Modern alkyd paints are adjusted with the addition of synthetic varnishes to produce a complete range of gloss levels. Metal finishes: Paints marketed for use on metals, can either be alkyd, latex, or epoxy based, or combinations. The primers used for metals are formulated with rust -inhibiting ingredients. Special finishes: finishes such as urethane and epoxy - based paints, marketed for very high gloss surface treatments. deciding whether to use a glaze coat rather than a high - gloss enamel. The glaze is capable of providing protection as well as a more accurate historic appearance that includes a greater depth to the finish. Epoxies/Urethane. These were not available until relatively recently and thus are not appropriate for replication of traditional finishes. Applying Interior Paints Because flat wall surfaces generally dominate an interior painting job, some flexibility in applicators is suggested below: Brushes. Natural bristle brushes now have competition from synthetic brushes made of nylon or polyester which work well for applying either oil/alkyd or latex paints. Being harder than natural bristles, they tend to last longer. Since brushes come in a wide and very specific variety of types suited to different types of work, it is important to have a painter who will use the appropriate brush for the paint selected and for each portion of the job. One strong advantage of brushing paint on is that the paint is forced onto the surface and into all of its imperfections. Thus a good brushed -on paint job may last longer if the substrate is sound and the primer and finish coats are compatible and of top quality. Rollers. There is no harm in using a roller, or even an airless sprayer, to apply a prime coat to a large flat area. Since all contemporary commercial paints dry with a smooth surface anyway, use of a roller or sprayer is acceptable for priming, and even for a first finish coat. However, to get paint well pushed into articulated surfaces and to add some texture to larger flat surfaces, a brush is best. 11K CAUTION: Before Painting/Know Paint Hazards and Take Action Before undertaking any project involving paint removal, applicable State and Federal laws on Iead paint abatement and disposal must be taken into account and carefully followed. State and Federal requirements may affect options available to owners on both paint removal and repainting. These laws, as well as any requirements prohibiting volatile organic compounds (VOCs), should be requested from the State Historic Preservation Officer in each State. Below is a summary of the health hazards that owners, managers, and workers need to be aware of before removing paint and repainting: Lead and other heavy metal compounds. In virtually all paints made before 1950, the white or "hiding" pigment was a lead compound, or more rarely, zinc oxide. Work to remove lead paint such as scraping and dry sanding releases the lead —a highly damaging heavy metal —in dust. Lead dust then enters the human system through pores of the skin and through the lungs. The use of heat for stripping also creates toxic lead fumes which can be inhaled. To mitigate the hazards of lead paint ingestion, inhalation, or contact, it is extremely important to prevent the dust from circulating by masking room openings and removing all curtains, carpeting, and upholstered furniture. Drop cloths and masking containing lead dust should be carefully enclosed in tight plastic bags before removal. Workers and others in the room should wear High Efficiency Particulate Air (HEPA) filters for lead dust (fume filters if heat stripping is being used), change clothing just outside the room leaving the work clothes inside, and avoid any contact between bare skin (hands) and the paint being removed. Workers should also not eat, drink, or smoke where lead dust is present. Finally, anyone involved in lead paint removal s:iould undergo periodic blood testing. After work, ordinary vacuuming is not enough to remove lead dust; special HEPA vacuums are essential. The surfaces of the room must also be given a final wash with a solution of trisodium phosphate and water, changing the washing solution often and rinsing well. In addition to lead, early oil paints also had cobalt or other heavy metal compounds in them to accelerate drying. A small amount of mercury is also included in some latex paints to help prevent mildew and mold formation. Volatile organic compounds (VOCs). Organic paint strippers, such as methylene chloride, and oil/alkyd paints have VOCs as their solvent base. Inhaling these fumes can lead to respiratory and other illnesses, and to cancer. Especially in closed spaces (but in the outdoor environment as well) these compounds pollute the air and can damage health. Finally, decorative paint work in an historic interior — whether simple or high -style —is well worth preserving or restoring, and when such fancy work is being undertaken, traditional tools should always be used (see Figure 22). To simplify by using short-cut methods or rejecting painted decoration is indeed to dismiss or skew history as well as to lose the enjoyment of a true historic finish. Figure 22. Traditional water -based paint and artists' brushes are being used to reproduce historic finishes within a restoration project. Photo: Courtesy, Alexis Elza. Summary First, it is most important to understand the range of approaches and treatments and to make choices with as much knowledge of the original and subsequent historic paints as possible, using the Secretary of the Interior's Standards for Historic Preservation Projects as a framework. A paint's patina of age expresses decades or centuries of endurance in the face of changing climate and conditions. Documenting the sequence of interior paint layers and protecting this information for future investigation should be an integral part of any historic preservation project. Except for the rare, scholarly restorations of historic interiors, most repainting jobs done today will employ modern paint formulations. Modern paints can recreate the appearance of historic colors, gloss and texture in varying degrees, but eliminate earlier toxic components such as white lead and volatile organic compounds. 13 Additional Reading Clark, Victor S. History of Manufacturers in the United States, Vols. I -III. New York: McGraw-Hill,1929. Gettens, Rutherford J. and George L. Stout. Painting Materials: A Short Encyclopedia. New York: Dover Publications,1966. MacDonald, Marylee. Preservation Briefs 21: Repairing Historic Flat Plaster —Walls and Ceilings. Washington, D.C.: National Park Service, U.S. Department of the Interior, 1989. Masury, John W. A Popular Treatise on the Art of House -Painting: Plain and Decorative. New York: D. Appleton & Co.,. 1868. Weeks, Kay D. and David W. Look, AIA. Preservation Briefs 10: Exterior Paint Problems on Historic Woodwork. Washington, D.C.: National Park Service, U.S. Department of the Interior, 1982. Winkler, Gail Caskey and Roger W. Moss. Victorian Interior Decoration: American Interiors 1830-1900. New York: Henry Holt and Company,1986. Organizations National Paint and Coatings Association 1500 Rhode Island Ave. N.W. Washington, D.C.20005 Painting and Decorating Contractors of America 3913 Old Lee Highway, Suite 33B Fairfax, VA 22030 Federation of Societies for Coatings Technology 492 Norristown Rd. Blue Bell, PA 19422-2350 Acknowledgements Thanks go to the technical experts in the field who reviewed the draft manuscript and made substantive contributions: Andrea M. Gilmore (Director, Architectural Services, Society for the Preservation of New England Antiquities), Andy Ladygo Qefferson's Poplar Forest), and Matthew J. Mosca, Historic Paint Research. Insightful comments were also offered by E. Blaine Cliver, Chief, Preservation Assistance Division. In addition, Technical Preservation Services Branch staff members (H. Ward Jandl, Chief) and the NPS Regions provided valuable suggestions on both content and organization. Photo: Matthew J. Mosca This publication has been prepared pursuant to the National Historic Preservation Act of 1966, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Comments on the usefulness of this publication may be directed to: Chief, Preservation Assistance Division, National Park Service, P.O. Box 37127, Washington, D.C. 20013-7127. Kay D. Weeks served as project director and editor of the cooperative publication project. June, 1992. For sale by the U.S. Government Printing Office Superintendent of Documents, Mail Stop: SSOP, Washington, DC 20402-9328 14 3 PRESERVATION 2 BRIEFS Making Historic Properties Accessible Thomas C. Jester and Sharon C. Park, AIA U.S. Department of the Interior National Park Service Cultural Resources Heritage Preservation Services Historically, most buildings and landscapes were not de- signed to be readily accessible for people with disabilities. In recent years, however, emphasis has been placed on preserving historically significant properties, and on making these properties —and the activities within them —more accessible to people with disabilities. With the passage of the Americans with Disabilities Act in 1990, access to properties open to the public is now a civil right. This Preservation Brief introduces the complex issue of providing accessibility at historic properties, and underscores the need to balance accessibility and historic preservation. It provides guidance on making historic properties accessible while preserving their historic character; the Brief also provides examples to show that independent physical accessibility at historic properties can be achieved with careful planning, consultation, and sensitive design. While the Brief focuses primarily on making buildings and their sites accessible, it also includes a section on historic landscapes. The Brief will assist historic property owners, design professionals, and administrators in evaluating their historic properties so that the highest level of accessibility can be provided while minimizing changes to historic materials and features. Because many projects encompassing accessibility work are complex, it is advisable to consult with experts in the fields of historic preservation and accessibility before proceeding with permanent physical changes to historic properties. Modifications to historic properties to increase accessibility may be as simple as a small, inexpensive ramp to overcome one entrance step, or may involve changes to exterior and interior features. The Brief does not provide a detailed explanation of local or State accessibility laws as they vary from jurisdiction to jurisdiction. A concise explanation of several federal accessibility laws is included on page 13. Planning Accessibility Modifications Historic properties are distinguished by features, materials, spaces, and spatial relationships that contribute to their historic character. Often these elements, such as steep terrain, monumental steps, narrow or heavy doors, decorative ornamental hardware, and narrow pathways and corridors, pose barriers to persons with disabilities, particularly to wheelchair users (See Figure 1). A three -step approach is recommended to identify and implement accessibility modifications that will protect the integrity and historic character of historic properties: 1) Review the historical significance of the property and identify character -defining features; 2) Assess the property's existing and required level of accessibility; and 3) Evaluate accessibility options within a preservation context. 1) Review the Historical Significance of the Property If the property has been designated as historic (properties that are listed in, or eligible for listing in the National Register of Historic Places, or designated under State or local law), the property's nomination file should be reviewed to learn about its significance. Local preservation commissions and State Historic Preservation Offices can usually provide Figure 1. It is important to identify the materials, features, and spaces that should be preserved when planning accessibility modifications. These may include stairs, railings, doors, and door surrounds. Photo: National Park Servicefiles. copies of the nomination file and are also resources for additional information and assistance. Review of the written documentation should always be supplemented with a physical investigation to identify which character - defining features and spaces must be protected whenever any changes are anticipated. If the level of documentation for a property's significance is limited, it may be necessary to have a preservation professional identify specific historic features, materials, and spaces that should be protected. For most historic properties, the construction materials, the form and style of the property, the principal elevations, the major architectural or landscape features, and the principal public spaces constitute some of the elements that should be preserved. Every effort should be made to minimize damage to the materials and features that convey a property's historical significance when making modifications for accessibility. Very small or highly significant properties that have never been altered may be extremely difficult to modify. Secondary spaces and finishes and features that may be less important to the historic character should also be identified; these may generally be altered without jeopardizing the historical significance of a property. Non- significant spaces, secondary pathways, later additions, previously altered areas, utilitarian spaces, and service areas can usually be modified without threatening or destroying a property's historical significance. 2) Assess the Property's Existing and Required Level of Accessibility A building survey or assessment will provide a thorough evaluation of a property's accessibility. Most surveys identify accessibility barriers in the following areas: building and site entrances; surface textures, widths and slopes of walkways; parking; grade changes; size, weight and configuration of doorways; interior corridors and path of travel restrictions; elevators; and public toilets and amenities (See Figure 2). Simple audits can be completed by property owners using readily available checklists (See Further Reading). Accessibility specialists can be hired to assess barriers in more complex properties, especially those with multiple buildings, steep terrain, or interpretive programs. Persons with disabilities can be particularly helpful in assessing specific barriers. Figure 2. Surveys of historic properties can identify accessibility barriers. Persons with disabilities and accessibility consultants should participate whenever possible. Photo: Thomas Jester. All applicable accessibility requirements —local codes, State codes and federal laws— should be reviewed carefully before undertaking any accessibility modification. Since many States and localities have their own accessibility regulations and codes (each with their own requirements for dimensions and technical requirements), owners should use the most stringent accessibility requirements when implementing modifications. The Americans with Disability Act Accessibility Guidelines (ADAAG) is the document that should be consulted when complying with the Americans with Disabilities Act (ADA) requirements. 3) Identify and Evaluate Accessibility Options within a Preservation Context Once a property's significant materials and features have been identified, and existing and required levels of accessibility have been established, solutions can be developed (See Figure 3). Solutions should provide the greatest amount of accessibility without threatening or destroying those materials and features that make a property significant. Modifications may usually be phased over time as funds are available, and interim solutions can be considered until more permanent solutions are implemented. A team comprised of persons with disabilities, accessibility and historic preservation professionals, and building inspectors should be consulted as accessibility solutions are developed. Modifications to improve accessibility should generally be based on the following priorities: 1) Making the main or a prominent public entrance and primary public spaces accessible, including a path to the entrance; 2) Providing access to goods, services, and programs; 3) Providing accessible restroom facilities; and, 4) Creating access to amenities and secondary spaces. All proposed changes should be evaluated for conformance with the Secretary of the Interior's "Standards for the Treatment of Historic Properties," which were created for property owners to guide preservation work. These Standards stress the importance of retaining and protecting the materials and features that convey a property's historical significance. Thus, when new features are incorporated for accessibility, historic materials and features should be retained whenever possible. Accessibility modifications should be in scale with the historic property, visually compatible, and, whenever possible, reversible. Reversible means that if the new feature were removed at a later date, the essential form and integrity of the property would be unimpaired. The design of new features should also be differentiated from the design of the historic property so that the evolution of the property is evident. See Making Historic Buildings Accessible on page 9. In general, when historic properties are altered, they should be made as accessible as possible. However, if an owner or a project team believes that certain modifications would threaten or destroy the significance of the property, the State Historic Preservation Officer should be consulted to determine whether or not any special accessibility provisions may be used. Special accessibility provisions for historic properties will vary depending on the applicable accessibility requirements. 2 IA 1.40 Figure 3. Before implementing accessibility modifications, owners should consider the potential effect on their historic property. At the Derby House in Salem, Massachusetts, several solutions to make the entrance accessible were considered, including regrading (a); a lift (b); and a ramp (c). The solution, an entrance on a secondary elevation, preserves the building's architectural significance and is convenient to designated parking. Drawings: National Park Service Files.. In some cases, programmatic access may be the only option for extremely small or unaltered historic properties, such as a two-story house museum with no internal elevator. Programmatic access for historic properties refers to alternative methods of providing services, information, and experiences when physical access cannot be provided. It may mean offering an audio-visual program showing an inaccessible upper floor of a historic house museum, providing interpretive panels from a vista at an inaccessible terraced garden, or creating a tactile model of a historic monument for people with visual impairments. Accessibility Solutions The goal in selecting appropriate solutions for specific historic properties is to provide a high level of accessibility without compromising significant features or the overall character of the property. The following sections describe accessibility solutions and offer guidance on specific historic property components, namely the building site, entrances, interiors, landscapes, amenities, and new additions. Several solutions are discussed in each section, referencing dimensions and technical requirements from the ADA's accessibility guidelines, ADAAG. State and local requirements, however, may differ from the ADA requirements. Before making any modification owners should be aware of all applicable accessibility requirements. The Building Site An accessible route from a parking lot, sidewalk, and public street to the entrance of a historic building or facility is essential. An accessible route, to the maximum extent possible, should be the circulation route used by the general public. Critical elements of accessible routes are their widths, slopes, cross slopes, and surface texture. Each of these route elements must be appropriately designed so that the route can be used by everyone, including people with disabilities. The distance between the arrival and destination points should also be as short as possible. Sites containing designed landscapes should be carefully evaluated before making accessibility modifications. Historic landscapes are described in greater detail on pages 10 and 11. Providing Convenient Parking. If parking is provided, it should be as convenient as possible for people with disabilities. Specially designated parking can often be created to improve accessibility (See Figure 4). Modifica- tions to parking configurations and pathways should not alter significant landscape features. Creating an Accessible Route. The route or path through a site to a historic building's entrance should be wide enough, generally at least 3 feet (91 cm), to accommodate visitors Figure 4. Parking designated for people with disabilities is provided near an accessible entrance to the Springfield Library in Springfield, Massachusetts. Photo: William Smith. 3 with disabilities and must be appropriately graded with a stable, firm, and slip -resistant surface. Existing paths should be modified to meet these requirements whenever possible as long as doing so would not threaten or destroy significant materials and features. Existing surfaces can often be stabilized by providing a new base and resetting the paving materials, or by modifying the path surface. In some situations it may be appropriate to create a new path through an inaccessible area. At large properties, it may be possible to regrade a slope to less than 1:20 (5%), or to introduce one or more carefully planned ramps. Clear directional signs should mark the path from arrival to destination. Entrances Whenever possible, access to historic buildings should be through a primary public entrance. In historic buildings, if this cannot be achieved without permanent damage to character -defining features, at least one entrance used by the public should be made accessible. If the accessible entrance is not the primary public entrance, directional signs should direct visitors to the accessible entrance (See Figure 5). A rear or service entrance should be avoided as the only mean of entering a building. Figure 5. A universal access symbol clearly marks the Arts and Industries Building in Washington, D.C., and a push plate (right) engages the automatic door -opener. Photo: Thomas Jester. Creating an accessible entrance usually involves overcoming a change in elevation. Steps, landings, doors, and thresholds, all part of the entrance, often pose barriers for persons with disabilities. To preserve the integrity of these features, a number of solutions are available to increase accessibility. Typical solutions include regrading, incorporating ramps, installing wheelchair lifts, creating new entrances, and modifying doors, hardware, and thresholds. Regrading an Entrance. In some cases, when the entrance steps and landscape features are not highly significant, it may be possible to regrade to provide a smooth entrance into a building. If the existing steps are historic masonry, they should be buried, whenever possible, and not removed (See Figure 6). Incorporating Ramps. Permanent ramps are perhaps the most common means to make an entrance accessible. As a new feature, ramps should be carefully designed and appropriately located to preserve a property's historic character (See Figure 7). Ramps should be located at public Figure 6. Entrances can be regraded to make a building accessible as long as no significant landscape features will be destroyed and as long as the building's historic character is preserved. The Houghton Chapel (a) in Wellesley, Massachusetts, was made accessible by regrading over the historic steps (b). Photos: Carol R. Johnson & Associates. Figure 7. This ramp is convenient for visitors with disabilities and preserves the building's historic character. The design is also compatible in scale with the building. Photo: William Smith. entrances used by everyone whenever possible, preferably where there is minimal change in grade. Ramps should also be located to minimize the loss of historic features at the connection points —porch railings, steps, and win- dows —and should preserve the overall historic setting and character of the property. Larger buildings may have below grade areas that can accommodate a ramp down to an entrance (See Figure 8). Below grade entrances can be considered if the ramp leads to a publicly used interior, such as an auditorium, or if the building is serviced by a public elevator. Ramps can often be incorporated behind .19 Figure 8. A new below grade ramp provides access to Lake MacDonald Lodge in Glacier National Park. Photo: Thomas jester historic features, such as cheek -walls or railings, to mini- mize the visual effect (See Figure 9). The steepest allowable slope for a ramp is usually 1:12 (8%), but gentler slopes should be used whenever possible to accommodate people with limited strength. Greater changes in elevation require larger and longer ramps to meet accessibility scoping provisions and may require an intermediate landing. Most codes allow a slightly steeper ramp for historic buildings to overcome one step. Ramps can be faced with a variety of materials, including wood, brick, and stone. Often the type and quality of the materials determines how compatible a ramp design will be with a historic property (See Figure 10). Unpainted pressure -treated wood should not be used to construct ramps because it usually appears temporary and is not visually compatible with most historic properties. Railings Figure 9. This ramp was created by infilling the window -well and slightly modifying the historic railing. The ramp preserves this building's historic character. Photo: Thomas Jester. Figure 10. This brick ramp provides access to St. Anne's Episcopal Church in Annapolis, Maryland. Its design is compatible with the historic building. Photo: Charity V. Davidson. should be simple in design, distinguishable from other historic features, and should extend one foot beyond the sloped area (See Figure 11). Ramp landings must be large enough for wheelchair users, usually at least 5 feet by 5 feet (152.5 cm. by 152.5 cm), and the top landing must be at the level of the door threshold. It may be possible to reset steps by creating a ramp to accommodate minor level changes and to meet the threshold without significantly altering a property's historic character. If a building's existing landing is not wide or deep enough to accommodate a ramp, it may be Figure 11. Simple, contemporary railings that extend beyond the ramp slope make this ramp compatible with the industrial character of this building. Photo: Thomas jester. necessary to modify the entry to create a wider landing. Long ramps, such as switchbacks, require intermediate landings, and all ramps should be detailed with an appropriate edge and railing for wheelchair users and visually impaired individuals. Temporary or portable ramps are usually constructed of light -weight materials and, thus, are rarely safe or visually compatible with historic properties. Moreover, portable ramps are often stored until needed and, therefore, do not meet accessibility requirements for independent access. Temporary and portable ramps, however, may be an acceptable interim solution to improve accessibility until a permanent solution.can be implemented (See Figure 12). 5 Installing Wheelchair Lifts. Platforms lifts and inclined stair lifts, both of which accommodate only one person, can be used to overcome changes of elevation ranging from three to 10 feet (.9 m-3 m) in height. However, many States have ' restrictions on the use of wheelchair lifts, so all applicable codes should be reviewed carefully before installing one. Figure 12. The Smithsonian Institution Inclined stair lifts, installed a temporary ramp on its which carry a wheel - visitor's center to allow adequate time to chair on a platform up a design an appropriate permanent ramp. Photo: Thomas jester. flight of stairs, may be employed selectively. They tend to be visually intrusive, although they are relatively reversible. Platform lifts can be used when there is inadequate space for a ramp. However, such lifts should be installed in unobtrusive locations and under cover to minimize maintenance if at all possible (See Figure 13). A similar, but more expensive platform lift has a retracting railing that lowers into the ground, minimizing the visual effect to historic properties (See Figure 14). Mechanical lifts have drawbacks at historic properties with high public visitation because their capacity is limited, they sometimes cannot be operated independently, and they require frequent maintenance. Considering a New Entrance. When it is not possible to modify an existing entrance, it may be possible to develop a new entrance by creating an entirely new opening in an ap- propriate location, or by using a secondary window for an opening. This solution should only be considered after ex- hausting all possibilities for modifying existing entrances (See Figure 15). Retrofitting Doors. Historic doors generally should not be replaced, nor should door frames on the primary elevation be widened, as this may alter an important feature of a historic A design. However, if a building's historic doors have been removed, there may be greater�� latitude in designing a compatible new en- trance. Most accessi- bility standards require at least a 32" (82 cm) clear opening with man- ageable door opening pressures. The most desirable preservation solution to improve Figure 13. Platform lifts like the one accessibility is retaining used on this building require minimal space and can be removed without historic doors and damaging historic materials. Shielded upgrading the door with lattice work, this lift is also pressure with one of protected by the roof eaves. Approach several devices. Auto- Path should be stable, firm, and slip resistant. Photo: Sharon Park. matic door openers Readily Achievable Accessibility Modifications Many accessibility solutions can be implemented easily and inexpensively without destroying the significance of historic properties. While it may not be possible to undertake all of the modifications listed below, each change will improve accessibility. Sites and Entrances • Creating a designated parking space. • Installing ramps. • Making curb cuts. Interiors • Repositioning shelves. • Rearranging tables, displays, and furniture. • Repositioning telephones. • Adding raised markings on elevator control buttons. • Installing flashing alarm lights. • Installing offset hinges to widen doorways. • Installing or adding accessible door hardware. • Adding an accessible water fountain, or providing a paper cup dispenser at an inaccessible water fountain. Restrooms • Installing grab bars in toilet stalls. • Rearranging toilet partitions to increase maneuvering space. • Insulating lavatory pipes under sinks to prevent burns. • Installing a higher toilet seat. • Installing a full-length bathroom mirror. • Repositioning the paper towel dispenser. 6 Figure 14. At the Lieutenant Governor's Mansion in Frankfort, Kentucky, a retracting lift (b) was installed to minimize the visual effect on this historic building when not in use (a). Photos: Aging Technology Incorporated. Figure 15. A new entrance to the elevator lobby re- places a window at Faneuil Hall in Boston, Massa- chusetts. The new entrance is appro- priately differen- tiated from the historic design. Photo: Paul Holtz. (operated by push buttons, mats, or electronic eyes) and power -assisted door openers can eliminate or reduce door pressures that are accessibility barriers, and make single or double -leaf doors fully operational (See Figure 16). Adapting Door Hardware. If a door opening is within an inch or two of meeting the 32" (81 cm) clear opening requirement, it may be possible to replace the standard hinges with off -set hinges to increase the size of the door opening as much as 1 1 /2" (3.8 cm). Historic hardware can be retained in place, or adapted with the addition of an automatic opener, of which there are several types. Door hardware can also be retrofitted to reduce door pressures. For example, friction hinges can be retrofitted with ball - bearing inserts, and door closers can be rethreaded to reduce the door pressure. Altering Door Thresholds. A door threshold that exceeds the allowable height, generally 1/2" (1.3 cm), can be altered or removed with one that meets applicable accessibility Figure 16. During the rehabilitation of the Rookery in Chicago, the original entrance was modified to create an accessible entrance. Two revolving doors were replaced with a new one flanked by new doors, one of which is operated with a push -plate door opener. Photo: Thomas ]ester. requirements. If the threshold j deemed to be significant, a bevel can be added on each side to reduce its height (See Figure 17). Another solution is to replace the threshold with one that meets applicable accessibility requirements and is visually compatible with the historic entrance. Moving Through Historic Interiors Persons with disabilities should have independent access to all public areas and facilities inside historic buildings. The extent to which a historic interior can be modified depends on the significance of its materials, plan, spaces, features, and finishes. Primary spaces are often more difficult to modify without changing their character. Secondary spaces may generally be changed without compromising a building's historic character. Signs should clearly mark the route to accessible restrooms, telephones, and other accessible areas. Installing Ramps and Wheelchair Lifts. If space permits, ramps and wheelchair lifts can also be used to increase accessibility inside buildings (See Figures 18 & 19). However, some States and localities restrict interior uses of wheelchair lifts for life -safety reasons. Care should be taken to install these new features where they can be readily accessed. Ramps and wheelchair lifts are described in detail on pages 4-6. Upgrading Elevators. Elevators are an efficient means of providing accessibility between floors. Some buildings have existing historic elevators that are not adequately accessible for persons with disabilities because of their size, location, or detailing, but they may also contribute to the historical significance of a building. Significant historic elevators can usually be upgraded to improve accessibility. Control panels can be modified with a "wand" on a cord to make the control panel accessible, and timing devices can usually be adjusted. Retrofitting Door Knobs. Historic door knobs and other hardware may be difficult to grip and turn. In recent years, lever -handles have been developed to replace door knobs. Other lever -handle devices can be added to existing hardware. If it is not possible or appropriate to retrofit existing door knobs, doors can be left open during operating hours (unless doing so would violate life safety codes), and power -assisted door openers can be installed. It may only be necessary to retrofit specific doorknobs to create an accessible path of travel and accessible restrooms. 7 Figure 17. Thresholds that exceed allowable heights can be modified several ways to increase accessibility. Source: Uniform Federal Accessibility Standard WAS) Retrofit Manual. Modifying Interior Stairs. Stairs are the primary barriers for many people with disabilities. However, there are some ways to modify stairs to assist people who are able to navigate them. It may be appropriate to add hand railings if none exist. Railings should be 1 1 /4" (3.8 cm) in diameter and return to the wall so straps and bags do not catch. Color -contrasting, slip -resistant strips will help people with visual impairments. Finally, beveled or closed risers are recommended unless the stairs are highly significant, because open risers catch feet (See Figure 20). Building Amenities Some amenities in historic buildings, such as restrooms, seating, telephones, drinking fountains, counters, may contribute to a building's historic character. They will often require modification to improve their use by persons with disabilities. In many cases, supplementing existing amenities, rather than changing or removing them, will increase access and minimize changes to historic features and materials. Upgrading Restrooms. Restrooms may have historic fixtures such as sinks, urinals, or marble partitions that can be retained in the process of making modifications. For example, larger restrooms can sometimes be reconfigured by relocating or combining partitions to create an accessible toilet stall. Other changes to consider are adding grab bars around toilets, covering hot water pipes under sinks with insulation to prevent burns, and providing a sink, mirror, and paper dispenser at a height suitable for wheelchair users. A unisex restroom may be created if it is technically infeasible to create two fully accessible restrooms, or if doing so would threaten or destroy the significance of the building. It is important to remember that restroom fixtures, such as sinks, urinals, and partitions, may be historic, and therefore, should be preserved whenever possible. Modifying Other Amenities. Other amenities inside historic buildings may require modification. Seating in a theater, for example, can be made accessible by removing some seats in several areas (See Figure 21). New seating that is accessible can also be added at the end of existing rows, either with or without a level floor surface. Readily removable seats may be installed in wheelchair spaces when the spaces are not required to accommodate wheelchair users. Historic water fountains can be retained and new, two -tiered fountains installed if space permits. If public telephones are provided, it may be necessary to install at least a Text Telephone (TT), also known as a Telecommunication Device for the Deaf (TDD) (See Figure 22). Historic service counters commonly found in banks, theaters, and hotels generally should not be altered. It is preferable to add an accessible counter on the end of a historic counter if feasible. Modified or new counters should not exceed 36" (91.5 cm) in height. Figure 18. Symmetrical ramps at the Mayflower Hotel in Washington, D.C., provide access to the hotel's lower level. The design for the ramps respects the historic character of this landmark building. Photo: Thomas jester. MAKING A HISTORIC BUILDING ACCESSIBLE d I -All The Orange County Courthouse (a), located in Santa Ana, California, was rehabilitated in the late 1980s as a county museum. As part of the rehabilitation, the architect sensitively integrated numerous modifications to increase accessibility. To preserve the building's primary elevation, a new public entrance was created on the rear elevation where parking spaces are located. A ramp (b) leads to the accessible entrance that can be opened with a push -plate automatic door -opener (c). Modifications to interior features also increased accessibility. To create an accessible path of travel, offset hinges (d) were installed on doors that were narrower than 32 inches (81.3 cm). Other doors were rethreaded to reduce the door pressure. Beveling the 1 " high thresholds (e) reduced their height to approximately 114 inch (.64 cm). The project architect also converted a storeroom into an accessible restroom (j7. The original stairway, which has open grillwork, was made more accessible by applying slip -resistant pressure tape to the marble steps (g). And the original elevator was upgraded with raised markings, alarm lights, and voice floor indicators. Photos: Milford Wayne Donaldson, FAIR. I MAKING HISTORIC LANDSCAPES ACCESSIBLE To successfully incorporate access into historic landscapes, the planning process is similar to that of other historic properties. Careful research and inventory should be undertaken to determine which materials and features convey the landscape's historical significance. As part of this evaluation, those features that are character -defining (topographical variation, vegetation, circulation, structures, furnishings, objects) should be identified. Historic finishes, details, and materials that also contribute to a landscape's significance should also be documented and evaluated prior to determining an approach to landscape accessibility. For example, aspects of the pedestrian circulation system that need to be understood include walk width, aggregate size, pavement pattern, texture, relief, and joint details. The context of the walk should be understood including its edges and surrounding area. Modifications to surface textures or widths of pathways can often be made with minimal effect on significant landscape features (a) and (b). Additionally, areas of secondary importance such as altered paths should be identified -- especially those where the accessibility modifications will not destroy a landscape's significance. By identifying those features that are contributing or non-contributing, a sympathetic circulation experience can then be developed. After assessing a landscape's integrity, accessibility solutions can be considered. Full access throughout a historic landscape may not always be possible. Generally, it is easier to provide accessibility to larger, more open (a.) To improve accessibility in Boston's Emerald Necklace Parks, standard asphalt paving was replaced in selected areas with an imbedded aggregate surface that is more in keeping with the landscape's historic appearance. Photo: Charles Birnbaum. (b.) The Friendly Garden at Ranchos Los Alamitos, a historic estate with designed gardens in southern California, was made accessible with limited widening of its existing approach path. Photo: Ranchos Los Alamitos Foundation. sites where there is a greater variety of public experiences. However, when a landscape is uniformly steep, it may only be possible to make discrete portions of a historic landscape accessible, and viewers may only be able to experience the landscape from selected vantage points along a prescribed pedestrian or vehicular access route. When defining such a route, the interpretive value of the user experience should be considered; in other words, does the route provide physical or visual access to those areas that are critical to understand the meaning of the landscape? The following accessibility solutions address three common landscape situations: 1) structures with low integrity landscapes; 2) structures and landscapes of equal significance; and, 3) landscapes of primary significance with inaccessible terrain. The Hunnewell Visitors Center at the Arnold Arboretum in Jamaica Plain, Massachusetts, was con- structed in 1892. Its immediate setting has changed considerably over time (c). Since the existing landscape immediately surrounding this structure has little re- maining integrity, the new accessibility solution has the latitude to integrate a broad program including site orientation, circulation, interpretation, and maintenance. The new design, which has few ornamental plants, references the original planting design principles, with a strong emphasis on form, color, and texture. In contrast with the earlier designs, the new plantings were set away from the facade of this historic building, (c.) Hunnewell Visitor's Center before rehabilitation, revealing the altered landscapes. Photo: Jennifer Jones, Carol R. Johnson and associates. (d.) Hunnewell Visitors Center's entrance following rehabilitation, integrating an accessible path (left), platform, and new steps. Photo: Charles Birnbaum. 10 allowing the visitor to enjoy its architectural detail. A new walk winds up the gentle earthen berm and is vegetated with plantings that enhance the interpretive experience from the point of orientation (d). The new curvilinear walks also provide a connection to the larger arboretum landscape for everyone. 2. The Eugene O'Neill National Historic Site overlooks the San Ramon Valley, twenty-seven miles east of San Francisco, California. The thirteen -acre site includes a walled courtyard garden on the southeast side of the Tao House, which served as the O'Neill residence from 1937-44 (e). Within this courtyard are character - defining walks that are too narrow by today's accessibility standards, yet are a character -defining element of the historic design. To preserve the garden's integrity, the scale and the characteristics of the original circulation were maintained by creating a wheelchair route which, in part, utilizes reinforced turf. This route allows visitors with disabilities to experience the main courtyard as well. 3. Morningside Park in New York City, New York, designed by Frederick Olmstead, Sr., and Calvert Vaux in 1879, is sited on generally steep, rocky terrain (f). Respecting these dramatic grade changes, which are only accessible by extensive flights of stone stairs, physical access cannot be provided without destroying the park's integrity. In order to provide some accessibility, scenic overlooks were created that provide broad visual access to the park. (e.) This view shows the new reinforced turf path at the Eugene O'Neill National Historic Site that preserved the narrow Historic Path. Photo: Patricia M. O'Donnell. (f.) Steep terrain at Morningside Park in New York City cannot be made accessible without threating or destroying this landscape's integrity. Photo: Quennell Rothschild Associates. Figure 19. Inclined lifts can sometimes overcome interior changes of elevation where space is limited. This lift in Boston's Faneuil Hall created access to the floor and stage level of the State Room. Photo: Paul Holtz. Considering a New Addition as an Accessibility Solution Many new additions are constructed specifically to incorporate modern amenities such as elevators, restrooms, fire stairs, and new mechanical equipment. These new additions often create opportunities to incorporate access for people with disabilities. It may be possible, for example, to create an accessible entrance, path to public levels via a ramp, lift, or elevator (See Figure 23). However, a new addition has the potential to change a historic property's appearance and destroy significant building and landscape features. Thus, all new additions should be compatible with the size, scale, and proportions of historic features and materials that characterize a property (See Figure 24). New additions should be carefully located to minimize connection points with the historic building, such that if the addition were to be removed in the future, the essential form and integrity of the building would remain intact. On the other hand, new additions should also be conveniently located near parking that is connected to an accessible route for people with disabilities. As new additions are incorporated, care should be taken to protect significant landscape features and archeological resources. Finally, the design for any new addition should be differentiated from the historic design so that the property's evolution over time is clear. New additions frequently make it possible to increase accessibility, while simultaneously reducing the level of change to historic features, materials, and spaces. 11 Figure 20. In certain situations it may be appropriate to modify stair nosings for persons with mobility impairments. Whenever possible, stairs should be modified by adding new materials rather than removing historic materials. Source: UFAS Retrofit Manual. Figure 22. Amenities such as telephones should be at height that wheelchair users can reach. Changes to many amenities can be adapted with minimal effect on historic materials, features, and spaces. Source: UFAS Retrofit Manual. Wheelchair Seating Dispersed Throughout Seating Area space for single wheelchair INNEMEN additional single/ double wheelchair spaces may be provided using removable seats 66" x 48" back or front row position 60" x 66" midpoint ��{y„d for two wheel - position for two ® G chairs; omit three wheelchairs; omit chairs (parked six chairs or install wheelchairs should movable chairs R not obstruct other lyi pedestrian traffic) lyllyl;® llrll�l �7 7L__❑_1 aisle width must allow 66" x 48° passage of wheelchair users; fire codes should ................. be consulted to deter- mine required width Theater Style Seating Figure 21. Seating in historic theaters and auditoriums can be changed to accommodate wheelchair users. Accessible seating areas should be connected to an accessible route from the building entrance. Source: UFAS Retrofit Manual. 12 Federal Accessibility Laws Today, few building owners are exempt from providing accessibility for people with disabilities. Before making any accessibility modification, it is imperative to determine which laws and codes are applicable. In addition to local and State accessibility codes, the following federal accessibility laws are currently in effect: Architectural Barriers Act (1968) The Architectural Barriers Act stipulates that all buildings designed, constructed, and altered by the Federal Government, or with federal assistance, must be accessible. Changes made to federal buildings must meet the Uniform Federal Accessibility Standards (UFAS). Special provisions are included in UFAS for historic buildings that would be threatened or destroyed by meeting full accessibility requirements. Rehabilitation Act (1973) The Rehabilitation Act requires recipients of federal financial assistance to make their programs and activities accessible to everyone. Recipients are allowed to make their properties accessible by altering their building, by moving programs and. activities to accessible spaces, or by making other accommodations. Americans with Disabilities Act (1990) Historic properties are not exempt from the Americans with Disabilities Act (ADA) requirements. To the greatest extent possible, historic buildings must be as accessible as non -historic buildings. However, it may not be possible for some historic properties to meet the general accessibility requirements. Under Title lI of the ADA, State and local governments must remove accessibility barriers either by shifting services and programs to accessible buildings, or by making alterations to existing buildings. For instance, a licensing office may be moved from a second floor to an accessible first floor space, or if this is not feasible, a mail service might be provided. However, State and local government facilities that have historic preservation as their main purpose —State-owned historic museums, historic State capitols that offer tours —must give priority to physical accessibility. Under Title III of the ADA, owners of "public accommodations' (theaters, restaurants, retail shops, private museums) must make "readily achievable" changes; that is, changes that can be easily accomplished without much expense. This might mean installing a ramp, creating accessible parking, adding grab bars in bathrooms, or modifying door hardware. The requirement to remove barriers when it is "readily achievable" is an ongoing responsibility. When alterations, including restoration and rehabilitation work, are made, specific accessibility requirements are triggered. Recognizing the national interest in preserving historic properties, Congress established alternative requirements for properties that cannot be made accessible without "threatening or destroying" their significance. A consultation process is outlined in the ADA's Accessibility Guidelines for owners of historic properties who believe that making specific accessibility modifications would "threaten or destroy" the significance of their property. In these situations, after consulting with persons with disabilities and disability organizations, building owners should contact the State Historic Preservation Officer (SHPO) to determine if the special accessibility provisions for historic properties may be used. Further, if it is determined in consultation with the SHPO that compliance with the minimum requirements would also "threaten or destroy" the significance of the property, alternative methods of access, such as home delivery and audio-visual programs, may be used. Figure 23. New additions to historic buildings can be designed to increase accessibility. A new addition links two adjacent buildings used for the Albany, New York, Visitor's Center, and incorporates an accessible entrance, restrooms, and signage. Photo: Clare Adams. Figure 24. Creating an accessible entrance with a new elevator tower requires a compatible design. This elevator addition blends in with the historic building's materials and provides access to all public levels. Photo: Sharon Park. 13 Conclusion Additional Reading Historic properties are irreplaceable and require special care to ensure their preservation for future generations. With the passage of the Americans with Disabilities Act, access to historic properties open to the public is a now civil right, and owners of historic properties must evaluate existing buildings and determine how they can be made more accessible. It is a challenge to evaluate properties thoroughly, to identify the applicable accessibility requirements, to explore alternatives and to implement solutions that provide independent access and are consistent with accepted historic preservation standards. Solutions for accessibility should not destroy a property's significant materials, features and spaces, but should increase accessibility as much as possible. Most historic buildings are not exempt from providing accessibility, and with careful planning, historic properties can be made more accessible, so that all citizens can enjoy our Nation's diverse heritage. Photo: Massachusetts Historical Commission. Acknowledgements Thomas C. Jester is an Architectural Historian with the Preservation Assistance Division of the National Park Service. Sharon C. Park, AIA, is the Senior Historical Architect with the Preservation Assistance Division, National Park Service. The authors wish to thank Charles A. Birnbaum, ASLA, Historical Landscape Architect with the Preservation Assistance Division, National Park Service, for contributing the section on historic landscapes. The authors gratefully acknowledge the invaluable comments made by the following individuals who reviewed the draft manuscript: William Smith, Massachusetts Historical Commission; Kay Weeks, H. Ward Jandl, Michael Auer, and Charles A. Birnbaum, Preservation Assistance Division, National Park Service; Clare Adams, New York Department of Parks, Recreation and Historic Preservation; Lauren Bowlin, Maryland Historical Trust; Tom Mayes, National Trust for Historic Preservation; Elizabeth Igleheart, Maine Historic Preservation Ballantyne, Duncan S. and Harold Russell Associates, Inc. Accommodation of Disabled Visitors at Historic Sites in the National Park System. Washington, D.C.: Park Historic Architecture Division, National Park Service, U.S. Department of the Interior,1983. Goldman, Nancy. Ed. Readily Achievable Checklist: A Survey for Accessibility. Boston: Adaptive Environments Center, 1993. Hayward, Judith L. and Thomas C. Jester, compilers. Accessibility and Historic Preservation Resource Guide. Windsor, Vermont: Historic Windsor, Inc.,1992, revised 1993. Jester, Thomas C. Preserving the Past and Making it Accessible for People with Disabilities. Washington, D.C.: Preservation Assistance Division, National Park Service, U.S. Department of the Interior,1992. Parrott, Charles. Access to Historic Buildings for the Disabled. Washington, D.C.: U.S. Department of the Interior,1980. Secretary of the Interior's Standards for the Treatment of Historic Properties. Washington, D.C.: Preservation Assistance Division, National Park Service, U.S. Department of the Interior, 1993. Smith, William D. and Tara Goodwin Frier. Access to History: A Guide to Providing Access to Historic Buildings for People with Disabilities. Boston: Massachusetts Historical Commission,1989. Standards for Accessible Design: ADA Accessibility Guidelines (ADAAG). Washington, D.C.: U.S. Department of Justice, 1991. Commission; Milford Wayne Donaldson, FAIA; Paul Beatty, U.S. Architectural and Transportation Barriers Compliance Board; Mid -Atlantic Regional Office, National Park Service; Western Regional Office, National Park Service. This publication has been prepared pursuant to the National Historic Preservation Act of 1966, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Comments about this publication should be directed to H. Ward Jandl, Deputy Chief, Preservation Assistance Division, National Park Service, P.O. Box 37127, Washington, D.C. 20013-7127. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the authors and the National Park Service are appreciated. ISSN: 0885-7016 September 1993 14 4 PRESERVATION 5 BRIEFS Preserving Historic Wood Porches Aleca Sullivan and John Leeke Li National Park Service U.S. Department of the Interior Heritage Preservation Services Few architectural features evoke more romantic notions or do more to define a building's historic character than the American porch. The size, style, detailing, and location of a porch can tell volumes about the age and use of a building. Each component, from handrail or baluster to column or post, enhances the architectural character of the porch. Alter or remove the porch and a historic building or streetscape can lose its visual integrity and historic authenticity (Fig 1). Functionally, a porch protects an entrance from the weather. Yet open porches are constantly exposed to sun, snow, rain, and foot traffic, and thus subject to deterioration, perhaps more than other parts of a building. Wood porches are particularly vulnerable. Deferred maintenance and neglect account for the decay and loss of countless numbers of historic porches each year. Deterioration from moisture and resultant wood rot, and damage caused by wood -eating insects are common problems that, when left unaddressed too long, can lead to the loss of significant historic fabric. Inappropriate repairs or insensitive alterations, such as the enclosure of a front porch, can be equally destructive and negatively affect the porch's appearance. All these things can alter a building's historic character. To preserve the character of the porch, as well as the historic building itself, it is essential to plan carefully before undertaking any work on a historic porch. This Preservation Brief provides guidance for the everyday care of wood porches on older buildings. It focuses primarily on the maintenance and repair of wood porches, but acknowledges other, often challenging, work as well. This publication provides a brief history of the American porch and identifies its basic structural and decorative elements. It outlines how to assess the condition of a wood porch, how much work may be needed, and how to develop a specific scope of work. Detailed guidance on each level of work is provided, beginning with routine maintenance, followed by general repairs for various porch components, and concluding with replacement of parts that are beyond repair. Recommendations are provided for work that may require professional assistance. Although the Brief primarily addresses residential buildings, much of the information can be applied to wood porches on any structure. Figure 1. Distinctive yet different, these front porches are important features along the street. The rhythm would be diminished if the front porch from one of the houses was dramatically altered or removed. Photo: Aleca Sullivan. Evolution of the Porch In colonial America, buildings in the northern colonies tended to echo British precedents with small gable -roofed extensions to protect main entrances. Whether open or enclosed, these extensions were called porches (from Figure 2. Porches not only help define the architectural character of a building but also serve as living areas. They can be designed to take advantage of surrounding views. Cedar Grove, the home of the nineteenth-century landscape painter Thomas Cole, has an L-shaped veranda on the front and a two-story porch on the rear, providing an enviable view of the Catskill Mountains. Photo: Marilyn Kaplan. Medieval English and the French word porche, which stems from the Latin, porticus). Also known as porticos when supported by columns, these covered entrances were sometimes designed to respect classical order and details, especially on more stylish buildings. Hooded doors or small covered entryways flanked by benches, often called stoops (from the Dutch stoep for step) that served as short covered transitions to and from the outdoors were common features, especially in New York and the mid -Atlantic colonies. During the late 1700s and early 1800s as longer shed - roofed porches became more common, they were typically called piazzas, as they were then called in England. This term, still popular in some areas of North America, is adapted from the Italian word for open space or plaza. An alternate term for a long open porch, veranda, reflects British colonial design influence from the Indian sub -continent. In French colonial areas, such as the Louisiana Territory, houses were often built with broad roofs extending well beyond the exterior walls to form surrounding porches, known as galleries. Porches were also important features of Spanish colonial buildings. In California, for example, many adobe ranches featured a portal with the roof supported by wooden posts. African and Caribbean influences can also be found in North American porch traditions. By the late eighteenth and early nineteenth centuries, porches became more common in larger, wealthier areas such as Philadelphia, Boston and Charleston. In both the North and the South, formal colonnades with tall columns dressed in classical orders were sometimes added to help dignify public buildings, hotels, and mansions. This trend continued through the 1830s and 1840s, as the Greek Revival became the dominant architectural style in many areas of North America. The social role of porches as a transition space between indoors and outdoors and as a link between private and public realms evolved during the 1800s. By offering grand entrances and sheltered landings with views of the surroundings, prominent porches became expected features of inns, hotels and resort spas, where they could serve as promenades, social gathering spots, and refuges for more private retreats. Porches were also added to private homes to serve many of these same functions (Fig 2). As the country began to thrive and expand, porches became more than just covered entrances or ceremonial features; they became an integral part of domestic social life Some of the most significant factors that aided this shift were America's industrialization and later suburbanization. As improvements to mass production methods helped spur industrial growth, many Americans had more money to spend and more leisure time. Meanwhile a growing middle class was moving to new suburban neighborhoods. Inspired by the pattern books of Andrew Downing and George Woodward and the published designs of such architects as Alexander Jackson Davis and Calvert Vaux, the homes of these mid-1800s suburban neighborhoods were typically ornamented by elaborate porches dressed with fancy millwork. By this time, millwork catalogues and builders' pattern books offered a wide variety of designs for porch parts. With mass production, these fancy brackets and other ornamentation became less expensive, making it easier and more affordable to construct decorative porches (Fig 3). With mechanized wood turning lathes, the cost of posts, balusters and decorative spindle work also decreased to a level affordable by many. Adding a porch with wood ornamentation could enhance even the smallest and simplest of houses. Even older homes could be modernized with a fancy porch addition, stylized to the latest fashion trends. Such changes culminated in the large, highly decorated wrap -around porches of the Queen Anne style. The second half of the nineteenth century was the golden era of porches. The social role of the porch increased as it evolved into an outdoor parlor, a true extension of the house into the landscape. Often partially screened by shrubs, porches could provide occupants with discreet opportunities for social contacts that might otherwise be difficult to achieve in an age obsessed with manners and proprieties. For many, sitting on the porch became an important part of their daily routine. Perhaps President Rutherford B. Hayes best summed up the love that Victorian -era Americans felt towards their porches when he recorded in his journal in 1873: "The best part of the present house is the veranda. But I would enlarge it. I want a veranda with a house attached." By the early twentieth century, the hygiene movement, which stressed that access to fresh air could help prevent or remedy such diseases as tuberculosis, contributed to the development and proliferation of the sleeping porch. These porches were usually located on the second floor next to bedrooms. This era also saw the rise in use of insect screening on porches to guard against the discomfort of mosquitoes and the diseases they spread, such as yellow fever and malaria. While innovations fostered the proliferation of porches in the nineteenth century, new inventions helped lead to its decline in the twentieth. As the automobile boom of the early twentieth century made it easier for people to get out of the house for entertainment and relaxation, porches began to lose popularity, especially as architectural styles and social attitudes changed. With the telephone, neighbors and friends could chat without personally meeting. And housing styles popularized in the construction boom after World War II often omitted front porches all together as backyard patios became the focus of private outdoor activities. Finally in the mid -twentieth century the broad availability of air conditioning and television enticed many people to stay inside at night and brought the golden era of the American porch to an end. Figure 3. Throughout the late nineteenth and early twentieth centuries, millwork catalogues offered a wide variety of designs for porch parts, including columns, newels, balusters, spindles and brackets. As extolled in the Cedar Rapid Sash & Door Company's Standards Design Book, stock parts made embellishments to porches affordable both for new construction and "updating" existing homes. Courtesy of Charles Fisher. Understanding the History and Significance of a Porch In preserving historic buildings, it is important to understand the history and evolution of a particular structure and what features contribute to its historic character. This is especially applicable when working with historic porches since they usually are prominent features, significant to the character of a building. Answers to the following questions will help establish the significance of a porch. What has the porch looked like in the past? Early photographs, insurance maps, or tax records can provide useful information. These may be found at city or county offices, historical societies, libraries or even from former owners or neighbors. Such documents may indicate the footprint of the building or show long -lost details of the building's appearance. Physical evidence of historic porch footings may exist. Paint shadows of a former roofline or moldings can provide clues about details now missing. Old porch parts may have been "stored" under the deck during past repairs. What, if any, changes have taken place to the historic porch over the years? On many porches elements such as columns, balusters, and finish details correspond with the design and detailing on the rest of the house. With other porches, the style of these features may differ from the rest of the building, but may reflect an important chapter in its history. Sometimes, parts of porches may have been lost due to neglect or remodeling. Questions about what historic fabric remains, what has been altered over time, and whether earlier changes are now an integral part of the historic character should be resolved before planning major porch work. Determining the historical evolution of the house may require both physical and archival research and in some cases the professional eye of an architectural historian. What are the character defining features of the porch? The open qualities are one of the key features of most historic porches. Overall size, shape and design are obviously important components as well. There are numerous other contributing features which may exist, including the shape of the porch roof, the way a large porch is divided into distinct bays as with columns, the nature of the supporting foundation, the style and size of columns and balustrade, and whether the porch is raised or largely at grade. The simplicity of a porch or its richness in detail will also help define it. Materials are usually important as well, not just the wood features, but also whether other materials exist such as masonry columns and steps (Fig 4). How does the porch contribute to the building's overall appearance? The size and location of a porch and how much of the historic features survive will help define its significance. A highly ornate porch across much of the front facade may be the most distinctive 3 The Anatomy of a Porch a - Pier, penetrates ground, supports floor structural system and columns b - Fascia covering floor framing c - Floor (or deck) d - Bed Molding covering joint between fascia and floor e - Column supporting entablature above Entablature (f, g, h) f - Architrave of entablature g - Frieze of entablature h - Cornice of entablature Roof Railing (i, j, k,1) i - Newel (or Pedestal) of roof railing j - Balusters of balustrade k - Top rail of balustrade 1- Bottom rail of bah Balustrade around floor (m, n, o) m - Top rail of balustrade n - Balusters of balustrade o - Bottom rail of balustrade Structural system of deck (p, q, r) p - Girder rests on piers and ledgers, support joists q - Ledger fastened to house sill, supports girder r - Joist fastened to girder, supports floor Roof Structural System (s, t, u) s - Beams inside the entablature span from column to column, support plate t - Plate of the entablature rests on beams, supports roof rafters and ceiling beams u - Rafter of the roof structural system Drawing courtesy of Thomson Education Direct. feature of the entire house, while a small simple porch on an otherwise plain cottage may be equally significant. The architectural style of a porch may relate to the building and may help define its character. Sometimes a later style porch may have been added to a building or may have replaced an earlier porch. In such cases, the later porch may have acquired importance in its own right. On the other hand, a later porch may be of such poor quality that it detracts from the building's historic character. Because porches are so diverse in terms of style, size, shape and detail, their significance should be assessed on a case -by -case basis with an understanding of the overall importance and evolution of the building. Assessing the Condition Before undertaking most repairs, it is important to assess the condition of the porch. The assessment is greatly facilitated if the porch has been regularly maintained and a record of past work is available. In most cases, however, a condition survey must rely almost exclusively on the physical examination of the porch, documenting the findings with notes, photographs or sketches. Many older porches were constructed using good construction practices and materials. As a result, porches that are over 100 years old are not uncommon. Most porch deterioration can be attributed to the lack of proper maintenance. Important questions to address in assessing the condition of the porch include the following: How is the porch constructed? A porch is rarely an independent, unattached structure. It may, however, have its own foundation, attached to the house only along the deck and the roof. Alternatively, it may be an included or engaged porch that is integrated with the actual structure of the house. The relationship between the porch and the house is important. If the outer support posts are decayed or if foundation piers are sinking, the roof structure may be pulling away from the house. Many porch decks are fastened to the main building on a ledger, a horizontal board along the house's foundation. A decaying ledger may compromise the structural integrity of the porch and can represent a major safety issue. Are the foundation and structural members of the deck sound and providing adequate support for the deck, posts and roof above? The porch structure needs to be sound at every level. Therefore, a visual inspection of the underside of the porch is necessary to determine its condition. Major cracks in structural members, failed joints, significant wood rot, or evidence of widespread insect infestations (termites, carpenter ants or powder post beetles, for example) are usually signs of serious structural damage. Such conditions may require consultation with a professional architect, Figure 4. Celebrating the 4th of July in 1912, this gathering of family and friends reflects the popularity of the porch as a social gathering place. While not overly ornate, each detail of the porch from the roof balustrade to the turned columns to the simple lattice work facing the deck contributes to its character, creating in effect the dominant architectural feature of the building. Photo: © Utah State Historical Society engineer or building contractor familiar with old buildings. For an adequate assessment, it may be necessary to remove facing boards to check for potential decay in the structural sill behind (Fig 5). What is the condition of the porch? Porch foundations may be a continuous wall of masonry, a series of masonry or wood piers or metal pipes, or a combination of these. Missing sections of the foundation, crumbling masonry mortar joints, or areas where the sill or joists no longer fully rests on the foundation may represent serious deficiencies. What appear to be deep foundation footings may only be stones or cement blocks sitting on top of the ground. The footings must be stable enough to adequately support the porch in its current or intended use. The smell of mold or appearance of fungal growth on wood beneath the porch is an indication of deficient air circulation and that conditions exist for wood decay. Recent changes that can contribute to deterioration should be identified for correction, such as a clothes dryer vent dumping warm moist air underneath the deck. The enclosure of original air vents in crawl spaces or the boarding up of latticework between piers are other changes that will usually promote an unwanted moist environment. Are the porch posts providing adequate support? Posts, pillars or columns usually help support the porch roof or an upper deck. Establishing what the posts Figure 5. Even historic porches that appear to be in total disrepair may be repairable. While the roof needed replacement, much of this porch was repaired, including such features as the decorative columns, ornamental brackets, and balustrade. Photos: John Leeke. are made of and how they are constructed will aid in understanding how they function and may deteriorate over time (Fig.6). Although the posts on a wood porch are commonly made of wood, they may be of masonry or metal or a combination of materials. Large round columns usually are made of wood staves similar to the way barrels are constructed; smaller diameter columns may be solid. A sag in the deck below or a faltering foundation can impact the supporting role of a column or post above. Wood columns and posts are prone to water seeping into open joints, particularly in the base and the lower end of the shaft. It is not uncommon to find that older columns have had patches and replacement bases. Is the roofing and drainage system keeping the water away from the porch? Porches were designed to shed water. This means water will move away both from the building and the porch and not pond and saturate the wood. Continuously high moisture levels promote fungal growth that eventually causes wood to decay. Peeling paint on ceiling boards in a specific location is a sign of a possible roof leak. Clogged or missing downspouts and gutters can cause erosion at the foundation and can contribute to reverse -grade draining that is directing water under the porch instead of into the yard. Inadequately sloped porch floors can result in improper drainage and promote deterioration as exhibited, for example, by cupping floorboards. What is the flooring condition? The porch component most subject to decay is the flooring. Often decay starts at the exposed ends of the boards or where cracks, checks or open joints have occurred and are exposed to the weather. Flooring should be checked frequently for peeling paint, rotted wood, and for loose, cupping or splintery boards. Where water is ponding, there is insufficient slope away from the building, a condition that should be corrected. Floor deterioration can also start in unlikely places such as the result of frequent hose washing to remove dirt or the placement of plant stands directly on the floor without proper moisture barriers. Firewood stored on a porch may trap moisture on the floor and harbor active insect infestation that can be ruinous to a wood porch. Thick floor mats and carpeting also may trap moisture, leading to premature decay. Is there evidence of general wood decay? Wood deterioration may take different forms such as fungal decay, insect infestation or even sunlight degradation of exposed unfinished wood. Decay may be present where two wood surfaces meet and are not adequately protected from water, such as along open joints or behind moldings. Dark streaks, discoloration, and widespread peeling paint on a finished ceiling suggest excessive moisture or water leakage. It may be necessary to remove several finished boards to properly identify the cause of the problem and to insure damage has not extended to structural members behind. Trails of carpenter ants are another sign of potential decay since they will infest moist decaying wood. Where inadequate painting has left wood exposed for a long time, damage to the wood surface from light itself will occur, typically indicated by wood discoloration. Without sanding or scraping back to a sound wood surface, repainting will result in premature failure of the paint film. Figure 6. A traditional way to extend the life of porch posts was to place posts on metal feet, thereby providing a separation between the wood post and wood deck. This helped to prevent the wood post from rotting at the base. Early post feet were simple iron bars bent unto a stirrup shape. By the late nineteenth century manufactured cast-iron feet were common, consisting of a pair of disks separated by a short pipe. Post feet are still available today. Courtesy of Old -House Journal/Brian McNeil. Are there open cracks or joints in the woodwork? Tightly sealed connections keep water out. Where individual boards come together, cracks in woodwork and joints can eventually become a major problem (Fig.7). Cracks are primarily caused by movement and water penetration. Movement of structural members beneath the finished woodwork can shift the position of individual boards and trim, breaking open the thin coating of paint over joints. This condition is common on porches with shallow foundations that are subject either to annual winter frost heaving or where soil conditions undergo major seasonal changes in moisture content. Changes in the moisture content of the wood itself due to repeated wetting and drying or changes in seasonal humidity can also cause noticeable expansion and shrinkage across the width of a board. This provides opportunities for water to penetrate unprotected areas. Does peeling paint indicate deeper problems? An unbroken layer of paint covering all wood surfaces is the first line of defense against moisture causing decay. Over time, even hairline paint cracks can allow water to penetrate, causing paint to peel down to bare wood. Such peeling occurs near breaks in the film, at opened joints, or where the paint has been scratched or scraped. Peeling can also occur over large areas where there is high moisture and insufficient ventilation. Areas of particular concern include the crawl space beneath the porch deck, inside columns that lack ventilation, and in a roof structure that has a finished ceiling and lacks ventilation. If heavy paint build-up exists on columns, floors and trim, moisture can be trapped within the wood, resulting in the loss of paint adhesions and eventual wood decay. Are trees, shrubbery and flowerbeds threatening the porch? Shade trees can make the porch a cool oasis, but the branches of a nearby tree rubbing on the roof, gutters or wood trim often will cause damage. Tree roots may destabilize porch foundations or supports. Bushes growing against the porch and not trimmed back on a regular basis may block wood porch components from drying breezes, thereby letting moisture build up in the woodwork. Flowerbeds and mulch around the porch that are not properly sloped downward in a grade away from the house will promote moisture problems. Defining the Scope of Work Once the historical and physical assessments are complete, it is important to define the scope of work. How much and what kind of work will need to be done to make the porch structurally sound while preserving its historic character, or to recover its historic appearance if portions are extensively deteriorated, altered or missing? Any part of the porch that defines its historic character should be repaired or replaced to match. Since the porch may display varied levels of deterioration, the spectrum of work in one project Figure 7. Common problems with porches that can contribute to serious wood decay include cracks in woodwork and joints that have opened up. Both provide an easy path for water seepage. Trapped moisture can foster peeling paint, wood decay and insect infestation. Open joints and cracks should be checked for evidence of more serious decay and marked for caulking or repair. Photo: John Leeke. can include maintenance, repair, and replacement. When laying out the scope of work for the project, each individual component and decorative element of the porch should be identified, and linked with the work needed for that item. Undertaking the Work The highlighted work approaches in this section are based on The Secretary of the Interior's Standards for the Treatment of Historic Properties and the Accompanying Guidelines for Rehabilitating Historic Buildings. The Standards and Guidelines provide a sound philosophical and practical framework for achieving the highest retention of historic materials and character possible. Thus, the familiar hierarchy is applied: maintain, repair, and then replace only if necessary. Contemporary alterations are discussed in a separate section. Preservation and Maintenance There are a variety of tasks that can be done on a regular basis to extend the life of a porch. In addition, a visual inspection of the porch should be made every spring and fall to determine if more in-depth repairs are necessary. Fortunately, ongoing maintenance significantly reduces both the need and cost for later repair work and represents good preservation practice. When properly maintained, a well -constructed porch can last for decades. Routine Cleaning and Other Surface Work Since many porches are essentially another living space, 7 extending housekeeping to this space makes practical sense. Regular maintenance includes sweeping the wood porch decking, and, if needed, an occasional damp mopping. Removing dirt and leaves by sweeping is preferable to frequent hosing off the deck with water. The latter can saturate the woodwork, thereby promoting decay. Frequent sweeping will reduce the accumulation of abrasive materials, such as dirt and sand. While visually pleasing to some, vines and plants should be kept trimmed away and not be trained to grow onto or allowed to grow beneath porches. Plants and vines unfortunately reduce ventilation, promote a moist environment for insects and decay, accelerate open wood joints and impede cyclical maintenance. As an alternative, traditional freestanding trellises can be used to support plant growth away from the porch. There are certain precautions that are recommended for wood floors. Rubber mats, rugs or indoor/outdoor carpeting can trap moisture and condensation on their underneath side and should not be used on a wooden porch floor. Keeping flower pots up off the wooden deck will help prevent moisture buildup and decayed spots — wood, clay or metal "trivets" that hold the pots an inch or more off the wooden deck are helpful, but the pots should be moved to different locations periodically. In colder climates, light snow can be swept off the porch. Snow shovels with a hard rubber leading edge or plastic shovels cause less damage to wood than metal, while paint in good condition helps ice to release more easily. Sand or clean kitty litter can be sprinkled on ice to prevent slipping; however, they should be later swept off the porch, as they are abrasive. Salt (sodium Figure 8. Decay can start when wood is left exposed to the weather or where joints open up. An inexpensive way to extend the life of the existing porch paint without jeopardizing the historic material is spot paint and caulk where needed every year or two. This cost-effective procedure is particularly effective in maintaining wood porches where the exposure to weathering is high. Photo: John Leeke. chloride) is not recommended for ice removal on older porches as it can promote corrosion and failure of nails and other fasteners. Magnesium chloride is an alternate de-icing salt that is less corrosive and less damaging to masonry and plants. If any de-icing salt is used, be sure to scrub and rinse off the porch deck in the spring. Boot scrapers and brush -mats at the bottom of the stairs are recommended for muddy areas. Painting Spot painting and resealing of open joints should be undertaken at least every other year (Fig. 8). Heavily used stair treads may require more frequent paint touchup. When peeling paint or bare wood is evident, inspect to ensure it is not signaling deeper problems, such as decay. With sound wood, scrape off the loose paint, sand, prime, and repaint the area. Where lead paint is present, appropriate lead hazard precautions and procedures apply. Only top-quality exterior primers and paints are recommended, selecting for the deck and stairs specially formulated paints. Where wood porch steps are exposed to moisture, grit added to the wet paint during application will help improve safety. Repair Many repairs may be successfully undertaken by property owners, while major projects often require the special knowledge and equipment of an experienced contractor. Repairs generally include patching and reinforcement of historic materials. The roof and foundation are particularly important to the preservation and the structure of a historic porch yet they often receive much less attention than ornamental features. Their neglect will usually lead to more costly work. Repairs to features such as a balustrade or flooring can encompass limited replacement in kind when the porch part is severely deteriorated or when a part of a repeated feature is missing altogether. Some common porch repairs are discussed in this section. Filling Open Cracks or joints To seal open cracks or joints, start by scraping off the paint back a few inches from the opening and removing old caulk to expose bare wood. The opening should be examined for any signs of wood decay, and to determine if the joint is loose due to a loss of connection, such as rusted nails. After correcting any problems, apply a water -repellant wood preservative that can be painted. Such preservatives are either an oil -based or waterborne solution of oils or waxes with mildewcide, fungicide and pesticide added. Then apply a high quality exterior wood primer to the wood surfaces where a sealant or caulk is to be used. Most open cracks or joints then can be filled with a sealant or caulk, while larger ones may need the addition of a backer rod. In some cases, small metal flashing over the crack or open joint may be more effective and longer lasting but, when used, care should be taken with proper installation. The final step is painting. Patching with a Dutchman Repair This traditional technique is often used to repair localized cases of decayed wood and, when undertaken with skill and care, will serve as a permanent repair (Fig. 9). If the damaged area has a structural function, temporary bracing or other support will be necessary. Otherwise the first step after removing any paint around the damaged area is to chisel or mechanically remove the decayed wood. It is best to use the same type of wood being replaced and the new or recycled wood should be seasoned to avoid shrinkage. The repair procedure involves cutting a piece of wood, called a dutchman, slightly larger than the area of damage that has been cut out. The dutchman then is laid over the damaged area and an outline scribed into the original wood surface below. Next, a chisel or router is used to follow the scribed line to form an opening in the existing wood for the new piece. As a preventive measure, an appropriate fungicide should be applied to the surrounding old wood and allowed to dry. The dutchman is then glued into place with waterproof adhesive, such as an epoxy formulated for wood. The repair is finished by trimming or sanding the surface of the new wood down flush with the surrounding existing surfaces, priming and painting. Patching with Epoxy or Wood Fillers There are a variety of commercial wood fillers. Cellulose based fillers consist of wood fiber and a binder and have been available in stores for many years. Only those suitable for exterior applications should be used and they will require a protective finish. Epoxies are a more contemporary product, commonly used by experienced contractors and woodworkers. Epoxies are petroleum - based resins created by mixing two components in accurate proportions that result in a chemical reaction. The result is durable, moisture -resistant consolidants and fillers that bonds tenaciously with wood, and can be sawn, nailed or sanded. Epoxies are for use only in areas that will be painted, as they do not take stain and deteriorate under sunlight. Since epoxies are more difficult to work with than other wood fillers, experience working with epoxies is needed for successful repairs. Repairing Railings and Balustrades Balustrades and railings are not only practical and safety features, they typically are highly visible decorative elements. Unfortunately, balustrades and balusters are frequently altered, covered, removed or completely replaced even though in most cases they can be repaired in a cost-effective manner. To preserve historic fabric, Figure 9. The ends of porch roof rafters are often susceptible to moisture decay. When concealed by a soffit or ceiling, rafters can be repaired by adding new sister boards. Where roof rafter ends are exposed, splicing new wood onto the old (dutchman repair) and use of epoxy consolidants and fillers both preserve sound historic fabric while retaining the historic appearance. Photo: Paul Marlowe, Marlowe Restorations. the repair of old balustrades and railings is always the preferred approach. A broken baluster usually is one in need of repair, not replacement. Loose railings and balustrades present unsafe conditions and need to be repaired as soon as possible. Start by examining the points of attachment to determine exactly why the railing or balustrade is loose. Common reasons include rusted fasteners, decayed wood, or physical stress that has broken the fasteners or split the wood. Paint and decayed wood must be removed. Where fasteners are broken yet the wood is sound, the balustrade can be re -fastened using hot - dipped galvanized or stainless steel nails or screws, setting the heads of the fasteners below the surface of the wood and using a wood filler to cover and seal. Next repair deteriorated wood by using a dutchman or wood -epoxy repair. The repaired joints then can be sealed and painted. Replacing Missing Balusters The balusters help comprise a wood balustrade and come in three general styles: simple rectangular shape; flat, pattern -sawn (usually a board with some decorative edge or cutout); and turned. It may be necessary to replace certain balusters that are beyond repair or missing altogether. Some are easy to replace with new matching balusters while others can be more challenging in terms of both design and costs. Finding or affording replacement balusters may take time since they should match the historic baluster as closely as possible. In the meantime, unsafe balustrades can be temporarily stabilized, introducing temporary new material that soon will be replaced. In replacing individual balusters, simple, rectangular balusters should not be replaced with pattern -sawn or turned ones unless physical or pictorial evidence survives which indicate they previously existed historically on that particular porch. Such an alteration can change the historic appearance of the porch or be incompatible with the character of the building. Determine the size and shape of the missing balusters either by examining adjacent ones or temporarily removing an existing baluster as a sample. Heavy paint buildup should be removed so that the original dimension can be established. Scrape and clean the joint locations and make repairs to any deteriorated areas. A new baluster is then fabricated to match the original in design and material, either on site or by taking a drawing or sample to a local woodworking shop. The new baluster should be made one-half inch longer than needed on both ends. Measurements are taken from the bottom surface of the top rail to top surface of the bottom rail. Joints on the new baluster can be laid out with a pencil, using a sliding bevel to transfer any angles, and the new baluster trimmed to fit with a handsaw. After test fitting, the ends and any exposed end -grain of the baluster need to be sealed with a high-grade primer or epoxy. Next, apply a paintable water -repellant coating to all exposed wood surfaces, and apply a primer. The baluster can then be fastened in place with hot -dipped galvanized or stainless steel nails, and the nails set. Finally, seal joints and fastener holes and paint the baluster. Repairing Column Plinths and Bases Columns not only enrich the historic character of the porch, they provide support for the roof structure above. Because of their detail and complex construction they can be costly to repair or replace, making maintenance and minor repairs important. Column plinths and bases tend to deteriorate because of their exposed location on the outer edge of a porch (Fig. 10). Leaking gutters can result in water draining into the entablature and down into hollow columns, while clogged or capped gutters can allow water to pour down and splash back onto the column bases. Open joints and limited wood decay can be repaired using methods previously discussed. Column repairs usually are undertaken by an experienced carpenter, since it may involve structural support of the roof above. Repairing Floorboards and Ceiling Boards Floors should slope down toward the outer porch edge for proper drainage. If drainage is inadequate, moisture buildup will cause deterioration of the floorboards. Flooring can also deteriorate due to movement in the supporting structure below. If a floorboard is soft or broken, the extent of decayed or split wood can be determined by probing gently with an awl. The existing floorboard can then be removed, cutting the length if needed so that the end will center on the next nearest joist or girder. Once the board has been removed, the structural framing beneath should be examined for deterioration and to ensure it is sound. A new floorboard is then cut to length, and the outer edge shaped to match the adjacent boards. After priming the replacement board, nail it in place and repaint. If a section of the ceiling is deteriorating, it is likely that there is a roof or gutter problem. To determine the cause of deterioration, inspect the ceiling, gutters and roof, including the internal roof structure. After making necessary repairs, the ceiling boards can be repaired in much the same manner as a deteriorated floorboard. Repairing the Porch Roof and Gutters With roof leaks, the entire porch is at risk. Leaks can promote decay in roof rafters, ceiling joists, and columns as well as in areas more easily to detect such as the ceiling and fascia. Inspect the roof covering, gutters and flashing for deterioration and improper performance. They can then be repaired or replaced, as needed, to keep water out of the structure. Avoid having the gutters and downspouts on the main roof drain onto a porch roof. Repairing the Foundation Unstable foundation supports can cause serious damage Figure 10. This nineteenth century porch column is made of wood staves, similar to the way a wood barrel is put together. After replacing the torus and making dutchman repairs to the apophyge along the base, the column and pedestal are ready to be reinstalled on the porch. Photos: NPS files. 10 to a historic porch. There are numerous causes and solutions. If the posts supporting the porch deck rest on stones or brick set directly on the ground, there can be seasonal shifts due to the changing moisture content of the soil or freeze/thaw conditions that will require regular attention. Under certain conditions, it may be advisable to extend footings for the posts below the frost line. Where moisture problems exist, improved drainage may be necessary. It is not uncommon to find that masonry joints in the foundation wall or piers have deteriorated as a result of rising damp, where moisture from the soil percolates up through mortar joints. This condition may lead to the eventual breakdown of the mortar and even old brick and soft stone. In such cases, it will be necessary to replace the areas of damaged masonry and repoint the mortar joints. With wooden posts, insect damage or rot may necessitate corrective measures to strengthen the foundation. Techniques can include one or more of the following: epoxy consolidation; dutchman repair; or the addition of supplemental supports to the foundation posts and joists. In some cases damage may be extensive enough that the only real solution is rebuilding the foundation. Repairing a Porch Apron The apron, skirt, or latticework is a highly visible and functional porch feature. An apron keeps animals out from under the porch, while at the same time allowing air to circulate, preventing unwanted moisture buildup. Aprons typically are made up of a wood frame, surrounding either a simple lattice or a repetitive pattern of decorative sawn boards. Because the frame is so close to the ground, decay is common. Other causes of decay include plantings around the house that are growing too close to the latticework and improper water drainage. An apron may require partial or complete disassembly for proper repair. One or more of the apron frames should either be hinged or secured with turn buttons for easy access to under a porch for inspection and maintenance. Replacement When individual porch parts are deteriorated beyond the point of repair or missing altogether, replacement is necessary. To retain the historic character of the porch, the replacement parts should match the historic component as closely as possible in material, design, color, texture, and other qualities. To achieve this, existing evidence of the historic design, such as a baluster or column detail, or a tongue and groove floor design, should serve as a pattern for the replacement part. When replacing an element, it may provide a good opportunity to upgrade the wood to another species that is more decay resistant, or to one with a vertical grain that is more resistant to cupping or splintering. In limited cases, it may be appropriate to use a substitute material for the replacement material as long as it conveys a close visual match. Before replacing a deteriorated historic porch component, it is important to understand how it was constructed and installed, and what lead to its deterioration. If the replacement part does not sufficiently match the historic part, the character of the porch may be diminished, or even lost. If the cause of material failure is not addressed, the replacement will also fail. Replacing Porch Floorboards If a large section of the porch floorboards is deteriorated, the framing beneath may also be damaged and should be assessed. Replacing floorboards can often expand into repairing the structural sills, girders, and joists beneath. Complete floor replacement will likely require the removal of floorboards that are under structural posts or columns. This may necessitate the careful stabilizing in place or the removal of the posts or columns and the installation of temporary support for the roof structure. If the floor failure was caused by inferior wood, the wood quality can be improved at this time. However, the new wood flooring should match the existing in thickness, width, shape and texture. The slope of the floor should be maintained, or a slope may need to be created if none exists. A slope of 1/4 inch per foot or greater, away from the house, is needed for adequate drainage. Boards are usually laid in the direction of the slope, sloping down to the outer edge of the floor. Replacing Steps Porch stairs receive heavy usage and are close to the ground, making them predictable candidates for deterioration. Stairs should be repaired or, if necessary, replaced by an experienced carpenter who understands the safety codes and is experienced in fabricating custom stair parts to match original detailing without depending only on store-bought parts. Replacing Column Plinths and Bases, or Entire Columns When plinths and bases are deteriorated beyond repair, they can be replaced without replacing the column shaft, which may still be in good condition or require only minor repairs at the bottom. Such replacement will involve temporary shoring for the roof. One-story columns and shafts are often more easily removed during this work, while taller columns are sometimes supported in place. If only a few plinths or bases are deteriorated, it is often economical to have new ones made of wood to match. If numerous plinths and bases are deteriorated, replacing with bases made of rot - resistant materials can make economic sense; however, care must be taken to ensure that all the visual qualities including design, size, shape, color and texture of the historic part are matched (Fig. 11). Entire columns may need to be replaced, but an owner should first consider all repair alternatives. Some contractors routinely recommend complete replacement of one or all columns due to the challenge of a clean repair (particularly with stave -built columns), or because they see the potential for more profit in complete replacement. If a contractor recommends complete 11 Figure 11. The lower shaft of the porch columns had decayed as water wicked up through the end grain (top). The column shafts were repaired in place by cutting out the deteriorated wood and making repairs using epoxy consolidants and fillers. (bottom). The column bases were replaced. Photos: Paul Marlowe, Marlowe Restorations. replacement, other opinions should be sought to ensure repair is truly not feasible. Preserving the historic appearance of old columns is not the same as preserving historic columns. Where a replacement turned or staved column is needed, a local millwork may be able to match the profile or pattern. Alternatively, the Internet is helpful in identifying potential sources of replacement columns that can match the appearance of the remaining ones. Replacement Materials Wood When selective replacement is necessary, the key to success is the selection of suitable wood. Dimensional stability, decay resistance and paint holding ability are wood characteristics that effect durability. Wood that expands and shrinks too much can cause paint to crack. Substances found naturally in certain kinds of wood repel fungi and insects that destroy wood. Selecting wood that is relatively stable and naturally decay resistant helps avoid problems. The wood from trees cut one and two centuries ago was much different than most wood available today. The mature trees in older forests grew very slowly and, as a result, the annual growth rings were very close together. Today, trees grown by commercial companies for their lumber are fast growing so they can be harvested sooner. As a result, commercially farmed trees have annual growth rings much further apart, resulting in the cut lumber being less strong and decay resistant than older timber. These differences in quality are one of the reasons it makes sense to save old wood when possible. Wood Selection: When choosing wood for repair and replacement work, the species, grade, grain and environmental impacts should be taken into consideration. This is especially applicable to historic porches because of their high exposure to the weather and vulnerability to decay. The best species are those with good natural resistance to decay, such as redwood, cypress, cedar or fir. A clear (knot free) grade of wood is best. however, if clear wood is not readily available or too expensive, a grade with small or tight knots is acceptable. Finally, the use of more stable vertical grain lumber is preferable to flat grain boards. Vertical grain lumber expands and contracts less with changes in moisture content, resulting in reduce warping and checks. Paint thus will hold better. The downside to using vertical grain boards is the cost, which tends to be as much as two to three times the price of flat grain lumber in the same grade and species. However, this expense is typically recovered through lower maintenance costs over the years. Thus, a decay -resistant, high-grade, vertical grain lumber is the best choice for the replacement of deteriorated porch elements, particularly flooring, stairs and milled elements such as balusters and moldings. The best species to choose will vary depending on the region the house is located. For example, in the South, cypress is more available, making it the selection of choice in the region. Because of this wood's relative ease with which a carpenter can shape it, cypress is a good choice for replacing brackets and trim boards on a porch. In contrast, vertical grain Douglas fir is less workable, but is a very good choice for the replacement of porch floorboards in most climates. Although Douglas fir is from the Northwest, it is generally available throughout the country. For most protected trim boards on porches, white pine is a good choice as it is easy to work and is moderately decay resistant, especially if the wood is back -primed before installation. Availability of any specific wood will change annually based on market supply and demand. 12 Wood Characteristics Resistance to Resistance to Paint Holding Species Cut or Grade Cost Workability Decay Cupping Ability Clear, Vertical -grain, $$$ Fair Excellent Excellent Excellent Redwood all -heart "B" Select, flat -grain $$ Fair Excellent Good Good Cedar Clear $$ Fair Excellent Good Fair Cypress Clear $$ Fair Excellent Fair Good Douglas Fir "'C" &better, $$ Fair to Poor Good to Fair Excellent Fair Vertical -grain Southern "D" Select, flat -grain $ Fair Fair Good Fair Yellow Pine Vertical -grain $$$ Fair Fair Excellent Fair to Good Eastern "D" Select, flat -grain $ Excellent Fair Excellent Good White Pine Vertical -grain $$$ Excellent Fair Good Excellent Poplar Firsts and Seconds $ Good Poor Good Fair American Clear $$$ Excellent Excellent Excellent Good Mahogany This table summarizes the characteristics of just a few of the different species available, including the workability of the wood (indicating a better wood for decorative porch pieces), the resistance to decay (an important feature for all porch components), resistance to cupping (a wood highly resistant to cupping is a better choice for floor board replacement) and paint holding ability. The Cut or Grade is also listed, as a low-grade wood can perform very differently than a higher grade in the same species. Cost will vary depending on region and market supply and demand. In general, it is best to contact two or three local lumberyards to find the available woods with the characteristics needed in the local market. Source: Practical Restoration Report, Exterior Woodwork Details. Chemically Treated Wood: Chemical wood preservative treatments are available to resist insect and fungal attack, but care should be taken to avoid using ones that may cause environmental or health risks. Borate preservatives can be applied to surfaces or injected to penetrate and protect the entire volume of the wood. Preservatives with zinc napthenate can be applied to the wood surface, where necessary, especially to protect hidden joinery and the end grains of wood. Water- repellants can also be used to help seal out moisture. Finally, primers and paints should be applied to both protect the wood and to maintain the historic character of the porch. Note that these treatments are different than those used on most pressure -treated wood, which is typically a plantation -grown southern pine of lower quality that is impregnated with chemicals. Pressure - treated lumber can be effective when used for hidden structural members like posts, joists and sills. However, because typical pressure -treated wood is very susceptible to the deterioration of checks, warping and splitting, especially when left unpainted, it is not a good substitute for the better quality wood that is needed for visible finish porch parts. Stock Components For over a century, prefabricated architectural parts have been sold through catalogues or at home improvement stores. Some companies still make generic, stock architectural components in the same general sizes and designs as those that were first manufactured. These components can be available in both wood and substitute materials. Thus, it may be possible to replace a historic stock component, such as an architectural grade column, with a new prefabricated column that matches the original. Unfortunately, these replacement parts are not designed to match the historic parts of any particular porch. Because traditionally there were many different porch elements, a wide range of styles and considerable regional variations, stock replacement parts available today are not often found to match what is needed in a specific porch repair project. When faced with deterioration of a few porch parts, all the historic material should not be removed in favor of a readily available stock design that does not match the historic appearance. The expressed goal may be to create a porch with a "consistent look," but this approach diminishes the building's historic character and authenticity. 12 Plastic and Composites A variety of modern materials are marketed today as a substitute for wood. They are usually composite materials typically in the form of plastic resins, including vinyl (PVC), fiber -reinforced polymers and polyester resin. There are other products on the market as well, including medium density wood fiberboard and composite fiber -cement boards. The market is ever changing with the introduction of new synthetic materials and the re-formulation of existing ones. The more costly synthetic products tend to offer the best potential for matching historic features while offering good durability. This means that potential cost savings over new wood tends to be more long term than immediate. Such products generally are not carried in local home improvement stores but rather are available from building supply companies or direct through catalog sales. The historical significance of a particular property and its porch influences decisions regarding possible use of substitute materials. In general, greater emphasis is placed on authenticity and material integrity when maintaining and repairing individually significant historic properties. However, a front porch that is repeated on rowhouses may be one of the defining characteristics of the historic district and thus of importance to the entire streetscape. So, too, can the location and appearance of a porch influence material decisions, as with, for example, a prominent front porch with ornate detailing as opposed to a small porch over a rear door. Thus, when the historic porch contributes to the historic character of a building, the particular substitute material that is being considered should accurately match the appearance of the wooden feature being replaced. Composite materials that can be routed or shaped in the Figure 12. This old porch enclosure, located on the back side of a house, has acquired significance over time and is remarkable both in the appropriateness of its detailing for use by others today, as well as its high degree of maintenance. The enclosure is set behind the columns; the balustrade has been retained; and the light divisions and the size of the glass panes echo that of the windows above. Within each bay there are two well -crafted, inward swinging doors, providing for greater seasonal use of the porch. Photos: Charles Fisher. field to match specific pieces being replaced have greater potential for use in repairing a historic porch. Materials that cannot be shaped to match the visual appearance of the historic pieces being replaced usually are not suitable for use on historic buildings. Substitute materials need to be finished to match the appearance of the historic elements being replaced. In nearly all cases, this means that the material should be painted, or where historically appropriate, stained as with some porch ceilings. While there are substitute materials being marketed as pre -finished with either a plain flat surface or generic wood -grain texture, select those that can be painted or stained in the field. When a substitute material is to be used in conjunction with existing or new wood material, it is important to consider the differences in expansion and contraction due to temperature and moisture changes. Before making a decision, it is also important to understand how a particular substitute material will age, what its maintenance requirements are, and how the material will deteriorate. For example, sunlight can break down exposed surfaces of plastic resins, so painting the surfaces is needed just as with wood. Low and medium density plastic foam parts are easily damaged by abrasion and physical damage, exposing the interior foam to weathering. Wood porches are just that, porches made out of wood, just as a brick houses are made of brick and cast-iron porches are made of cast-iron. The type of materials used historically in the construction of a building helps define its character. Limited use of substitute materials that closely match missing or deteriorated features may not endanger this historic character, but wholesale replacement with substitute materials usually will. 14 Considerations for Contemporary Alterations Enclosures Much of the character of a historic open porch is clearly its openness. Therefore, in most cases, a historic open porch should not be enclosed. If a porch enclosure is being considered, its significance and location —as well as the nature of the planned enclosure —play key roles in whether it can be done without changing the porch's and building's historic character. While it is almost never appropriate to enclose a front porch on a historic building to create interior space, enclosing a less prominent porch on a less visible elevation could have less impact. In addition, an enclosure should retain as many of the historic porch features as possible (Fig 12). Insect Screening and Awnings Traditionally, the seasonal use of porches was extended with screens and awnings. Screened porches have been popular since the advent of inexpensive and durable wire insect screening in late 1800s. Screens were often set unobtrusively behind railings and columns so the decorative components of the porch remained prominent and visible. Since screens can be damaged easily, the screening material was often set in slender, easy to repair, removable wood frames that could be installed during the warmer months, and stored in the winter. When screening a porch today, this historic precedent is recommended. Screened panels should have minimal wood framework painted either to match the porch or in a darker color to make the framing less visible. Decisions on whether screens should be installed inside the porch railings and posts, between the posts, or on the outside will depend on local traditions and on the design of the porch and trim. Screen doors on porches should be sized to fit proportionately with the porch, made of wood, and hung to swing out so insects are not brought inside with use. Awnings, drop curtains, and valances were common porch accessories during the nineteenth and well into the twentieth centuries. Both functional and decorative, these canvas features helped shield porches from the sun's direct rays, while their colorful stripes embellished and complemented the house's exterior. Some awnings were fixed in place; others were of a roller assembly that allowed owners to easily lower or retract the awning, depending on weather conditions. Today, modern solution -dyed acrylic fabrics —materials that resemble, but are more durable than canvas —are often used on porch awnings and drop curtains. When new awnings are installed on a historic porch, the selected awning should be appropriate in shape, material, size and color. Care should be used not to damage existing historic porch features such as columns or cornices. Temporary Enclosures Temporary enclosures allow a porch to be used in colder months while not permanently altering its appearance. In fact some have become historic features of buildings. Particularly in New England, there is a continuing tradition of installing relatively substantial glass and wood panels on porches during the winter, especially around an entrance door. These tended to have small divided lights. Sometimes porches were fully enclosed with a divided light glass door for entry, creating an enclosed vestibule that reduced the amount of cold air entering the house when the door was opened. Others consisted of simple sidewalls perpendicular to an existing entrance door, serving as a windbreak. Such enclosures were generally removed in the spring (Fig. 13). In recent years, some porches have been enclosed during the winter with plastic sheeting (polyvinyl) for perceived energy conservation or for creation of an enclosed space. Such a treatment generally diminishes a building's historic character and is not recommended for highly visible porches. New Permanent Enclosures Enclosure of a historic porch can result in significant changes in the appearance and character of the building. When considering the possible enclosure of a porch, a number of questions and concerns should be successfully addressed. Is the porch on a significant elevation of the building? A porch on a prominent elevation was there to be seen and its open qualities are visually important. Enclosing such a space should be avoided. Figure 13. Particularly in New England, there is a cold weather tradition of installing temporary glass and wood panels at entrance doors, thereby creating an enclosed vestibule. These enclosures with their small divided lights were generally removed in the spring. Photo: John Leeke. 15 Figure 14. The enclosure of a prominent porch can dramatically change the historic character of a building. The L-shaped porch on this 1896 Shingle -style New England residence was later enclosed with aluminum windows and screens. Recent owners elected to reopen the historic porch. Among the other work, it was necessary to correct structural damage, as with this post, where beneath the wood casing carpenter ants had done serious damage. In reopening the porch, the historic character of the residence has been brought back and the traditional use of the porch is once again enjoyed. Photos: Mark Landry, Landmark Services. Is the enclosure necessary? An enclosure will undoubtedly change the porch as a historic feature and may result in damage or loss of historic materials. Depending on the significance of the porch and the nature of the building, a new porch enclosure may also change the historic character of the building. Consideration should be given to alternate solutions such as recapturing underutilized space in an attic or basement (Fig 14). Is the porch a highly distinctive feature of the building? Even porches on secondary and rear elevations can be distinctive, such as a two-story porch on the side ell of a farmhouse. Porches ornamented with decorative trim that embellishes the house can also be distinctive. Enclosing these features should also be avoided whenever possible. Is the porch a feature repeated on a row of buildings in a historic district? Open front porches on a block of row houses can be not only important to an individual building but can also make up a significant feature of the streetscape. Enclosing such a porch usually is inappropriate even if a porch on an adjacent building already has been enclosed. Will the proposed enclosure encompass the entire porch? History has shown that the enclosure of a portion of a porch on a secondary elevation does not always alter the character of a building. In the past as indoor plumbing was introduced to old buildings, the partial enclosure of a one or two-story porch on a secondary elevation was a convenient means of providing new bathroom space while limiting disruption to the building's interior. Since early bathrooms were traditionally small in size, most of the existing porch could be retained as open space. It was common to create new walls set either between columns or behind them, since the columns usually served a structural as well as decorative purpose. Where sleeping porches with full-length louver shutters were present, the new wall could simply be set behind and the shutters retained and fixed in place. In both cases the resulting effect minimized the impact of the partial enclosure on the appearance of the building. This also provides us with an approach that may be appropriate for a particular project today. Will the enclosure result in the loss of considerable historic fabric? Unless the historic porch is so deteriorated that it is beyond repair, any consideration of enclosing all or part of a porch should incorporate retention of historic fabric. This may mean that the existing structural system needs to be augmented but generally not replaced. Distinctive features such as columns, brackets and balustrades should be retained and the new wall set behind them. Is the foundation adequate for the enclosure of the porch and the new use of the space? Porches were often built on simple posts or piers, some with only minimum footings. Such structural supports may be inadequate to carry the added load of the proposed changes and the typical low space beneath a first floor porch may make installing a new porch foundation difficult and expensive. Such installations may result also in an extensive loss of historic fabric. How will the proposed enclosure be viewed from the outside once the interior space is furnished? One of the approaches to enclosing a porch is to utilize near full glazing set behind existing columns in an attempt to retain a feeling of transparency. Whether such a treatment is successful depends on how it will look once it is constructed and how will the appearance on the outside be impacted by interior lighting, 16 mechanical systems and furnishings. The traditional use of plantings and porch awnings for shade also provided extended privacy. If historically appropriate, an existing or new awning and plantings may help to reduce the impact of a porch enclosure on a secondary but visible elevation. Is the design of the proposed porch enclosure in keeping with the historic character of the building? Where the enclosure of all or part of a historic porch is appropriate, the selection of a compatible design and materials is important. Windows, doors, and wall material selection, along with how the new infill fits within the existing porch, are all factors to consider. A traditional technique of porch enclosures still used today involves the insertion in each column bay of one or more glass enclosures set in wood frames. The enclosures are located between or behind the columns, depending upon the nature of the porch, and mimic the pattern or size of glass panes found in historic windows on the building (Fig 15). An alternate treatment involves the use of much larger sheets of clear, non -reflective glass recessed behind the porch supports, balustrade and railing. This more contemporary treatment may be appropriate, depending upon the historic character of the building, location of the porch, and other factors (Fig 16). Windows, doors, and wall material selection, along with how the new infill fits within the existing porch, are all factors to consider. Safety and Building Codes There are many building codes used by states and municipalities across the nation, with a majority of their requirements being very similar and focused on new construction. Building codes such as the International Figure 15. A traditional technique of porch enclosures still used today involves the insertion in each column bay of one or more glass enclosures set in wood frames. This enclosure is properly set back an entire porch bay from the front of the house and utilizes traditional light divisions and wood frames. The balustrade, added here for illustration purposes, shows the importance of retaining this linear feature within the enclosed bays. Photo: Charles Fisher. Figure 16. The use of near full glazing to enclose a porch may be appropriate depending upon the historic character of the building, location of the porch, how the interior space is to be treated, and other factors. This enclosure of a rear porch to create a conference room successfully utilizes large expanses of glass and narrow metal framing set behind existing porch elements (a through e). Where an additional horizontal support was needed (f), the frame was placed at a location that is found in many traditional insect screen enclosures. Photo: Charles Fisher. Building Code and its companion, the International Existing Building Code, have been developed in recent years that are generally much more sensitive to existing and historic buildings, emphasizing the retention of historic fabric without jeopardizing life safety. These "proportional codes," as they are called, allow building inspectors greater flexibility to make decisions based on the specific circumstances of each building, and the type and extent of work planned. Successful rehabilitation work achieves a balance between building and safety code considerations and the retention of historic design and materials. The porch is no exception. The most common porch elements affected by code requirements are railing/balustrade height, baluster spacing, stair geometry, and structural system. When a historic porch is so deteriorated that a substantial portion must be replaced, modern building code requirements are usually triggered. These requirements are often more stringent for multi -family or commercial structures than single-family houses. 17 Figure 17. The porch's structural system must be capable of supporting today's loads. In this case moisture led to the deterioration of the wood girder at the corner, creating a major structural deficiency (top). A new solid timber was installed to replace the girder (middle), alternatively a built-up girder could have been used since a fascia board would conceal it. The column base was repaired and portions replaced and the balustrade and column reset and secured (bottom). Photos: Paul Marlowe, Marlowe Restorations. It is important to ensure that the code -required work be done in a manner that is sympathetic to the historic character of the building. If building code requirements threaten the historic character of the porch, alternatives that reconcile the two should be explored. Many local jurisdictions issue waivers or variances for historic buildings, allowing for historic elements to be retained, when it can be demonstrated that safety will not be compromised. In the event that an alteration to a historic porch is required to make the porch safe to use, care should be taken in planning and undertaking the work. Fortunately, there are usually a number of options that are possible, although one is usually the most appropriate preservation solution. Structural Loads Ensuring that the structure's foundation can support the specified load is a primary safety issue for porches. Fortunately, repairs and upgrades to improve structural stability are generally made to the foundation at or below grade, and can usually be concealed under the porch or behind finish details. Weakened joists can often be strengthened with the addition of sister joists, epoxy structural repair, or the insertion of new concealed structural members (Fig. 17). Stairs Historic stair risers are sometimes too steep and treads too shallow to meet contemporary building codes or the special needs of the occupants. In the latter case, the addition of a simple handrail that meets code may suffice. In instances where there is another stairway that meets code, for example a side stair, it may be possible to retain the existing non -conforming historic stairway. Modifications to bring porch stairs into conformance with code can be difficult. Where buildings are set close to the street, it may not be possible to rebuild the stairs in the same direction to meet code if they will have to extend onto a public sidewalk. Unless a variance is obtained, it may be necessary to turn the stairs to be parallel rather than perpendicular to a building. Where wood stairs need to be rebuilt, the historic finish details, such as moldings, cut work and edge detailing, should be reflected in the new construction. One common mistake is the replacement of wood stairs or brick steps with concrete, a material that may not be in keeping with the historic building. Where a porch must be used as a wheelchair accessible entrance, two general issues arise. If there is an elevation difference greater than'/s- inch between the porch deck and the front door threshold, a simple threshold ramp may suffice. In cases where the elevation difference is larger than can be accommodated by a simple threshold ramp, a level platform with sufficient turning radius at the door for a wheelchair may be necessary. The other issue is devising a means for wheelchair access from the grade to the porch deck when the porch is the only 18 Figure 18. When a porch is used as a wheelchair accessible entrance, it may be possible to retain the historic stairs by adding a ramp parallel to the building. Through plantings and some re -grading, the new ramp built parallel to the building (left) allows retention of the historic stairs and does not impact the historic character of the entrance (right). Photo: Iowa State University Extension. entrance alternative. It may be possible to retain the historic stairs by adding another entrance to the porch with the construction of a ramp parallel to the building (Fig. 18). Baluster Spacing Codes generally require for children's safety that new balusters are spaced such that a four -inch sphere cannot fit through. Vertical balusters on older porches are often spaced farther apart than this. If modifications are required, inserting narrow metal rods between the existing balusters may be a compatible and inconspicuous solution, particularly if painted flat black or another dark color. This is generally preferable to moving the balusters closer together or adding more balusters to fill the gaps. Railing/Balustrade Heights Historic porches generally have handrails that measure 28 to 30 inches in height from the floor. Current code requirements for new construction generally mandate that railings be 36 to 42 inches in height (often 36 inches for single family dwellings, and 42 inches for multi- family dwellings and commercial buildings). Raising the historic railing by as much as 30% or more can have a major impact on not just the proportions of the balusters, but also on the overall appearance of a historic porch. Adding a simple rail above the historic railing and painting it to hide its presence as much as possible is generally the least intrusive solution when this safety requirement must be met. Similarly, an existing bottom rail is sometimes set too high off the deck to meet contemporary code requirements. The addition of a simple wood rail or even a narrow metal pipe below the bottom rail will usually suffice (Fig 19). It is not uncommon to find historic porches with decks only several steps off the ground and with no railings. For owner -occupied residences undergoing rehabilitation, local codes usually will not require the addition of railings to these existing porches, provided the porch deck is below a certain height off the ground —typically from 18 to 24 inches. Where greater safety is warranted even though no railing is required, alternatives such as planting an adjacent hedgerow, installing planter boxes between columns, or raising the grade are worth considering. Where not practical or acceptable, a railing might be added so as to not noticeably impact the appearance of the historic porch. Any solution, however, should be simple and based on the character of a specific porch, and its appropriateness considered on a case -by -case basis. Figure 19. Historic porches generally have railings that measure 28 to 30 inches in height from the floor. When additional height is necessary for safety, a simple rail, added for illustration purposes in this photograph, can usually be installed above the historic railing. Not only does this treatment allow retention of the historic balustrade, but it also has a minimum impact to the appearance of the porch. Photo: Charles Fisher. 19 Conclusion Bibliography Wood porches have made an enduring contribution to our built environment. Porches are significant because of the special character they impart to a historic building and their role in our social and cultural history. A porch is an open sheltered part of a building, providing a covered entrance and, where larger, serving as an outdoor activity room. It represents an outward extension of a building, a place guests can initially be sheltered from the weather, even welcomed and entertained. Like all historic building features, wood porches require routine maintenance to prevent decay. Understanding how a porch is put together and the factors that cause deterioration will help considerably in carrying out both maintenance and needed repairs. Regular maintenance pays off not only with a good appearance but also by reducing the need for future repairs. With both maintenance and repairs, emphasis should be placed on preserving the historic fabric and significant features of a porch. Where components are deteriorated beyond repair or missing altogether, new pieces should be installed that match the historic ones. Fortunately, good craftsmanship and the use of quality replacement materials as needed will be rewarded with repairs that last. Attentive care will result in the historic porch retaining its charm both in appearance and in function. Acknowledgements Davis, John Michael. "Exterior -Trim Details That Last," Fine Homebuilding, August/September 2001. Fisher, Charles E. and Hugh C. Miller, eds., Caring for Your Historic House, New York, NY: Harry N. Abrams, Inc., 1998. Kitchen, Judith L. Caring for Your Old House: A Guide for Owners and Residents, Somerset, NJ: John Wiley & Sons, Inc.,1991. Leeke, John C. Practical Restoration Reports Compendium, Portland, ME: Historic HomeWorks, 2005. Nash, George. "Renovating Old Porches: Common Problems Can Be Solved With Simple Repairs," Fine Homebuilding, July 1982. Preservation Briefs, Washington, DC: National Park Service, Technical Preservation Services: 1978—present. Preservation Tech Notes, Washington, DC: National Park Service, Technical Preservation Services:1984—present. Reed, Douglas C. "Detailing Early Porches," Old House Journal, May/June 2001 and July -August 2001. Visser, Thomas D. Porches, Piazzas & Verandas, forthcoming. Weeks, Kay D., and Anne E. Grimmer. The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring & Reconstructing Historic Buildings, Washington, DC: National Park Service,1995. John Leeke is a Preservation Consultant in Portland, Maine; Aleca Sullivan is an Architectural Historian in Evanston, Illinois. Cover illustration: Indiana Historical Society, Jay Small Postcard Collection, Standard Cottage,1886, Bethany Park, Indiana, Collection No. P0391, digital image C 2003. Numerous individual generously provided their time and shared their knowledge in making this Preservation Brief possible. Thomas D. Visser, Historic Preservation Program, University of Vermont, deserves special recognition for his insightful contributions. Also gratefully acknowledge for their assistance in reviewing this publication are Neal A. Vogel, Restoric LLC and Judith L. Kitchen, Ohio State Historic Preservation Office. Thanks go to Marilyn Kaplan, Preservation Architecture, for her contributions to the code section of this publication. Special thanks also go to the following staff of the National Park Service's Technical Preservation Services office for their review and assistance: Sharon Park, FAIA, Michael Auer, Anne Grimmer, and particularly to former staff Kay Weeks. Thanks also go to Chad Randl, Kaaren Staveteig and Liz Creveling of the National Park Service's Technical Preservation Service for their assistance and to Peter de Paola, Mark Landry of Landmark Services, and Paul Marlowe of Marlowe Restorations. This publication was under the technical and editorial direction of Charles E. Fisher of the National Park Service's Technical Preservation Services whose considerable contributions, including that of the section on new permanent enclosures, helped made this publication possible. This publication has been prepared pursuant to the National Historic Preservation Act, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Comments about this publication should be addressed to: Charles Fisher, Technical Preservation Publications Program Manager, Technical Preservation Services-2255, National Park Service,1849 C Street, NW, Washington, DC 20240. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the authors and the National Park Service should be provided. The photographs used in this publication may not be used to illustrate other publications without permission of the owners. For more information about the programs of the National Park Service's Technical Preservation Services see our website at www.cr.nps.gov/hps/tns October 2006 4 PRESERVATION 7 BRIEFS Maintaining the Exteriors of Small and Medium Size Historic Buildings Sharon C. Park, FAIA IVNational Park Service U.S. Department of the Interior Heritage Preservation Services Preservation is defined as "the act or process of applying measures necessary to sustain the existing form, integrity, and materials of an historic property. Work, including preliminary measures to protect and stabilize the property, generally focuses upon the ongoing maintenance and repair of historic materials and features rather than extensive replacement and new construction."' Maintenance helps preserve the integrity of historic structures. If existing materials are regularly maintained and deterioration is significantly reduced or prevented, the integrity of materials and workmanship of the building is protected. Proper maintenance is the most cost effective method of extending the life of a building. As soon as a building is constructed, restored, or rehabilitated, physical care is needed to slow the natural process of deterioration. An older building has already experienced years of normal weathering and may have suffered from neglect or inappropriate work as well. Decay is inevitable but deterioration can accelerate when the building envelope is not maintained on a regular basis. Surfaces and parts that were seamlessly joined when the building was constructed may gradually become loose or disconnected; materials that were once sound begin to show signs of weathering. If maintenance is deferred, a typical response is to rush in to fix what has been ignored, creating additional problems. Work done on a crisis level can favor inappropriate treatments that alter or damage historic material. There are rewards for undertaking certain repetitive tasks consistently according to a set schedule. Routine and preventive care of building materials is the most effective way of slowing the natural process of deterioration. The survival of historic buildings in good condition is primarily due to regular upkeep and the preservation of historic materials. Well -maintained properties tend to suffer less damage from storms, high winds, and even small earthquakes. Keeping the roof sound, armatures and attachments such as shutters tightened and secured, and having joints and connections functioning well, strengthens the ability of older buildings to withstand natural occurrences. Over time, the cost of maintenance is substantially less than the replacement of deteriorated historic features and involves considerably less disruption. Stopping decay before it is widespread helps keep the scale and complexity of work manageable for the owner. This Preservation Brief is designed for those responsible for the care of small and medium size historic buildings, including owners, property administrators, in-house maintenance staff, volunteers, architects, and maintenance contractors. The Brief discusses the benefits of regular inspections, monitoring, and seasonal maintenance work; provides general guidance on maintenance treatments for historic building exteriors; and emphasizes the importance of keeping a written record of completed work. Getting Started Understanding how building materials and construction details function will help avoid treatments that are made in an attempt to simplify maintenance but which may also result in long-term damage. It is enticing to read about "maintenance free" products and systems, particularly waterproof sealers, rubberized paints, and synthetic siding, but there is no such thing as maintenance free when it comes to caring for historic buildings. Some approaches that initially seem to reduce maintenance requirements may over time actually accelerate deterioration. Exterior building components, such as roofs, walls, openings, projections, and foundations, were often constructed with a variety of functional features, such as overhangs, trim pieces, drip edges, ventilated cavities, and painted surfaces, to protect against water infiltration, ultraviolet deterioration, air infiltration, and Figure 1. Maintenance involves selecting the proper treatment and protecting adjacent surfaces. Using painter's tape to mask around a brass doorknocker protects the painted door surface from damage when polishing with chemical compounds. On the other hand, hardware with a patinated finish was not intended to be polished and should simply be cleaned with a damp cloth. Cautions During Maintenance Work All maintenance work requires attention to safety of'41 the workers and protection of the historic structure. Examples include the following: 4§ • Care should be taken when working with historic materials containing lead -based paint. For example, damp methods may be used for sanding and removal to minimize air -borne particles. Special protection is required for workers and appropriate safety measures should be followed. • Materials encountered during maintenance work, such as droppings from pigeons and mice, can cause serious illnesses. Appropriate safety precautions need to be followed. Services of a licensed contractor should be obtained to remove large deposits from attics and crawlspaces. • Heat removal of paint involves several potential safety concerns. First, heating of lead -containing paint requires special safety precautions for workers. Second, even at low temperature levels, heat removal of paint runs the risk of igniting debris in walls. Heat should be used only with great caution with sufficient coverage by smoke detectors in work areas. Work periods need to be timed to allow monitoring after completion of paint removal each day, since debris will most often smolder for a length of time before breaking out into open flame. The use of torches, open flames, or high heat should be avoided. • Many chemical products are hazardous and volatile organic compounds (VOC) are banned in many areas. If allowed, appropriate respirators and other safety precautions are essential for use. • Personal protection is importan and may require the use of goggles, gloves, mask, closed -toed shoes, and a hard hat. • Electrical service should be turned off before inspecting a basement after a flood or heavy rain, where there is high standing water. pest infestation. Construction assemblies and joints 40 between materials allow for expansion and contraction and the diffusion of moisture vapor, while keeping water from penetrating the building envelope. Older buildings use such features effectively and care must be taken to retain them, avoiding the temptation to reduce air infiltration or otherwise alter them. Monitoring, inspections, and maintenance should all be undertaken with safety in mind. Besides normal safety procedures, it is important to be cognizant of health issues more commonly encountered with older buildings, such as lead -based paint, asbestos, and bird droppings, and to know when it is necessary to seek professional services (see sidebar). Original building features and examples of special craftsmanship should be afforded extra care. The patina or aging of historic materials is often part of the charm and character of historic buildings. In such cases, maintenance should avoid attempts to make finishes look new by over -cleaning or cladding existing materials. As with any product that has the potential to harm historic materials, the selection of a cleaning procedure should always involve testing in a discreet location on the building to ensure that it will not abrade, fade, streak, or otherwise damage the substrate (Fig 1). Maintenance Plan, Schedules and Inspection Organizing related work into a written set of procedures, or a Maintenance Plan, helps eliminate duplication, makes it easier to coordinate work effort, and creates a system for prioritizing maintenance tasks that takes into account the most vulnerable and character -defining elements. The first time a property owner or manager establishes a maintenance plan or program, it is advisable to have help from a preservation architect, preservation consultant, and/or experienced contractor. Written procedures should outline step-by-step approaches that are custom- tailored to a building. No matter how small the property, every historic site should have a written guide for maintenance that can be as simple as: 1) Schedules and checklists for inspections; 2) Forms for recording work, blank base plans and elevations to be filled in during inspections and upon completion of work; 3) A set of base -line photographs to be augmented over time; 4) Current lists of contractors for help with complex issues or in case of emergencies; 5) Written procedures for the appropriate care of specific materials, including housekeeping, routine care, and preventive measures; 6) Record -keeping sections for work completed, costs, warranty cards, sample paint colors, and other pertinent material. This information can be kept in one or more formats, such as a three-ring binder, file folders, or a computer Cyclic Building Inspection Checklist: Horse Stable database. It is important to keep the files current with completed work forms to facilitate long-term evaluations and planning for future work (Fig 2). Proper maintenance depends on an organized plan with work prescribed in manageable components. Regular maintenance needs to be considered a priority both in terms of time allotted for inspections and for allocation of funding. Maintenance work scheduling is generally based on a variety of factors, including the seriousness of the problem, type of work involved, seasonal appropriateness, product manufacturer's recommendations, and staff availability. There are other variables as well. For example, building materials and finishes on southern and western exposures will often weather faster than those on northern or eastern exposures. Horizontal surfaces facing skyward usually require greater maintenance than vertical ones; in regions with moderate or heavy rainfall, wood and other materials in prolonged shadow are subject to more rapid decay. Maintenance costs can be controlled, in part, through careful planning, identification of the amount of labor required, and thoughtful scheduling of work. Maintenance schedules should take into account daily and seasonal activities of the property in order to maximize the uninterrupted time necessary to complete the work. Institutions generally need to budget annually between 2 and 4 percent of the replacement value of the building to underwrite the expense of full building maintenance 2 Use of trained volunteers to undertake maintenance can help reduce costs. Exterior inspections usually proceed from the roof down to the foundation, working on one elevation at Inspection date: 04/24/057 Building Feature Material(s) Condition Description Maintenance Action Required Work Done ROOF: Covering Clay tile Two slipped tiles Reattach tiles 5/4/05 Painted metal standing seam Slight corrosion; blistering paint on Sand and repaint area that is peeling 6/8/05 metal roof section Flashing Painted metal Flashing in good condition N/A WA Gutters/ 6" half round galvanized metal Gutter sagging; downspouts OK Realign gutter and put on new hanger strap 5/4/05 Downspouts Flush out downspouts 5/5/05 Chimneys chimney WA WA N/A Attachments/vent tNasonry stack and Vent stack hood has some peeling Sand and repaint vent stack 6/8/05 Penetrations ervane paint; vane OK Figure 2. All personnel associated with a historic structure need to become acquainted with how existing building features should appear and during their daily or weekly routines look for changes that may occur. This will help augment the regular maintenance inspection that will occur at specified intervals based on seasonal changes, use, and other factors. A segment of an inspection form showing the roof elements of a horse stable is shown. The inspection report should be kept along with the maintenance plan and other material in notebook, file or electronic form. 3 a time, moving around the building in a consistent direction. On the interior, the attic, inside surfaces of exterior walls, and crawlspaces or basements should be examined for signs of potential or existing problems with the building envelope. The following chart lists suggested inspection frequencies for major features associated with the building's exterior, based on a temperate four -season climate and moderate levels of annual rainfall. For areas of different climate conditions and rainfall, such as in the more and southwest, the nature of building decay and frequency of inspections will vary. For buildings with certain inherent conditions, heavy use patterns, or locations with more extreme weather conditions, the frequency of inspections should be altered accordingly. Note: All building features should be inspected after any significant weather event such as a severe rainstorm or unusually high winds. INSPECTION FREQUENCY CHART Feature Minimum Inspection Season Frequency Roof Annually Spring or fall; every 5 years by roofer Chimneys Annually Fall, prior to heating season; every 5 years by mason Roof Drainage 6 months; more Before and after frequently as needed wet season, during heavy rain Exterior Walls and Annually Spring, prior Porches to summer/fall painting season Windows Annually Spring, prior to summer/fall painting season Foundation and Annually Spring or during Grade wet season Building Perimeter Annually Winter, after leaves have dropped off trees Entryways Annually; heavily Spring, prior used entries may to summer/fall merit greater painting season frequency Doors 6 months; heavily Spring and fall; used entry doors prior to heating/ may merit greater cooling seasons frequency Attic 4 months, or after a Before, during and major storm after wet season Basement/4 months, or after a Before, during and Crawlspace major storm after rain season Survey observations can be recorded on a standardized report form and photographs taken as a visual record. All deficient conditions should be recorded and placed on a written schedule to be corrected or monitored. BUILDING COMPONENTS For purposes of this discussion, the principal exterior surface areas have been divided into five components and are presented in order from the roof down to grade. While guidance for inspection and maintenance is provided for each component, this information is very general in nature and is not indeed to be comprehensive in scope. Examples have been selected to address some typical maintenance needs and to help the reader avoid common mistakes. Roof's/chimneys The roof is designed to keep water out of a building. Thus one of the principal maintenance objectives is to ensure water flows off the roof and into functional gutters and downspouts directly to grade and away from the building —and to prevent water from penetrating the attic, exterior walls, and basement of a building. (Note: Some buildings were designed without gutters and thus assessments must be made as to whether rain water is being properly addressed at the foundation and perimeter grade.) Keeping gutters and downspouts cleared of debris is usually high on the list of regular maintenance activities (Fig 3). Flashing around chimneys, parapets, dormers, and other appendages to the roof also merit regular inspection and appropriate maintenance when needed. The material covering the roof —wood shingles, slate, tile, asphalt, sheet metal, rolled roofing —requires maintenance both to ensure a watertight seal and to lengthen its service life; the type and frequency of maintenance varies with the roofing material. Older chimneys and parapets also require inspection and maintenance. With the exception of cleaning and minor repairs to gutters and downspouts, most roof maintenance work will necessitate use of an outside contractor. Inspection: The functioning of gutters and downspouts can be safely observed from the ground during rainy weather and when winter ice has collected. Binoculars are a useful tool in helping to identify potential roofing problems from the same safe vantage point. Careful observation from grade helps to identify maintenance needs between close-up inspections by an experienced roofer. Observation from the building interior is also important to identify possible leak locations. When access can be safely gained to the roof, it is important to wear shoes with slip -resistant soles and to use safety ropes. 4 Figure 3. Keeping gutters clean of debris can be one of the most important cyclical maintenance activities. On this small one-story addition, a garden hose is being used to flush out the trough to ensure that the gutter and downspouts are unobstructed. Gutters on most small and medium size buildings can be reached with an extension ladder and a garden hose necessary, to keep the ladder from crushing the gutter. Use a garden hose to flush out troughs and downspouts. Patch or repair holes in gutters using products such as fiberglass tape and epoxy adhesive in metal gutters. Avoid asphalt compounds since acidic material can cause further deterioration of metal gutters. • Correct misaligned gutters and adjust, if necessary, so that water flows to drains and does not pond. If gutter edges sag, consider inserting wooden wedges between the fascia board and the back of the gutter to add support. Seal leaking seams or pinholes in gutters and elbows. • Broom sweep branch or leaf debris away from shingles, valleys, and crickets, particularly around chimneys and dormers. Photo: Bryan Blundell. • Where mechanical equipment is Depending on the nature of the roof, some common conditions of concern to look for are: - sagging gutters and split downspouts; - debris accumulating in gutters and valleys; - overhanging branches rubbing against the roof or gutters - plant shoots growing out of chimneys; - slipped, missing, cracked, bucking, delaminating, peeling, or broken roof coverings; - deteriorated flashing and failing connections at any intersection of roof areas or of roof and adjacent wall; - bubbled surfaces and moisture ponding on flat or low sloped roofs; - evidence of water leaks in the attic; - misaligned or damaged elements, such as decorative cresting, lightning rods, or antennas; and cracked masonry or dislodged chimney caps. Maintenance: • Remove leaves and other debris from gutters and downspouts. Utilize a ladder with a brace device, if mounted on flat or low -sloped roofs, ensure that access for maintenance can be provided without damaging the roof. Clean out trapped leaves and debris from around equipment base and consider adding a protective walkway for access. • Remove biological growth where it is causing erosion or exfoliation of roofing. Use low-pressure garden hose water and a natural or nylon scrubbing brush to remove such growth, scraping with a plastic putty knife or similar wood or plastic tool as needed on heavier buildup. Most growth is acidic and while there are products designed to kill spores, such as diluted chlorine bleach, they should be avoided. Even fairly weak formulas can still cause unexpected color changes, efflorescence, or over -splash damage to plantings or surfaces below the roof. Where appropriate, trim adjacent tree branches to increase sunlight on the roof since sunlight will deter further biological growth. • Re -secure loose flashing at the dormers, chimneys or parapets. Clean out old mortar, lead, lead wool, or fastening material and make sure that flashing is properly inserted into reglet (slot) joints, taking care not to damage the substrate. Avoid installing new step flashing as a single metal component where multiple pieces are required to provide proper waterproofing. Also avoid attaching step flashing with mastic or sealant. Properly re -bed all step flashing. Use appropriate non-ferrous flashing metal or painted metal if needed. Since cap, step, valley, cricket, and apron flashings each have specific overlap and extension requirements, replacement flashing should match the existing material unless there has been a proven deficiency. 5 Figure 4. Damage to roofs often requires immediate attention. As a temporary measure, this damaged roof the could be replaced with a brown aluminum sheet wedged between the existing tiles. Photo: Chad Randl. • Repoint joints in chimneys, parapet, or balustrade capping stones using a hydraulic lime mortar or other suitable mortar where the existing mortar has eroded or cracked, allowing moisture penetration. In general, a mortar that is slightly weaker than the adjacent masonry should be used. This allows trapped moisture in the masonry to migrate out through the mortar and not the masonry. Spalled masonry is often evidence of the previous use of a mortar mix that was too hard. • Use professional services to repair chimneys and caps. Avoid the use of mortar washes on masonry since they tend to crack, allowing moisture to penetrate and promoting masonry spalling. Repoint masonry with a durable mortar that is slightly weaker than the adjacent masonry. Slope the masonry mortar cap to insure drainage away from the flue. If a chimney rain cap is installed, ensure adequate venting and exhaust. • As a temporary measure, slip pieces of non -corrosive metal flashing under or between damaged and missing roofing units until new slate, shingles, or file can be attached. Repair broken, missing or damaged roofing units with ones that match. Follow roofing supplier and industry guidance on inserting and attaching replacement units (Fig 4). Avoid using temporary asphalt patches as it makes a proper repair difficult later on. • For long-term preservation of wooden shingle roofs coated with a preservative, recoat every few years following the manufacturer's recommendations. Be aware of environmental considerations. • Scrape and repaint selected areas of coated ferrous metal roofing as needed; repaint on a regularly Figure 5. The use of a sealant to close an exposed joint is not always an effective long-term solution. Where this decorative wood element connects to the slate roof, the sealant has failed within a short time and a proper metal flashing collar is being fitted instead. Photo: Bryan Blundell. scheduled basis. Ferrous metal roofs can last a long time if painted regularly. Alkyd coatings are generally used on metal roofs; be sure to wash and properly prepare the area beforehand. Environmental regulations may restrict the use of certain types of paints. Apply the coating system in accordance with manufacturer's recommendations. Prepare the surface prior to application to obtain good adhesion with the prime coat. Apply both a prime coat and a topcoat for good bonding and coverage; select primer and topcoat products from the same manufacturer. • Re -secure loose decorative elements, such as finials and weathervanes. Seek professional advice if decorative elements exhibit considerable corrosion, wood rot, or structural instability. Small surface cracks may benefit from a flexible sealant to keep moisture out; sealants have a limited life and require careful inspection and periodic replacement (Fig 5). Exterior Walls Exterior walls are designed to help prevent water infiltration, control air infiltration, and serve as a barrier for unwanted animals, birds and insects. The primary maintenance objective is to keep walls in sound condition and to prevent water penetration, insect infestation, and needless decay (Fig 6). Depending on the materials and construction methods, walls should have an even appearance, free from unwanted cracks, and should be able to shed excess moisture. Where surfaces are significantly misaligned or where there are bulging wall sections or cracks indicative of potential structural problems, seek professional guidance as to the cause of distress and appropriate corrective measures. Wood -frame construction generally will require more frequent maintenance than buildings constructed of brick, stone, or terra cotta (Fig 7). Inspections: It is best to inspect walls during dry as well as wet weather. Look for moisture patterns that may appear on the walls after a heavy or sustained rainfall or snow, recording any patterns on elevation drawings or standard recording forms. Monitoring the interior wall for moisture or other potential problems is important as well. Look for movement in cracks, joints, and around windows and doors and try to establish whether movement is seasonal in nature (such as related to shrinkage of wood during dry weather) or signs of an ongoing problem. For moderate size buildings, a ladder or mechanical lift may be necessary, though in some cases the use of binoculars and observations made from windows and other openings will be sufficient. When examining the walls, some common conditions of concern to look for are: - Misaligned surfaces, bulging wall sections, cracks in masonry units, diagonal cracks in masonry joints, spalling masonry, open joints, and nail popping; - Evidence of wood rot, insect infestation, and potentially damaging vegetative growth; - Deficiencies in the attachment of wall mounted lamps, flag pole brackets, signs, and similar items; - Potential problems with penetrating features such as water spigots, electrical outlets, and vents; - Excessive damp spots, often accompanied by staining, peeling paint, moss, or mold; and General paint problems (Fig 8). Maintenance: • Trim tree branches away from walls. Remove ivy and tendrils of climbing plants by first cutting at the base of the vine to allow tendrils to die back, and later using a plastic scraper to dislodge debris and an appropriate digging tool to dislodge and remove root systems. Be cautious if using a commercial chemical to accelerate root decay; follow safety directions and avoid contact of chemicals with workers and wall materials. • Wash exterior wall surfaces if dirt or other deposits are causing damage or hiding deterioration; extend Figure 6. Stucco applied to an exterior wall or foundation was intended to function as a watertight surface. Unless maintained, rainwater will penetrate open joints and cracks that may occur over time. A spalled section of stucco indicates some damage has occurred and a wooden mallet is being used to tap the surface to determine whether the immediate stucco has lost adhesion. Photo: Bryan Blundell. Figure 7. One of the advantages of wood shingles as a wall covering is that individual shingles that are damaged can easily be replaced. On this highly exposed corner, worn shingles have been selectively replaced to help safeguard against water damage. The new shingles will be stained to match the existing shingles. Figure 8. The paint on the siding of this south facing wall needs to be scraped, sanded, primed and repainted. Postponing such work will lead to further paint failure, require greater preparatory costs, and could even result in the need to replace some siding. Photo: Charles Fisher. scheduled times for cleaning for cosmetic purposes to reduce frequency (Fig 9). When cleaning, use the gentlest means possible; start with natural bristle brushes and water and only add a mild phosphate - free detergent if necessary. Use non-abrasive cleaning methods and low-pressure water from a garden hose. For most building materials, such as wood and brick, avoid abrasive methods such as mechanical scrapers and high-pressure water or air and such additives as sand, natural soda, ice crystals, or rubber products. All abrasives remove some portion of the surface and power -washing drives excessive moisture into wall materials and even into wall cavities and interior walls. If using a mild detergent, two people are recommended, one to brush and one to prewet and rinse. When graffiti or stains are present, consult a preservation specialist who may use poultices or mild chemicals to remove the stain. If the entire building needs cleaning other than described above, consult a specialist. • Repoint masonry in areas where mortar is loose or where masonry units have settled. Resolve cause of cracks or failure before resetting units and repointing. Rake out joints by hand, generally avoiding rotary saws or drills, to a depth of 21/2 times the width of the joint (or until sound mortar is encountered), to make sure that fresh mortar will not pop out. Repointing mortar should be lime -rich and formulated to be slightly weaker than the masonry units and to match the historic mortar in color, width, appearance, and tooling. Off -the -shelf pre -mixed cement mortars are not appropriate for most historic buildings. Avoid use of joint sealants in place of Figure 9. To help extend a repainting cycle, dirt and spider webs should be removed before permanent staining occurs. In this case, a natural bristle brush and a soft damp cloth are being used to remove insect debris and refresh the surface appearance. mortar on vertical masonry wall surfaces, as they are not breathable and can lead to moisture -related damage of the adjacent masonry (Fig 10). • Correct areas that trap unwanted moisture. Damaged bricks or stone units can sometimes be removed, turned around, and reset, or replaced with salvaged units. When using traditional or contemporary materials for patching wood, masonry, metal, or other materials, ensure that the materials are compatible with the substrate; evaluate strength, vapor permeability, and thermal expansion, as well as appearance. • When patching is required, select a compatible patch material. Prepare substrate and install patch material according to manufacturer's recommendations; respect existing joints. Small or shallow surface defects may not require patching; large or deep surface defects may be better addressed by installation of a dutchman unit than by patching. • Where a damaged area is too large to patch, consider replacing the section with in -kind material. For stucco and adobe materials, traditional patching formulas are recommended. • When temporarily removing wood siding to repair framing or to tighten corner boards and loose trim, reuse the existing siding where possible. Consider using stainless steel or high strength aluminum nails as appropriate. Putty or fill nail holes flush with siding prior to repainting. Back -prime any installed wood with 0 Figure 10. Repointing of masonry should usually be approached as repair rather than maintenance work in part because of the need for a skilled mason familiar with historic mortar. In this case, a moisture condition was not corrected and the use of a waterproof coating and off -the -shelf Portland cement mortar trapped water and resulted in further damage to these 19th century bricks. Photo: NPS files. one coat of primer and coat end grain that might be exposed with two coats of primer. • Prepare, prime, and spot paint areas needing repainting. Remember that preparation is the key to a successful long lasting paint job. Ensure beforehand the compatibility of new and existing paints to avoid premature paint failure. Remove loose paint to a sound substrate; sand or gently rough surface if needed for a good paint bond; wipe clean; and repaint with appropriate primer and topcoats. Follow manufacturer's recommendations for application of coatings, including temperature parameters for paint application. Use top quality coating materials. Generally paint when sun is not shining directly onto surfaces to be painted. Inspection: Wall openings are typically inspected from inside as well as out. Examinations should include the overall material condition; a check for unwanted water penetration, insect infiltration, or animal entry; and identification of where openings may not be properly functioning. Frames should be checked to make sure they are not loose and to ascertain whether the intersection between the wall and the frame is properly sealed. Secure connections of glazing to sash and between sash and frames are also important. Particular attention should be placed on exposed horizontal surfaces of storefronts and window frames as they tend to deteriorate much faster than vertical surfaces. Inspections should identify: loose frames, doors, sash, shutters, screens, storefront components, and signs that present safety hazards; slipped sills and tipped or cupped thresholds; - poorly fitting units and storm assemblies, misaligned frames, drag marks on thresholds from sagging doors and storm doors; - loose, open, or decayed joints in door and window frames, doors and sash, shutters, and storefronts; - loose hardware, broken sash cords/chains, worn sash pulleys, cracked awning, shutter and window hardware, locking difficulties, and deteriorated weatherstripping and flashing; - broken/cracked glass, loose or missing glazing and putty; - peeling paint, corrosion or rust stains; and - window well debris accumulation, heavy bird droppings, and termite and carpenter ant damage. • Remove deteriorated caulks and sealants, clean, and reapply appropriate caulks and sealants using backer rods as necessary. Follow manufacturer's instructions Maintenance: regarding preparation and installation. • Correct deficiencies in any wall attachments such as awning and flag pole anchors, improperly installed electrical outlets, or loose water spigots. Openings Exterior wall openings primarily consist of doors, windows, storefronts, and passageways. The major maintenance objectives are to retain the functioning nature of the opening and to keep in sound condition the connection between the opening and the wall in order to reduce air and water infiltration. • Replace broken or missing glass as soon as possible; in some cases cracked glass may be repaired using specialty glues. For historic crown glass and early cylinder glass, a conservation approach should be considered to repair limited cracks. Where panes with a distinct appearance are missing, specialty glass should be obtained to match, with sufficient inventory kept for future needs. Avoid using mechanical devices to remove old putty and match historic putty bevels or details when undertaking work. • Reputty window glazing where putty is deteriorated or missing. Take care in removing putty so as not to crack or break old glass or damage muntins and sash frames. Re -glaze with either traditionally formulated Figure 11. Glazing putty should be maintained in sound condition to prevent unwanted air infiltration and water damage. New glazing putty should be pulled tight to the glass and edge of the wood, creating a clean bevel that matches the historic glazing. oil putties or modern synthetic ones, making sure to properly bed the glass and secure with glazing points (Fig 11). • Clean window glass, door glazing, storefronts, transom prism lights, garage doors, and storm panels using a mild vinegar and water mixture or a non - alkaline commercial window cleaner. Be cautious with compounds that contain ammonia as they may stain brass or bronze hardware elements if not totally removed. When using a squeegee blade or sponge, wipe wet corners with a soft dry cloth. Avoid high- pressure washes. • Clean handles, locks and similar hardware with a soft, damp cloth. Use mineral spirits or commercial cleaners very sparingly, as repeated use may remove original finishes. Most metal cleaners include ammonia that can streak and stain metal, so it is important to remove all cleaning residue. Polished hardware subject to tarnishing or oxidation, particularly doorknobs, often benefits from a thin coat of paste wax (carnauba), hand buffed to remove extra residue. Avoid lacquer finishes for high use areas, as they require more extensive maintenance. Patinated finishes should not be cleaned with any chemicals, since the subtle aged appearance contributes to the building's character. • Remove and clean hardware before painting doors and windows; reinstall after the paint has dried. • Tighten screws in doorframes and lubricate door hinges, awning hardware, garage door mechanisms, window sash chains, and pulleys using a graphite or silicone type lubricant. Contracting Maintenance and Repair Work Many contractors are very proficient in using modern construction methods and materials; however, they may not have the experience or skill required to carry out maintenance on historic buildings. The following are tips to use when selecting a contractor to work on your historic building: 1. Become familiar with work done on similar historic properties in your area so that you can obtain names of possible preservation contractors. 2. Be as specific as possible in defining the scope of work you expect to undertake. 3. Ask potential contractors for multiple references (three to five) and visit previous work sites. Contact the building owner or manager and ask how the job proceeded; if the same work crew was retained from start to finish; if the workers were of a consistent skill level; whether the project was completed in a reasonable time; and whether the person would use the contractor again. 4. Be familiar with the preservation context of the work to be undertaken. Use the written procedures in your maintenance plan to help define the scope of work in accordance with preservation standards and guidelines. Always request that the gentlest method possible be used. Use a preservation consultant if necessary to ensure that the work is performed in an appropriate manner. 5. Request in the contract proposal a detailed cost estimate that clearly defines the work to be executed, establishes the precautions that will be used to protect adjoining materials, and lists specific qualified subcontractors, if any, to be used. 6. Insure that the contractor has all necessary business licenses and carries worker compensation. 10 • Check weather stripping on doors and windows and adjust or replace as necessary. Use a durable type of weather stripping, such as spring metal or high quality synthetic material, avoiding common brush and bulb or pile weather stripping that require more frequent replacement. • Adjust steel casement windows as needed for proper alignment and tight fit. Avoid additional weather stripping as this may lead to further misalignment, creating pathways for air and water infiltration. • Check window sills for proper drainage. Fill cracks in wood sills with a wood filler or epoxy. Follow manufacturer's instructions for preparation and installation. Do not cover over a wood sill with metal panning, as it may trap moisture and promote decay. • Repair, prime, and repaint windows, doors, frames, and sills when needed. Clean out putty debris and paint chips from windows using a wet paper towel and dispose of Figure 12. Good surface preparation is essential for long lasting paint. Scraping loose paint, debris prior to repair or repainting. filling nail holes and cracks, sanding, and wiping with a damp cloth prior to repainting are all Take appropriate additional important steps whether touching up small areas or repainting an entire feature. Always use precautions when removing lead- a manufacturer's best quality paint. Windows and shutters may need repainting every five to based paint. Sand and prepare seven years, depending on exposure and climate. surfaces and use material -specific patching compounds to fill any holes or areas collecting moisture (Fig 12). Avoid leaving exposed wood unpainted for any length of time, as light will degrade the wood surface and lead to premature failure of subsequent paint applications. Immediately prime steel sash after paint is removed and the substrate prepared for repainting. • Adjust wood sash that bind when operated. Apply beeswax, paraffin, or similar material to tracks or sash runs for ease of movement. If sash are loose, replace worn parting beads. Sash runs traditionally were unpainted between the stop and parting bead; removing subsequent paint applications will often help improve sash operation. • Correct perimeter cracks around windows and doors to prevent water and air infiltration. Use traditional material or modem sealants as appropriate. If fillers such as lead wool have been used, new wool can be inserted with a thin blade tool, taking care to avoid damage to adjacent trim. Reduce excess air infiltration around windows by repairing and lubricating sash locks so that windows close tightly. Figure 13. Window air conditioning units can cause damage to surfaces below when condensation drips in an uncontrolled manner. Drip extension tubes can sometimes be added to direct the discharge. 11 • Remove debris beneath window air conditioning units and ensure that water from units does not drain onto sills or wall surfaces below (Fig 13). Removal of air conditioning units when not in season is recommended. • Adjust storm panels and clean weep holes; check that weep holes at the bottom of the panels are open so water will not be trapped on the sill. Exterior applied storm windows are best attached using screws and not tightly adhered with sealant. Use of sealant makes storm units difficult to remove for maintenance and can contribute to moisture entrapment if weep holes become clogged. • Remove weakened or loose shutters and store for later repair. Consider adding a zinc or painted metal top to shutters as a protective cap to cover the wood's exposed end grain. This will extend the life of the shutters. Projections Numerous projections may exist on a historic building, such as porches, dormers, skylights, balconies, fire escapes, and breezeways. They are often composed of several different materials and may include an independent roof. Principal maintenance objectives include directing moisture off these features and keeping weathered surfaces in good condition. Secondary projections may include brackets, lamps, hanging signs, and similar items that tend to be exposed to the elements. Inspection: In some cases, projections are essentially independent units of a building and so must be evaluated carefully for possible settlement, separation from the main body of the building, and materials deterioration. Some electrical features may require inspection by a electrician or service technician. Common conditions of concern to look for are: - damaged flashing or tie-in connections of projecting elements; - misaligned posts and railings; - deteriorated finishes and materials, including peeling paint, cupped and warped decking, wood deterioration, and hazardous steps; - evidence of termites, carpenter ants, bees, or animal pests (Fig 14); - damaged lamps, unsafe electrical outlets or deteriorated seals around connections, - loose marker plaques, sign, or mail boxes; and Figure 14. When inspecting connections between projections and the main building, look for areas where birds, bees and pests may enter or nest. Birds have been nesting in this porch roof and the area is being cleaned of their debris. Where an opening exists, it may be necessary to cover it with a trim piece, screening, or sealant. Photo: Bryan Blundell. - rust and excessive wear of structural, anchorage, and safety features of balconies and fire escapes. Maintenance: • Selectively repair or replace damaged roofing units on porches and other projections. Ensure adequate drainage away from the building. Repair flashing connections as needed; clean and seal open joints as appropriate. • Secure any loose connections, such as on porch rails or fire escapes. • Maintain ferrous metal components by following manufacturer's recommendation for cleaning and repainting. Remove rust and corrosion from porch handrails, balconies, fire escapes, and other metal features; prepare, prime, and repaint using a corrosion - inhibitive coating system. Apply new primer before new corrosion sets in, followed by new topcoat. Take appropriate safety measures when dealing with existing lead -based paint and in using corrosion -removal products (Fig 15). • Reattach loose brackets, lamps, or signs. With electrical boxes for outlets or lighting devices, ensure that cover plates are properly sealed. Prime and paint metal elements as needed. • Keep porch decks and steps free from dust, dirt, leaf debris, and snow as soon at it accumulates using a broom or plastic blade shovel. • Repair areas of wood decay or other damage to railings, posts, and decorative elements. Repair with wood dutchman, wood putty, or epoxy filler, as appropriate; replace individual elements as needed. 12 :fir'..--�- J Figure 15. Metal projecting elements on a building, such as sign armatures and railings, are easily subject to rust and decay. Proper surface preparation to remove rust is essential. Special metal primers and topcoats should be used. Prime and repaint features when necessary and repaint good drainage around and away from the building. horizontal surfaces on a more frequent basis. The maintenance goal is to prevent moisture from entering foundations and crawl spaces and damaging • Sand and repaint porch floorboards to keep weather materials close to the grade, and to provide ventilation surfaces protected. The exposed ends of porch in damp areas. floorboards are especially susceptible to decay and may need to be treated every year or two. Inspection: • Carefully cut out damaged or buckled porch flooring and replace with wood to match. Back -prime new wood that is being installed; treat end grain with wood preservative and paint primer. Ensure that new wood is adequately kiln or air-dried to avoid shrinkage and problems with paint adherence. • Repair rotted stair stringers; adjust grade or add stone pavers at stair base to keep wooden elements from coming into direct contact with soil. • Consider durable hardwoods for replacement material where beading, chamfering, or other decorative work is required in order to match existing features being replaced. Although appropriate for certain applications, pressure treated lumber is hard to tool and may inhibit paint adherence if not allowed to weather prior to coating application. • Clean out any debris from carpenter bees, ants, termites, and rodents, particularly from under porches. Replace damaged wood and add screening or lattice to discourage rodents. Consider treating above ground features with a borate solution to deter termites and wood rot and repaint exposed surfaces. Foundations and Perimeter Grades The foundation walls that penetrate into the ground, the piers that support raised structures, and the ground immediately around a foundation (known as grade) serve important structural functions. To help sustain these functions, it is important that there is Inspections at the foundation should be done in conjunction with the inspection of the downspouts to ensure that water is being discharged a sufficient distance from the building perimeter to avoid excessive dampness in basements or crawl spaces. In addition, crawl spaces should be adequately vented to deter mold and decay and should be screened or otherwise secured against animals. Look for: - depressions or grade sloping toward the foundation; standing water after a storm; Figure 16. This chronically wet area has a mildew bloom brought on by heat generated from the air-conditioning condenser unit. The dampness could be caused be a clogged roof gutter, improper grading, or a leaking hose bibb. 13 Sealants and Caulks Using sealants and caulks has become a familiar part of exterior maintenance today. As the use of precision joinery and certain traditional materials to render joints more weathertight has waned in recent years, caulks and more often elastomeric sealants are used to 1. W al cracks and joints to keep out moisture and reduce r infiltration. Where cracks and failing joints are dicators of a serious problem, sealants and caulks may be used as a temporary measure. In some cases they may actually exacerbate the existing problem, such as by trapping moisture in adjacent masonry, and lead to more costly repairs. Manufacturer's recommendations provide instructions n the proper application of caulks and sealants. pecial attention should be placed on ensuring that the subsurface or joint is properly prepared and cleaned. Backer rods may be necessary for joints or cracks. Tooling of the caulk or sealant is usually necessary to ensure contact with all edge surfaces and for a clean and consistent appearance. Caulks generally refer to older oil resin -based products, which have relatively limited life span and limited flexibility. Contemporary elastomeric sealants are composed of polymer synthetics. Elastomeric sealants are more durable than caulks and have greater flexibility and wider application. Caulks and sealant can become maintenance problems, as they tend to deteriorate faster than their substrates and must be replaced periodically as a part of cyclical maintenance of the structure. The selection criteria for caulks and sealants include type of substrate, adhesion properties, size and configuration of joint, intended appearance/color and paintability, movement characteristics, and service life. Both one -part and two-part sealants are available; the latter require mixing as part of the application process. Sealants are commonly used for a variety of places on the exterior of a building such as around windows and doors, at interfaces between masonry and wood, between various wood features or elements,; and at attachments to or through walls or roofs, such as with lamps, signs, or exterior plumbing fixtures. Their effectiveness depends on numerous factors including proper surface preparation and application. Applications of sealants and caulks should be examined as part of routine maintenance inspection, irrespective of their projected life expectancy. Installation of caulks and sealants often can be undertaken by site personnel. For large and more complex projects, a contactor experienced in sealant installation may be needed. In either case, the sealant manufacturer should be consulted on proper sealant selection, preparation, and installation procedures. - material deterioration at or near the foundation, including loss of mortar in masonry, rotting wood clapboards, or settlement cracks in the lower sections of wall; evidence of animal or pest infestation; vegetation growing close to the foundation, including trees, shrubs and planting beds; evidence of moisture damage from lawn and garden in -ground sprinkler systems; evidence of moss or mold from damp conditions or poorly situated downspout splash blocks (Fig 16); and - blocked downspout drainage boots or clogged areaway grates. Maintenance: • Remove leaves and other debris from drains to prevent accumulation. Detach drain grates from paved areas and extract clogged debris. Flush with a hose to ensure that there is no blockage. Use a professional drain service to clear obstructions if necessary. • Conduct annual termite inspections. Promptly address termite and other insect infestations. Use only licensed company for treatment where needed. • Keep the grade around the foundation sloping away from the building. Add soil to fill depressions particularly around downspouts and splash blocks. Make sure that soil does not come too close to wooden or metal elements. A 6" separation between wooden siding and the grade is usually recommended. • Avoid use of mulching material immediately around foundations as such material may promote termite infestation, retain moisture or change existing grade slope. • Reset splash blocks at the end of downspouts or add extender tubes to the end of downspouts as necessary (Fig 17). • Lubricate operable foundation vent grilles to facilitate seasonal use; paint as needed. • Manage vegetation around foundations to allow sufficient air movement for wall surfaces to dry out during damp periods. Trim plantings and remove weeds and climbing vine roots. Be careful not to scar foundations or porch piers with grass or weed cutting equipment. If tree roots appear to be damaging a foundation wall, consult an engineer as well as a tree company. 14 • Wash off discoloration on foundations caused by splash -back, algae, or mildew. Use plain water and a soft natural or nylon bristle brush. Unless thoroughly researched and tested beforehand on a discreet area of the wall, avoid chemical products that may discolor certain types of stone. If cleaning products are used, test beforehand in a discreet area; and avoid over splash to plantings and adjacent building materials. • Selectively repoint unit masonry as needed. Follow guidance under the wall section in regard to compatible mix, appearance, and texture for pointing mortar. • Avoid using salts for de-icing and fertilizers with a high acid or petro-chemical content around foundations, as these materials can cause salt contamination of masonry. Use sand or organic materials without chloride additives that can damage masonry. Where salt is used on icy walks, distribute it sparingly and sweep up residual salt after walks have dried. • Use snow shovels and brooms to clean snow from historic paths and walkways. Avoid blade -type snow removers as they may chip or abrade cobblestones, brick, or stone paving. Note that use of steel snow removal tools in areas where salt -containing snow melters are used may result in rust staining from steel fragments left on the paving. Conclusion Maintenance is the most important preservation treatment for extending the life of a historic property. It is also the most cost effective. Understanding the construction techniques of the original builders and the performance qualities of older building materials, using traditional maintenance and repair methods, and selecting in -kind materials where replacements are needed will help preserve the building and its historic character. Maintenance can be managed in small distinct components, coordinated with other work, and scheduled over many years to ensure that materials are properly cared for and their life span maximized. A written maintenance plan is the most effective way to organize, schedule, and guide the work necessary to properly care for a historic building. The maintenance plan should include a description of the materials and methods required for each task, as well as a schedule for work required for maintenance of different building materials and components. Historic house journals, maintenance guides for older buildings, preservation consultants, and preservation maintenance firms can assist with writing appropriate procedures for specific properties. Priorities should be established for intervening when unexpected damage occurs such as from broken water pipes or high winds. Figure 17. Extending downspouts at their base is one of the basic steps to reduce dampness in basements, crawl spaces and around foundations. Extensions should be buried, if possible, for aesthetics, ease of lawn care, and to avoid creating a tripping hazard. Photo: NPS files. Worker safety should always be paramount. When work is beyond the capabilities of in-house personnel and must be contracted, special efforts should be made to ensure that a contractor is both experienced in working with historic buildings and utilizes appropriate preservation treatments. A well -maintained property is a more valuable property and one that will survive as a legacy for generations to come. Endnotes 1. The Secretary of the Interior's Standards for the Treatment of Historic Properties. Washington, D.C.: U.S. Department of the Interior, National Park Service, 1995. 2. Committee on Advanced Maintenance Concepts for Buildings et al, Committing to the Cost of Ownership: Maintenance and Repair of Public Buildings, Washington, D.C.: National Academy Press,1990. 15 Further Reading Chambers, J. Henry. Cyclical Maintenance for Historic Buildings. Washington, D.C.: National Park Service,1976, Fisher, Charles E. and Hugh C. Miller, eds. Caring For Your Historic House. New York, NY: Harry N. Abrams, Inc., 1998. Fisher, Charles E., Deborah Slaton, and Rebecca Shiffer, eds. Window Rehabilitation Guide for Historic Buildings. Washington, D.C.: Historic Preservation Education Foundation, 1997. Fram, Mark. Well -Preserved: The Ontario Heritage Foundation's Manual of Principles and Practice for Architectural Conservation. Erin, Ontario: The Boston Mills Press, 1988. Gayle, Margot, David W. Look, AIA, and John G. Waite, FAIA. Metals in America's Historic Buildings: Use and Preservation Treatments. Washington, D.C.: National Park Service, 1992. Grimmer, Anne E. Keeping It Clean: Removing Exterior Dirt, Paint, Stains & Graffiti from Historic Masonry Buildings. Washington, D.C.: National Park Service, 1988. Acknowledgements Jester, Thomas C., ed. Twentieth Century Building Materials: History and Conservation. New York, NY: McGraw-Hill, 1995. Leeke, John C. Practical Restoration Reports Compendium. Portland, ME: Historic HomeWorks, 2005. London, Mark. Masonry: How to Care for Old and Historic Brick and Stone. Washington, D.C.: The Preservation Press, 1988. Preservation Briefs. Washington, D.C.: National Park Service. The collection of Preservation Briefs assist owners and developers of historic buildings in recognizing and resolving common preservation, maintenance and repair problems. Preservation Tech Notes. Washington, D.C.: National Park Service. The collection of Preservation Tech Notes provides guidance and case studies on the care and maintenance of historic structures. Yapp, Bob and Rich Binsacca. About Your House with Bob Yapp. San Francisco, CA: KQED Books & Tapes,1997. Sharon C. Park FAIA, is the former Chief of Technical Preservation Services, Heritage Preservation Services, National Park Service, in Washington, D.C. and currently is the Associate Director for Architectural History and Historic Preservation, Smithsonian Institution. The author wishes to thank Mike Seibert of the National Park Service for research on the project and the development of the charts; and Lauren Burge, AIA, of the firm of Chambers, Murphy & Burge, and Michael Emerick, AIA, for sharing their expertise on maintenance and providing early guidance. Thanks go to Deborah Slaton of the firm of Wiss, Janney, Elstner Associates, Inc., for her insightful contributions and also to Rebecca Stevens of the National Park Service, Dominque Hawkins, AIA, of Preservation Design Partnership, J. Bryan Blundell of Dell Corporation, and Michael Scheffler and Kenneth Itle of Wiss, Janney, Elstner Associates, Inc. Also gratefully acknowledge for their assistance in the technical review and editing of this publication are Charles E. Fisher, Anne E. Grimmer, and Chad Randl of the National Park Service's Technical Preservation Services, and former staff Kay D. Weeks. Numerous other National Park Service staff and partners commented on the manuscript and made substantial contributions. This publication has been prepared pursuant to the National Historic Preservation Act, as amended, which directs the Secretary of the Interior to develop and make available information concerning historic properties. Comments about this publication should be made to: Charles Fisher, Technical Publications Program Manager, Technical Preservation Services-2255, National Park Service, 1849 C Street, NW, Washington, D.C. 20240. Additional information offered by Technical Preservation Services is available on our website at <www.nps.gov/history/hps/tps>. This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the author and the National Park Service are appreciated. Unless otherwise noted, photographs in this Brief are by Sharon C. Park, FAIA. Except for the author's photos, the photographs used in this publication may not be used to illustrate other publications without permission of the owner. ISSN: 978-0-16-078974-8 U.S. Government Printing Office Stock Number: 024-005-01252-4 16 June 2007 APPENDIX C: Page 1 144 Margood Cottages Restoration Plan Goodland, Florida Prepared for Collier County Parks and Recreation Department Naples, Florida July 27, 2017 Victor J Latavish Architect, PA 4100 Corporate Square, Suite 100 Naples, Florida 34104 Member Of The American Institute Of Architects Florida Registered Architect 1831, AR11942 TABLE OF CONTENTS MARGOOD COTTAGES RESTORATION PLAN P1 The Margood Cottages P2 Background Information, Zoning, Setbacks P3 Landscape Buffers, Fire Codes, Building Codes, FEMA P4 Accessibility P5 Restrooms, Asbestos & Hazardous Materials P6 Building Condition Summary and Conclusions P7 Recommendations APPENDICES A Restoration Plans Al Existing Cottage Site Plan A2 Preliminary Cottage Restoration Site Plan A3 Alternate Preliminary Cottage Restoration Site Plan A4 Margood Harbor Park Site Plan A5 Cottage #5 Plan & Elevations A6 Cottage #6 Plan & Elevations A7 Cottage #7 Plan & Elevations A8 Cottage #8 Plan & Elevations B Preliminary Construction Cost and Project Budget C Structural Engineers Report THE MARGOOD COTTAGES The cottages are exemplary representations of early 20tn century Florida "Fish- Camp" architecture used for regional tourist accommodations. The cottages were damaged by Hurricane Wilma, water intrusion, and termites, and are currently unoccupied. This report includes evaluations by Victor J. Latavish, AIA Architect and Liebl & Barrow Structural Engineers, a brief summary of findings and conclusions, recommendations, and preliminary cost estimates for recommended restoration work. BACKGROUND INFORMATION The cottages were included in a 2010 Collier County SDP permit and have previously been evaluated in a 2004 Historic Assessment Reports which is attached as appendix to this report. Cottage Number Cross -Reference Table 2017 Report 2010 Collier County SDP 2007 Engineer's Condition Survey 2004 Historical Assessment 5 8.5 5 11 6 8.6 6 10 7 8.7 7 9 8 8.8 8 8 Cistern N/A N/A 12 REGULATORY AGENCIES Regulations regarding property zoning, setbacks, buffers, building and fire codes, accessibility, etc., were reviewed with the local Authorities Having Jurisdiction (AHJ) and are summarized herein. ZONING The property is zoned Public Use District (P). Park use is permitted, allowing museums, assembly, educational, parks & recreation, and similar community uses. PROPERTYSETBACKS The required front and rear setback is 25' and the required side setbacks are 5'. None of the existing cottages conform to required 25' setbacks. As fishing cottages or unoccupied structures, the buildings may remain in the current locations. Rebuilding the cottages or a change of use will require relocating cottages to comply with setbacks and separation requirements in building and fire codes. 2 LANDSCAPE BUFFERS The buffers are indicated in records as a 10' D buffer along the right of way and 5' on the North Side and rear of the property. These are within the setbacks and available space. FIRE CODES The structures are regulated by the Florida Fire Prevention Code which include NFPA 1 and NFPA 101 (Florida edition). Occupied structures modified or rebuilt must comply with the referenced codes unless exempted with restrictions as designated historic structures. Due to the small size of the structures and nature of the project, compliance with fire codes is not a significant issue. Basic life safety features can be provided with minimal cost and no significant degradation of historic character. These features include a single compliant egress door, hardware, exit sign, emergency lights, and a fire extinguisher. BUILDING CODES Modifications or repairs to the structures are regulated by Florida Existing Building Code. In general, work classified as 'repairs' can be accomplished by using same materials and configurations found in the original building. In regards to 'repairs' as it applies to Cottages #6 and #7, FBC Existing specifically stipulates "When an historic building is determined as dangerous, no work shall be required except as necessary to correct identified dangerous conditions", without forcing a complete upgrade of the building. Changes in Occupancy: Proposed changes in occupancy are regulated by Chapter 10. This would apply if the cottage(s) were used for business or assembly occupancies. Historic Buildings: If the building is 'designated or deemed eligible for designation as a historic structure by a local, regional, or national jurisdiction as having architectural or cultural significance', FBC Existing does allow significant latitude in this regard. Specific requirements are determined by FBC Existing Chapter 12, and Appendix B "Secretary of the Interiors Standard for Rehabilitation and Guidelines for Rehabilitating Historic Buildings". FEMA The cottages are located in Flood Zone AE 8' and are non -conforming. The 50% rule will preclude major restoration of the cottages at their current elevations except in certain circumstances: Designation is obtained for either state or national historic structures. Necessary repairs when the structure is in imminent danger of collapse 3 Restoration or reconstruction options include following: Raising the cottages with the bottom of the structural floor framing is elev. 9.0' or higher Installing flood panels up to elevation 9.0' Not occupying one or more of the cottages. Cottage #6 ACCESSIBILITY The existing cottages do not comply with the American with Disabilities Act (ADA) or current FBC required accessibility features. Section 202.S of the Florida Accessibility Code does allow exceptions for Qualified Historic Buildings, however the nature of this project and the ease of which accessibility can be accomplished should be considered before applying for further historic designations. For instance, a cottage open to occupancy could be made accessible with a gently sloped sidewalk or ramp, landing, and a 3'-0" door. The door can be located at the side or rear of the cottage, where it would not detract from the historic appearance from the street. The accessible entrance could also be made the primary entrance if incorporated into an accessible route connecting multiple cottages as part of a self -guided museum -like experience. Full compliance with the ADA is also consistent with the Collier County Vertical Standards for building construction. 4 RESTROOMS An accessible restroom is required if the building(s) are open to the public. The restroom may be in one of the cottages or an adjacent facility within 500 LF in accordance with FBC Plumbing Code section 403.3.3. The accessible path to the public restroom at the adjacent Interpretive Center is 460 LF, and may be used in lieu of a new accessible restroom in the Cottage. In addition to the accessible restroom, with certain restrictions, a non -accessible single - user restroom is permitted by the Florida Accessibility Code in the Cottage office if it is `not for common use or public use'. Cottage #8 Asbestos Siding HAZARDOUS MATERIALS Although it was beyond the scope of this report to find and identify hazardous materials, the following conditions are readily evident; . Asbestos siding was used as exterior cladding all of cottage #8 and its garage. The siding is damaged. . Vinyl asbestos floor tile (VAT) is present in most of the cottages, primarily in the Kitchen areas. Due to the age of the structures, additional hazardous materials including lead paint, mold, and asbestos are likely. Non-functional HVAC equipment needs to be removed in compliance with EPA regulations. 5 BUILDING CONDITION REPORT Onsite inspections were conducted by Liebl & Barrow Structural Engineers. A copy of their report is attached as Appendix C. The cottages are unoccupied and many door and window openings are covered with plywood sheathing. In general, previous issues with insect infestations and most cases of water intrusion have been solved, however none of cottages are structurally sound. The cottages foundations, rim joists, floor framing, and floor sheathing are compromised and in many cases damaged beyond repair by previous water intrusion and termite infestations. Exterior wall siding and sheathing are similarly damaged in many locations. Roof framing is generally sound but the metal roofs appear to be near the end of useful service. The condition of the interiors is very poor. CONCLUSIONS Historic restoration or repair of all of the cottages in their current condition is not feasible. A combination of selective demolition, salvaging appropriate materials, reconstruction of one cottage conforming to current codes, and partial restoration of one or more of the other unoccupied cottages will most likely provide most cost effective plan to retain the historic character of the fishing camp. [. RECOMMENDATIONS The recommended plan is to dismantle and reconstruct Cottage #5 using a combination of salvaged and new materials to replicate the character of the original cottage in conformance with current codes so it may be open to the public. The exterior of Cottages #6 and #7 could be refurbished and remain part of the historic Fish Camp. Cottage #8 is damaged beyond repair, has large quantities of asbestos, and should be demolished. A more detailed description of the proposed plan follows: Cottage #5 is in the least damaged condition and can be reconstructed. With this approach, the Cottage could be used to display historic artifacts, or as a Park Office, Artists Studio, or similar use. Proposed work includes new raised foundation piers, new rim joist, and new framing where existing materials are damaged. Where applicable and appropriate, additional materials can be salvaged from the other cottages. The rebuilt structure would comply with FEMA, the bottom of the framing not less than 1 ft. above the base flood elevation. Certain historic features, ie front stairs, railings, canopy, etc. should be retained to the extent possible. Hazardous materials would be removed. New materials would be required for certain trades, ie fenestration, trim, roofing, gutters, plumbing, electrical. Other interior and exterior finishes and fixtures would be salvaged, repaired, or replicated to aesthetically match the original construction. Cottages #6 and #7 are both severely damaged and are not suitable candidates for complete restoration. The two buildings are in urgent need of repairs. Structural bracing and/or sheathing is needed to at the cottage interior walls, floors, and roofs to prevent further damage or collapse. Hazardous materials would be removed. Proposed work also includes exterior restoration, including salvaged or replicated siding, trim, windows, doors, awnings, etc. The exterior doors and windows should be sealed to prevent occupancy. As unoccupied buildings, the two cottages would not need to be brought up to current codes or raised above the FEMA base flood elevation. As part of a museum -like experience, the two cottages could then remain onsite as two intact historic buildings. The recommended priority of work is Cottages #5, then 6, and then 7. These cottages were built in the 1920`s and exemplify the character of the fishing camp. Cottage #8 was built in the 1950`s and is the least significant structure, both historically and architecturally. Cottage #8 is severely damaged, structurally unsound, and contaminated with mold and asbestos. Recommendation is condemnation and demolition. 7 Recommended sitework includes fill, regrading, landscaping, removal of one large Norfolk Pine tree, a new picket fence and gates, security lighting, and new walkways and decks to provide an accessible route from the street to the occupied Cottage #5. Proposed restoration of the Cistern adjacent to cottage #8 could be limited to refurbishing the exterior surfaces. The Cistern can be left as a non-functional artifact and left in place with signs and photographs explaining its historic significance. If funds are available, the Cistern could be repaired and refitted to collect rainwater usable for non -potable landscape irrigation purposes. An outdoor open-air Gazebo with architectural elements circa 1920's could also be added as part of the Margood Interpretive Center with signs indicating the various structures of historic significance onsite. The Gazebo would also be available to the community for public events, the local arts council, and Parks and Recreation programs. PRELIMINARY CONSTRUCTION COST ESTIMATE The preliminary estimated cost of construction including engineering fees, property survey update, permits, and contingency is approximately $700,000.00 A more detailed preliminary scope of work and preliminary construction cost estimate are attached as appendices to this report. These are preliminary documents and do not include future changes in the construction market, terms of contracts and payments, and other conditions not apparent at the time this report was prepared. Please feel free to call if you have any questions or need additional information. Respectfully Submitted, Victor J Latavish, AIA Florida Registered Architect AR11942 E3 APPENDIX A RESTORATION PLANS Al EXISTING COTTAGE SITE PLAN A2 PRELIMINARY COTTAGE RESTORATION SITE PLAN A3 ALTERNATE PRELIMINARY COTTAGE RESTORATION SITE PLAN A4 MARGOOD HARBOR PARK SITE PLAN A5 COTTAGE #5 PLAN & ELEVATIONS A6 COTTAGE #6 PLAN & ELEVATIONS A7 COTTAGE #7 PLAN & ELEVATIONS A8 COTTAGE #8 PLAN & ELEVATIONS O COPYRIGHT 2017\VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORI LOT 2 LOT 4 LOT 5 LOT 3 --------- LOT 8 S87022'53"E 99.45 (C) m cc WW S87036'00"E 100.00 (P) o u- �m -------------------- - ---------------------- o tS 4 •� rs COTTAGE NO. 5 GUMBO LIMBO TREE G GUMBO \� LOT 9 LIMBO TREE O GUMBOS LIMBO TREE ` NORFOLK PINE NORFOLK PINE S87036'00"E 100.00 (P) LOT 14 t!� ----------------------------------� �o 0 ra COTTAGE NO. 6 0 GUMBb\ �p LIMBO ` `\ TREE COTTAGE NO. 8 S87047'59"E 99.21 (F)\ LOT 10 0 GUMBO LIMBO --------------------- -------------------- O TREE \ -------------- N 87036'20" W 99.90' (C) N87036'00"W 100.00 (P) COTTAGE NO. 7 c!> �0 �o O o � s s GUMBO LIMBO `�� GUMBO �\ TREE LIMBO TREE -----------L--------------------- O 013 SITE PLAN- EXISTING CONDITIONS m W �LL oLL n.. NORTH LOT 15 LOT 16 LOT 17 VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Site Plan 0 4' 8' 16' SCALE 24 x 36 1" = 8' SCALE 11 x 17 1" = 16' PROJECT NUMBER 17-594 SHEET NUMBER /fj _ 1 O COPYRIGHT 2017\VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORI S87022'53"E 99.45 (C) S87036'00"E 100.00 (P) m o= v, w o U- �.n m ---------- �i - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -o COTTAGE NO. 5 (RECONSTRUCTED) -o O o G � ` 3p 0 tI� N � ------�\---------------------------� O° .O LO COTf\4GE NO. 6 ` 'O 24' GAZEBO COTTAGE NO. 7 CISTERN ` ` C N 87036'20" W 99.90' (C) N87036'00"W 100.00 (P) PRELIMINARY SITE PLAN mcc W LL o� ,5 T;IlLemi SCOPE OF WORK- SITEWORK CLEAR, GRUB, FILL, GRADE, SOD NEW WALKWAYS WITH SLOPE NOT TO EXCEED 1/20 NEW CONCRETE STOOPS AT STAIRS NEW WOOD DECK WHERE INDICATED NEW WHITE PAINTED IPE PICKET FENCE IN LIEU OF SOLID PVC FENCE REMOVE 2 NORFOLK PINE TREES SCOPE OF WORK- GAZEBO NEW 24' X 24' GAZEBO PLAN 8 HELICAL PILINGS CONCRETE FLOOR, NON-SKID BROOM FINISH PT OR IPE SOLID OR GLULAM WOOD FRAME MATERIALS 8 WOOD COLUMNS, WOOD BEAMS, ROOF DECK WOOD LATTICE TRIM UNDER EAVE SELF -ADHERED UNDERLAYMENT 5-V CRIMP ROOF. VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA COO1831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Site Plan 0 4' 8' 16' SCALE 24 x 36 1" = 8' SCALE 11 x 17 1" = 16' PROJECT NUMBER 17-594 SHEET NUMBER /fj _2 O COPYRIGHT 2017 VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORI S87022'53"E 99.45 (C) S87036'00"E 100.00 (P) m0= v, w o U- � m \------------------------------------------ -------- �\ 24' GAZEBO Q G � � ,�5 A F C!� ------ c-� 0 � � Q �\ \ • ) LO COTf\4GE NO. 6 0 COTTAGE NO. 5 (RECONSTRUCTED) �\ COTTAGE NO. 7 Me P CISTERN ----------------O ----- N 87036'20" W 99.90' (C) N87036'00"W 100.00 (P) ALTERNATE PRELIMINARY SITE PLAN �\ 15 A mW �� o� T;IlLenk SCOPE OF WORK- SITEWORK CLEAR, GRUB, FILL, GRADE, SOD NEW WALKWAYS WITH SLOPE NOT TO EXCEED 1/20 NEW CONCRETE STOOPS AT STAIRS NEW WOOD DECK WHERE INDICATED NEW WHITE PAINTED IPE PICKET FENCE IN LIEU OF SOLID PVC FENCE REMOVE 2 NORFOLK PINE TREES SCOPE OF WORK- GAZEBO NEW 24' X 24' GAZEBO PLAN 8 HELICAL PILINGS CONCRETE FLOOR, NON-SKID BROOM FINISH PT OR IPE SOLID OR GLULAM WOOD FRAME MATERIALS 8 WOOD COLUMNS, WOOD BEAMS, ROOF DECK WOOD LATTICE TRIM UNDER EAVE SELF -ADHERED UNDERLAYMENT 5-V CRIMP ROOF. ... VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Site Plan 0 4' 8' 16' SCALE 24 x 36 1" = 8' SCALE 11 x 17 1" = 16' PROJECT NUMBER 17-594 SHEET NUMBER /fj _3 VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Park Site Plan 0 50' SCALE 24 x 36 Y = 50' SCALE 11 x 17 1" = 100' PROJECT NUMBER 17-594 SHEET NUMBER /t, _ 4 © COPYRIGHT 2017 VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORIDA KEYNOTES O METAL ROOF © METAL GUTTER © METAL DOWNSPOUT Er SPLASHBLOCK O WOOD SIDING & TRIM OE DOOR Er TRIM OF WINDOW & TRIM © AWNING OH LOUVER O ENTRANCE CANOPY & TRIM O METAL HANDRAIL O CONCRETE STEPS & LANDING © CONCRETE PIERS & FOUNDATIONS KEYNOTES INDICATE TYPICAL CONDITIONS LOCATED THROUGHOUT THE WORK. FRONT REAR SCOPE OF WORK- COTTAGE #5 1. ASBESTOS REMOVAL 2. DISMANTLE AND RECONSTRUCT EXISTING COTTAGE 3. COMPLY WITH CURRENT FBC AND FEMA REQUIREMENTS 4. RE -USE EXISTING SALVAGABLE MATERIALS TO THE EXTENT POSSIBLE. 5. NEW REINFORCED 4,000 PSI CONCRETE FOUNDATIONS AND PIERS 6. NEW FLOOR ELEVATION 9.10 FT 7. SALVAGE AND REINSTALL ORIGINAL STAIRS AND RAILINGS 8. NEW 6' X 6' X 6" CONCRETE STOOP AT BASE OF STEPS 9. RECONSTRUCT FLOOR WITH NEW PT RIM JOIST 10. PROVIDE HD GALVANIZED BEAM ANCHORS AT PIERS 11. REPLACE DAMAGED FLOOR JOISTS, USE EXISTING JOISTS TO EXTENT POSSIBLE 12. RECONSTRUCT ALL WALL AND ROOF FRAMING, USE PT MATERIAL WITH HURRICANE CLIPS 13. NEW 5/8" PT EXTERIOR WALL AND ROOF SHEATHING 14. REINSTALL SALVAGED EXTERIOR SIDING TO THE EXTENT POSSIBLE 15. REPLICATE ADDITIONAL NEW SIDING AS NEEDED 16. REPLICATE OR REPAIR EXISTING LOUVERS, DOORS, WINDOWS, AWNINGS, ENTRANCE CANOPY 17. NEW HURRICANE SHUTTERS IN LIEU OF IMPACT DOORS, WINDOWS 18. PLYWOOD SHEATH AND FLASHING INSIDE OF LOUVERS 19. FIBERGLASS BATT INSULATION FLOOR, WALLS, AND CEILING 20. NEW INTERIOR WOOD BEAD -BOARD WALLS AND CEILINGS 21. ATTIC ACCESS HATCH 22. REMOVE LEAD PAINT FROM SALVAGED MATERIALS AS MAY BE APPLICABLE 23. PAINT INTERIOR AND EXTERIOR 24. NEW SELF ADHERED ROOF UNDERLAYMENT 25. NEW 5-V CRIMP GALVANIZED ROOF 26. NEW HALF -ROUND GALVANIZED GUTTERS 27. NEW ROUND GALVANIZED DOWNSPOUTS WITH CONCRETE SPLASH BLOCKS 28. NEW 3/4 T&G PT FLOOR SHEATHING THROUGHOUT 29. NEW 3/4 T&G PREFINISHED WOOD FLOOR 30. NEW VCT AT KITCHEN 31. REPLICATE KITCHEN COUNTERS, CABINETS, FIXTURES 32. RE -USE SALVAGED ITEMS FROM OTHER COTTAGES AS MAY BE APPLICABLE RIGHT SIDE LEFT SIDE 12'-0" COTTAGE #5 RECONSTRUCTION PLAN 212 S Q. FT. 12'-0" VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Existing Cottage Building No. 5 0 2' 4' 8' SCALE 24 x 36 1" = 4' EXISTING EXTERIOR ELEVATIONS COTTAGE #5 EXISTING FLOOR PLAN 249 SQ. FT. SCALE 11 x 17 1" = 8' PROJECT NUMBER 17-594 SHEET NUMBER A_5 © COPYRIGHT 2017 VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORIDA FRONT EXISTING EXTERIOR ELEVATIONS KEYNOTES OA METAL ROOF © METAL GUTTER © METAL DOWNSPOUT & SPLASHBLOCK OD WOOD SIDING & TRIM OE DOOR & TRIM OF WINDOW & TRIM © AWNING OH LOUVER OI ENTRANCE CANOPY Er TRIM O METAL HANDRAIL O CONCRETE STEPS Er LANDING © CONCRETE PIERS Er FOUNDATIONS KEYNOTES INDICATE TYPICAL CONDITIONS LOCATED THROUGHOUT THE WORK. RIGHT SIDE LEFT SIDE N 12'-0" COTTAGE #6 EXISTING FLOOR PLAN 249 SO.. FT. SCOPE OF WORK- COTTAGE #6 1. RECONSTRUCT FOR EXTERIOR VIEWING ONLY, NO PUBLIC ACCESS TO INTERIORS 2. EVALUATE AND SALVAGE FIXTURES, TRIM, ETC FOR RE -USE OR DISPLAY AS HISTORIC ARTIFACTS 3. ASBESTOS REMOVAL AS APPLICABLE 4. REPAIR FOUNDATION PIERS 5. REPLACE RIM JOIST AND SEVERELY DAMAGED SIDING, WINDOWS, AWNINGS, ETC 6. PAINTED PLYWOOD OVER INSIDE WINDOWS 7. REMOVE ALL INTERIOR AND EXTERIOR SIDING AND CEILINGS 8. REPAIR FLOOR, WALL, AND ROOF FRAMING 9. INSTALL INTERIOR X-BRACING IN LIEU OF INTERIOR FINISHES 10. REPAIR OR REPLACE EXISTING SIDING, TRIM, WINDOWS, DOORS, AWNINGS, ETC. 11. PAINT EXTERIOR 12. NEW ROOF, GUTTERS, DOWNSPOUTS TO MATCH COTTAGE #5 13. DEADBOLT LOCK EXTERIOR DOOR VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE £r REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Existing Cottage Building No. 6 0 2' 4' 8' SCALE 24 x 36 1" = 4' SCALE 11 x 17 1" = 8' PROJECT NUMBER 17-594 SHEET NUMBER /fj _C © COPYRIGHT 2017 VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORIDA FRONT EXISTING EXTERIOR ELEVATIONS KEYNOTES OA METAL ROOF © METAL GUTTER © METAL DOWNSPOUT £t SPLASHBLOCK OD WOOD SIDING Ef TRIM OE DOOR & TRIM OF WINDOW fr TRIM © AWNING O LOUVER OI ENTRANCE CANOPY Ef TRIM OJ METAL HANDRAIL OK CONCRETE STEPS & LANDING © CONCRETE PIERS & FOUNDATIONS KEYNOTES INDICATE TYPICAL CONDITIONS LOCATED THROUGHOUT THE WORK. RIGHT SIDE LEFT SIDE SCALE 1/4" = 1'-0" 12'-0" COTTAGE #7 EXISTING FLOOR PLAN 249 S Q. FT. SCOPE OF WORK- COTTAGE #7 SCALE 1/4" = 1'-0" 1. RECONSTRUCT FOR EXTERIOR VIEWING ONLY, NO PUBLIC ACCESS TO INTERIORS 2. EVALUATE AND SALVAGE FIXTURES, TRIM, ETC FOR RE -USE OR DISPLAY AS HISTORIC ARTIFACTS 3. ASBESTOS REMOVAL AS APPLICABLE 4. REPAIR FOUNDATION PIERS 5. REPLACE RIM JOIST AND SEVERELY DAMAGED SIDING, WINDOWS, AWNINGS, ETC 6. PAINTED PLYWOOD OVER INSIDE WINDOWS 7. REMOVE ALL INTERIOR AND EXTERIOR SIDING AND CEILINGS 8. REPAIR FLOOR, WALL, AND ROOF FRAMING 9. INSTALL INTERIOR X-BRACING IN LIEU OF INTERIOR FINISHES 10. REPAIR OR REPLACE EXISTING SIDING, TRIM, WINDOWS, DOORS, AWNINGS, ETC. 11. PAINT EXTERIOR 12. NEW ROOF, GUTTERS, DOWNSPOUTS TO MATCH COTTAGE #5 13. DEADBOLT LOCK EXTERIOR DOOR VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE £t REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Existing Cottage Building No. 7 0 2' 4' 8' SCALE 24 x 36 1 " = 4' SCALE 11 x 17 V = 8' PROJECT NUMBER 17-594 SHEET NUMBER A_7 © COPYRIGHT 2017 VICTOR J. LATAVISH ARCHITECT, PA., NAPLES, FLORIDA 35'-0" SCOPE OF WORK- COTTAGE #8 CISTERN 1. DEMOLISH EXISTING STRUCTURE 2. NOTE ASBESTOS SIDING, VAT FLOORING, AND MOLD ARE PRESENT OTHER HAZARDOUS MATERIALS MAY BE PRESENT F------------------------------------ --- - - - - - - - - - - - - - - - - - - - - - -----T I I I I I I I I I I I I I I El KEYNOTESFO- I I I I I I I OA METAL ROOF I I KITCHEN DINING I I I © METAL GUTTER 0 I I I I I I I I I I I I © METAL DOWNSPOUT Et SPLASHBLOCK i VINYL ASBESTOS TILE FLOOR o I OD SIDING Er TRIM I GARAGE STORAGE OE DOOR Er TRIM 200 S.F. I I I I I I OF WINDOW Er TRIM I I I I I I I LIVING RM. BEDROOM © AWNING I I I I I I O LOUVER I I I I I I I I I I I I I OI ENTRANCE CANOPY Er TRIM I I I I I I O METAL HANDRAIL I------------------------------- ------- ---------------------------------------------- ----J OK CONCRETE STEPS Ef LANDING DAMAGED ASBESTOS SIDING © CONCRETE PIERS Et FOUNDATIONS KEYNOTES INDICATE TYPICAL CONDITIONS LOCATED THROUGHOUT THE WORK. COTTAGE #8 EXISTING FLOOR PLAN 500 SO.. FT. SCALE 1/4" = V-0" A F D I E F A D H F 000 E J K FRONT LEFT SIDE A D E A F D A H F U I U Ll U U U U U -77 J K IK REAR RIGHT SIDE EXISTING EXTERIOR ELEVATIONS SCALE 1/4" = V-0" VICTOR J. LATAVISH, AIA ARCHITECT MEMBER THE AMERICAN INSTITUTE OF ARCHITECTS AA C001831 4100 CORPORATE SQUARE SUITE 100 NAPLES, FLORIDA 34104 TELEPHONE 239-643-1665 ISSUE & REVISION DATES REVIEW 07-27-17 VICTOR J. LATAVISH, AIA AR 11942 CERTIFICATION: TO THE BEST OT THE ARCHITECT'S KNOWLEDGE AND BELIEF, THESE PLANS AND SPECIFICATIONS COMPLY WITH THE APPLICABLE MINIMUM BUILDING CODES AND THE APPLICABLE FIRE SAFETY STANDARDS ADOPTED BY THE AUTHORITIES HAVING JURISDICTION. DRAWINGS ARE NOT VALID UNLESS SIGNED AND SEALED IN ACCORDANCE WITH F.S. CHAPTER 481. Margood Harbor Park Marco Island, Florida Existing Cottage Building No. 8 0 2' 4' 8' SCALE 24 x 36 V = 4' SCALE 11 x 17 1" = 8' PROJECT NUMBER 17-594 SHEET NUMBER A_ Q APPENDIX B PRELIMINARY CONSTRUCTION COST AND PROJECT BUDGET MARGOOD COTTAGES- PRELIMINARY CONSTRUCTION BUDGET- 07-27-17 Cottage #5 Reconstruction $ 232,254.00 Cottage #6 Refurbish, Partial $ 136,026.00 Cottage #7 Refurbish, Partial $ 140,481.00 Cottage #8 Demolition $ 35,000.00 Cistern Refurbish, Exterior $ 3,000.00 Sitework Sidewalks, Fences, Landscaping $ 28,000.00 Subtotal $ 574,761.00 Contingency $ 28,738.05 Preliminary Construction Cost Estimate $ 603,499.00 Survey, Engineering, Fees, Permits, Est. $ 90,524.85 Preliminary Project Budget $ 694,024.00 COTTAGE #5 Div Description Subcontract Labor Materials Subtotal Div #1 General Services $ - $ 6,000.00 $ 3,000.00 $ 9,000.00 Div #2 Site Work $ 6,000.00 $ 6,000.00 Div #2 Selective Demolition $ - $ 6,200.00 $ 500.00 $ 6,700.00 Div #3 Concrete $ - $ 3,800.00 $ 5,500.00 $ 9,300.00 Div #5 Metals $ - $ 300.00 $ 300.00 Div #6 Carpentry Rough $ 28,500.00 $ 7,300.00 $ 19,000.00 $ 54,800.00 Div #6 Carpentry Finish $ 5,000.00 $ 2,500.00 $ 7,500.00 Div #6 Cabinetry $ 3,500.00 $ 1,000.00 $ 4,500.00 Div #7 Thermal/Moisture/Roof $ 14,500.00 $ 14,500.00 Div #8 Doors/Windows/Shutters $ - $ 3,000.00 $ 6,500.00 $ 9,500.00 Div #9 Finishes/Paint $ 4,500.00 $ 4,500.00 Div #9 Finishes/Flooring $ 5,000.00 $ 1,500.00 $ 1,500.00 $ 8,000.00 Div #10 Specialties $ 9,400.00 $ 9,400.00 Div #15 Mechanical $ 5,000.00 $ 5,000.00 Div #16 Electric $ 7,400.00 $ 7,400.00 Subtotal $ 156,400.00 On Site Supervision $ 23,460.00 Contractor P&O $ 31,280.00 Contingency $ 21,114.00 Preliminary Budget $ 232,254.00 COTTAGE #6 Div Description Subcontractor Labor Materials Subtotal Div #1 General Services $ 1,500.00 $ 250.00 $ 1,750.00 Div #2 Site Work $ 4,000.00 $ 4,000.00 Div #2 Selective Demolition $ - $ 3,600.00 $ - $ 3,600.00 Div #4 Concrete $ - $ 3,800.00 $ 5,500.00 $ 9,300.00 Div #5 Metals $ - $ 150.00 $ - $ 150.00 Div #6 Carpentry Rough $ 26,000.00 $ 7,300.00 $ 19,000.00 $ 52,300.00 Div #6 Carpentry Finish $ - $ - Div #6 Cabinetry $ - $ - Div #7 Thermal/Moisture/Roof $ 7,500.00 $ 7,500.00 Div #8 Ext Doors and Windows $ - $ 3,000.00 $ 5,500.00 $ 8,500.00 Div #9 Finishes/Paint $ 3,000.00 $ 3,000.00 Div #9 Finishes/Flooring $ - $ - Div #10 Specialties $ 1,500.00 $ 1,500.00 Div #15 Mechanical -Plumbing $ - $ - Div #16 Electric $ - $ - Subtotal $ 91,600.00 On Site Supervision $ 13,740.00 Contractor P&O $ 18,320.00 Contingency $ 12,366.00 Preliminary Budget $ 136,026.00 COTTAGE #7 Div Description Subcontractor Labor Materials Subtotal Div #1 General Services $ 1,500.00 $ 250.00 $ 1,750.00 Div #2 Site Work $ 4,000.00 $ 4,000.00 Div #2 Selective Demolition $ - $ 3,600.00 $ - $ 3,600.00 Div #4 Concrete $ - $ 3,800.00 $ 5,500.00 $ 9,300.00 Div #5 Metals $ - $ 150.00 $ - $ 150.00 Div #6 Carpentry Rough $ 28,000.00 $ 7,300.00 $ 20,000.00 $ 55,300.00 Div #6 Carpentry Finish $ - $ - Div #6 Cabinetry $ - $ - Div #7 Thermal/Moisture/Roof $ 7,500.00 $ 7,500.00 Div #8 Ext Doors and Windows $ - $ 3,000.00 $ 5,500.00 $ 8,500.00 Div #9 Finishes/Paint $ 3,000.00 $ 3,000.00 Div #9 Finishes/Flooring $ - $ - Div #10 Specialties $ 1,500.00 $ 1,500.00 Div #15 Mechanical -Plumbing $ - $ - Div #16 Electric $ - $ - Subtotal $ 94,600.00 On Site Supervision $ 14,190.00 Contractor P&O $ 18,920.00 Contingen Contingency $ 12,771.00 Preliminary Budget $ 140,481.00 APPENDIX C STRUCTURAL ENGINEERS REPORT Liebl & Barrow Engineering, Inc. Structural Engineering . Threshold Inspection June 6, 2017 Victor Latavish 4100 Corporate Square, Suite 100 Naples, FL 34104 Re: Margood Cottages Structural Inspection Dear Mr. Latavish, Per your request a representative of Liebl and Barrow Engineering, Inc. inspected the Margood cottages on Tuesday, May 30, 2017. The cottages are located just north-east of Margood Harbor Park (refer to architectural sheet A-1 by Victor Latavish Architect for site layout and cottage designations). The scope of inspection was to assess structural integrity of the the historic (circa 1940-1950) construction and provide recommendations for restoration. Observations, Discussion, Recommendations: The following observations, unless noted otherwise, apply to cottages numbered 5,6,7, and 8 without reservation. Foundations/piers: Majority of the piers have spalling concrete with exposed rebar (Image 4). The degree of spalling and rust suggests that the piers will need to be replaced. The footings appear undersized to anchor the building(s) against uplift, as would be dictated by current code, and will also need to be replaced. Floor joists: A majority of floor joists appear to be in serviceable condition. Some of these joists maybe reused (Image 7); however, this would require a more thorough, joist by joist, investigation to determine beyond a reasonable doubt which members are structurally sound (Image 8, ex. Joist starting to deteriorate). Floor sheathing: The existing sheathing is deteriorated beyond repair. Isolated areas ( in cottage #7 in particular) have no structural integrity, and are dangerous to walk on. All floor sheathing should be replaced. Joist rim boards: The joist rim boards are fully rotten and ineffective for structural purposes they need to be replaced in entirety (Image 2 and Image 3). 10970 South Cleveland Avenue Suite #105 Fort Myers, FL 33907 Phone 239-936-7557 • Fax 239-936-6817 • Email: info@lieblandbarrow.com Margood Cottages June 6, 2017 — Page 2 of 6 Wall studs: The vast majority of wall studs are rotten and/or have been eaten by termites (Images I & 8). It might be possible to salvage a few intact studs — if they are to be reused, it is recommended that they are left for non-structural purposes. Wall sheathing: Exterior wall sheathing consists of Ix boards — these vary in condition from poor to disintegrated, and would have to be replaced (Images 1 & 2). (Please see paragraph two in additional remarks for discussion on lateral wall bracing). Rafters/trusses: The roof members are the best preserved wood on site, with many in an acceptable/good condition (Image 5). However, rot and termite damage is present in areas of water infiltration and retention — primarily around the exterior wall and overhangs (Image 6). A more thorough, piece by piece investigation is needed to determine which members are structurally sound for reuse purposes. Roof sheathing: The V-crimp metal deck appears to be at the end of its serviceability lifecycle and should be replaced (Image 10). In addition, no continuous rigid diaphragm is provided to support the V-crimp. New plywood sheathing will be necessary to brings structure up to code. Entry stairs and railing: The entry stairs and pipe railings visually appear to be in good condition (Image 9) — it should be possible to re -use them with minor corrective work. Additional Remarks: The east and west walls of cottage #8 appear to have a continuous 2x4 plate cutting through the wall studs at approximately half height. Structurally, this forms a "pin" connection, and is an unacceptable method of wall construction. As such, this building should be condemned or dismantled. The interior wall between the cottage and the "garage", however, is in sound condition, and could potentially be reused (pending thorough investigation for rot and termite damage). The structures(s) appear to be laterally braced by diagonal 2x6 members located at the ends of walls. It may be possible to replicate such a system to handle wind loads based on the current building codes, however, the use of plywood sheathing should not be ruled out. Final Recommendations: Due to the high degree of decay it is recommended that the existing structures be condemned, demolished or dismantled. It may be possible to salvage existing 2x wood members from joists, trusses, or walls to recreate non-structural elements of the cottages. The concrete stairs and pipe railing can be reused if the structures are to be rebuilt (application of paint and/or galvanizing required on the piping). Margood Cottages June 6, 2017 — Page 3 of 6 Limitations of Report The purpose of this report is to document the observations and good faith opinions of the inspector from a visual inspection of the structure. The intent of this report is to express the inspector's perceived impressions of those reasonably visual items on the day of inspection. No representation or comment is made concerning any latent defects not reasonably visible at the time of inspection. If we may assist you further, please contact us. Very truly yours, /41eb E.I. Attachments: pictures 1-10 File: 17-410 GS/pls e-i,R Brian Liebl, P.E. Principal Florida Registration No ....... 3 tic.43087 '•. S'K E Of 43087 Special Inspection No. 1087 Margood Cottages June 6, 2017 — Page 4 of 6 Image 1: Rotten siding Iftlk-11�1' 11 . Image 3: Rotten siding, rim board and studs Image 2: Rotten siding & rim board Image 4: Spalling pier with exposed rebar Margood Cottages June 6, 2017 — Page 5 of 6 Image 5: Truss/rafter-typical condition Image 6: End of truss/rafter showing Image 7: Floor joists, typical condition(s) Image 8: Floor joist and sheathing Showing signs of rot Margood Cottages June 6, 2017 — Page 6 of 6 Image 9: Concrete stair and railing Image 10: Overall, typical condition RESOLUTION NO, 15- 15 A RESOLUTION OF THE BOARD OF COUNTY COMMISSIONERS OF COLLIER COUNTY, FLORIDA DESIGNATING PROPERTY COMMONLY KNOWN AS MAR -GOOD HARBOR PARK, FORMERLY THE MAR -GOOD RESORT PROPERTY, AS A HISTORICALLY SIGNIFICANT SITE, PURSUANT TO THE HISTORIC/ARCHAELOGICAL PRESERVATION REGULATIONS AS PROVIDED IN SECTION 2.03.07.F. OF THE COLLIER COUNTY LAND DEVELOPMENT CODE. THE SUBJECT PROPERTY IS LOCATED IN GOODLAND IN SECTION 18, TOWNSHIP 52 SOUTH, RANGE 27 EAST, COLLIER COUNTY, FLORIDA, CONSISTING OF 2.62 ACRES. [PETITION HD-2006-AR-10679I WHEREAS, the Board of County Commissioners of Collier County adopted Ordinance No, 91-70, the Historical/Archaeological Preservation Ordinance, on August 7, 1991 and subsequently incorporated this Ordinance into the Collier County Land Development Code; and WHEREAS, the Board of County Commissioners of Collier County seeks to recognize the importance and significance of Collier County's historical heritage, and to this end has enacted regulations to protect, preserve and perpetuate Collier County's historic and archaeological sites, districts, structures, buildings and properties; and WHEREAS, Section 2.03.07.E of the Land Development Code, provides for official designation of particular sites as historically significant and provides regulations to maintain the historic character of officially designated properties; and WHEREAS, there are three cottages on the Mar -Good Harbor Park property that are rare examples of fish camp architecture and early 20`h century accommodations for tourists in Florida; a fourth cottage was built in the 1950's; and WHEREAS, the Collier County I listorical/Archaeo logical Preservation Board reviewed and considered the historic designation of the Mar -Good Harbor Park at a public meeting held for that purpose; and WHEREAS, on February 19, 201�F, the Preservation Board voted to nominate the Mar - Good Resort building, four cottages and the cistern at the Mar -Good Park for official designation n recognition of the important role played by the structures; and WHEREAS, the Preservation Board hereby forwards said nomination to the Board of County Commissioners. NOW, Tf11?RI'EORE:, BE IT Rf?SOLVED BY "f[[E BOARD Of COUNTY COMi�11SSI0'vl?RS OE COLLIER COUTr fY, FLOR[DA that: cis-o i 4oa� 1 i4o»oi i 3 i I of 2 Mar -Good tiis�oric Designation Keo. 13:19�14 In recognition of its important and significant place in the historical heritage of Collier County, the property commonly known as the Mar -Good Harbor Park, formerly known as at the Mar -Good Resort Property, legally described in Exhibit "A" attached hereto and incorporated herein is hereby designated as an historic site. BE ff FURTHER RESOLVED that the Mar -Good Resort building, four cottages and the cistern at the Mar -Good Harbor Park, formerly known as Mar -Good Resort Property, shall hereafter be subject to the Historic/Archaeological Preservations Regulations of the Collier County Land Development Code as they pertain to historically designated property including all applicable incentives and restrictions. Phis Resolution adopted after motion, second and majority vote this 3 da of ev�t�_2015, y d A'I"fES"f: DWIGHT E. BROCK, CLERK By; . Age ty iit es a tad airman's signature only Approve/ed, ass t�o form and legality: Heidi Ashton-Cicko Managing Assistant County Attorney Attachment: Exhibit A —Legal Description ild-CPS-OIa00-�IIa0770�i�31 ylar-Goad I-listoric Designation Rev. IZ1914 BOARD OF' COUNTY COMMISSIONERS COLLIER COUNTY, FLORIDA By: /r. 6J 4U� TIM NANCE, Chairman ? of2 JR; 3797 PG: 1773 EXHIBIT "A', 1 OF 4 LOTS 4, 51 69 71 81 91 10, 11, BLOCK 3, AMENDED AND ENLARGED PLAT OF 30ODLAND HEIGHTS, ACCORDING TO PLAT IN PLAT BOOK 1, PAGE 85, PUBLIC RECORDS OF COLLIER COUNTY, FLORIDA; LOTS 4, 5, 6, 9, AND 10, PETTIT SUBDIVISION, ACCORDING TO PLAT IN PLAT BOOK 2, PAGE 88, PUBLIC RECORDS OF COLLIER COUNTY, FLORIDA; ��M" NU BEN COMMENCING AT A CONCRET O M T WITH A 3/4° GALVANIZED IRON PIPE MARKING THE NORTHWESTERLY CORNER OF SAID PETTIT SUBDIVISION; THENCE SOUTH 22°58'30' EAST 30.0 FEET TO A CONCRETE MONUMENT MARKING THE NORTHWESTERLY CORNER OF LOT 1 OF SAID SUBDIVISION, THE POINT OF BEGINNING; THENCE CONTINUING SOUTH 22058'30' EAST 221.88 FEET TO A CONCRETE MONUMENT WITH A 3/4° GALVANIZED IRON PIPE; THENCE SOUTH 0021'00' EAST 88.95 FEET TO A CONCRETE MONUMENT WITH A 3/40 GALVANIZED IRON PIPE; THENCE SOUTH 78'28'301 WEST 110.92 FEET TO A CONCRETE MONUMENT WITH A 3140 GALVANIZED IRON PIPE MARKING THE NORTHEAST CORNER OF LOT 9, BLOCK 3, GOODLAND HEIGHTS SUBDIVISION; THENCE NORTH 88007'30° WEST 120.0 FEET TO AN IRON PIN MARKING THE NORTHEAST CORNER OF LOT 11, BLOCK 3, OF SAID SUBDIVISION; THENCE NORTH 1°52'30° EAST 34.79 FEET TO A 3/40 GALVANIZED IRON PIPE; THENCE CONTINUING NORTH 1'52'30° EAST 8.0 FEET TO A POINT ON THE SHORE OF A PROPOSED CANAL TO JRe 3797 PG; 1774 EXHIBIT "A" 20F4 GOODLAND BAY; THENCE NORTH 88°54'20EAST FOLLOWING THE SOUTHERLY SHORE OF SAID CANAL 114.66 FEET TO A POINT, SAID . POINT BEING THE POINT OF CURVE OF A CURVE TO THE LEFT HAVING A RADIUS OF 60.0 FEET; THENCE FOLLOWING THE SOUTHERLY SHORE OF SAID CANAL ALONG A CURVE TO THE LEFT THROUGH A CENTRAL ANGLE OF 113000' A DISTANCE OF 118.33 FEET TO THE POINT OF TANGENCY; THENCE NORTH 24005'40' WEST FOLLOWING THE EASTERLY SHORE OF SAID CANAL 104.18 FEET TO A POINT, SAID POINT BEING THE POINT OF CURVE OF A CURVE TO THE RIGHT HAVING A RADIUS OF 61.38 FEET; THENCE FOLLOWING THE EASTERLY SHORE OF SAID CANAL ALONG A CURVE TO THE RIGHT THROUGH A CENTRAL ANGLE OF 1803012DO A DISTANCE OF 19.82 FEET TO A POINT OF TANGENCY; THENCE NORTH 5035'20' WEST FOLLOWING THE EASTERLY SHORE OF SAID CANAL 69.08 FEET TO A PO I7pll� C 88°0T30' EAST 10.0 FEET TO A 3/4' GALVANIZED IR E NUING SOUTH 88°07'30' EAST 16.4 FEET TO TH OF BEGIN L LYING AND BEING ITUATED IN GOVER E4, SECTION WNSHIP 52 SOUTH, RANGE 27 EAST, RIt�IAN, GO DLAND, COLLIER COU , FLORIDA. �„ 1 A CERTAIN PARCEL TRACT OF LYI G TH OF A TRACT CONVEYED TO MILTO OHNSON AND C IN DEED BOOK 47, PAGE 4111 PUBLIC R S OF COLLIER FLORIDA MORE PARTICULARLY DESCRIB LLOWS• 1� TAIL C1Rce COMMENCING AT A 4' X 4' CONCRETE MONUMENT WITH A 3/4' GALVANIZED IRON PIPE MARKING THE NORTHWESTERLY CORNER OF PETTIT SUBDIVISION AS RECORDED IN THE PUBLIC RECORDS OF COLLIER COUNTY, FLORIDA, IN PLAT BOOK 2, PAGE 88; THENCE NORTH 88007'30' WEST 14.00 FEET TO A POINT ON THE EASTERLY SHORE OF A BRANCH CANAL FROM A CANAL TO GOODLAND BAY, SAID POINT BEING THE SOUTHWESTERLY CORNER OF TRACT CONVEYED TO DR. E. WAYNE LONG AND WALTER C. BURWICK RECORDED IN DEED BOOK 45, PAGE 324, SAID POINT BEING ALSO THE POINT OF BEGINNING OF THE LANDS HEREIN DESCRIBED; THENCE SOUTH 88007'30' EAST 14.00 FEET TO A CONCRETE MONUMENT WITH A 314' GALVANIZED IRON PIPE; THENCE SOUTH 22°58'30' EAST 30.00 FEET TO A CONCRETE MONUMENT WITH A 3/4' GALVANIZED IRON PIPE, SAID POINT BEING THE NORTHWEST CORNER OF LOT 1 OF SAID PETTIT SUBDIVISION; THENCE NORTH 88°07'30' WEST 16.40 FEET TO A 3/4' GALVANIZED IRON PIPE ON THE BANK OF SAID BRANCH CANAL; THENCE CONTINUING NORTH JR; 3797 PG; 1775 EXHIBIT "A" 30F4 88°07'30' WEST 10.00 FEET TO A POINT ON THE EASTERLY BOUNDARY OF SAID CANAL, SAID POINT BEING THE NORTHWESTERLY CORNER OF TRACT CONVEYED TO M. C. JOHNSON AND RECORDED IN DEED BOOK 47, PAGE 411; THENCE NORTH 5°35'20' WEST FOLLOWING THE EASTERLY BOUNDARY OF SAID BRANCH CANAL 16.97 FEET TO THE POINT OF CURVE OF A CURVE TO THE RIGHT HAVING A RADIUS OF 17.14 FEET; THENCE FOLLOWING SAID CURVE TO THE RIGHT ALONG SAID EASTERLY CANAL BOUNDARY AND THROUGH A CENTRAL ANGLE OF 36°19'10' 10,86 FEET TO A POINT OF TANGENCY, THE POINT OF BEGINNING, ALL LYING AND BEING SITUATE IN GOVERNMENT LOT 14, SECTION 18, TOWNSHIP 52 SOUTH, RANGE 27 EAST, TALLAHASSEE MERIDIAN, GOODLAND, COLLIER COUNTY, FLORIDA, A CERTAIN PARCEL • • r • - • • •-r • • • 41- i> :•• BEGINNING AT TH RTHWEST CO E Or5l T 140 BLOCK 3, GOO•DLAND HEIGHTS IVISION; THEN NO3'30' EAST 180.0 FEET TO A 3/4- GALV D IRON PIPE; NTINUING NORTH 85°03'30' EAST 52.91 FE CONCR QT WITH A BRASS CAP; THENCE SOUTH 88°0 Y0 t� AN IRON PIN MARKING THE NORTHEAST CORNER 0 d1 L. K 3, OF SAID GOODLAND HEIGHTS SUBDIVISION; THENCE NORTH 1052'30' EAST 34.79 FEET TO A 3/4' GALVANIZED IRON PIPE; THENCE CONTINUING NORTH 1052'30" EAST 8.0 FEET TO A POINT ON THE SHORE OF A PROPOSED CANAL TO GOODLAND BAY; THENCE SOUTH 88°54'20' WEST 107.89 FEET TO A POINT ON THE SOUTHERLY SHORE OF SAID CANAL, SAID POINT BEING NORTH 7°14' EAST 8.18 FEET FROM A 3/4' GALVANIZED IRON PIPE, A REFERENCE POINT AND ALSO BEING NORTH 7*14' EAST 43.74 FEET FROM A 3/4' GALVANIZED IRON PIPE ON THE NORTHERLY BOUNDARY OF SAID GOODLAND HEIGHTS SUBDIVISION LAST AFORESAID PIPE HAVING HEREIN DESCRIBED AS BEING NORTH 85003'30' EAST 1B0.0 FEET FROM THE POINT OF BEGINNING; THENCE NORTH 7°14' EAST FOLLOWING THE SHORE OF WESTERLY AND OF SAID PROPOSED CANAL 7.39 FEET; THENCE SOUTH 85°03'30' WEST 8.0 FEET TO A 3/4" GALVANIZED IRON PIPE; THENCE CONTINUING SOUTH 85°03'30' WEST 172.0 FEET TO A POINT ON THE EASTERLY RIGHT-0E-WAY BOUNDARY OF PAPAYA STREET; THENCE SOUTH 7014' EAST FOLLOWING THE EASTERLY RIGHT- JR; 3797 PG; 1776 **f EXHIBIT u/��1" 4 OF 4 OF -WAY BOUNDARY OF SAID PAPAYA STREET 51.13 FEET TO THE POINT OF BEGINNING, ALL LYING AND BEING SITUATE IN GOVERNMENT LOT 14, SECTION 18, TOWNSHIP 52 SOUTH, RANGE 27 EAST, TALLAHASSEE MERIDIAN, GOODLAND, COLLIER COUNTY, FLORIDA, AND BEGINNING AT A POINT MARKED BY A 3/4° GALVANIZED IRON PIPE ON THE NORTHERLY BOUNDARY OF GOODLAND HEIGHTS SUBDIVISION, RECORDED IN PLAT BOOK 1, PAGE 85, COLLIER COUNTY, FLORIDA, SAID POINT BEING THE INTERSECTION OF SAID NORTHERLY BOUNDARY AND THE WESTERLY BOUNDARY WPETT1 SUBDIVISION, RECORDED IN PLAT BOOK 2, PAGE 88, C I)JImIt LORIDA; THENCE NORTH 22°58'306 WEST 126,35 F WIN TERLY BOUNDARY OF SAID PETTIT SUBDNI N O A CONCRET UMENT WITH A 3140 GALVANIZED IRON P E; EN 0 0021' T 88.95 FEET TO A CONCRETE MONUM NT 1 3! ' I 1 ON PIPE; THENCE NORTH 78028'30° T E ONUMENT WITH A 3/40 GALVANIZED IP N I O E NORTHERLY BOUNDARY OF SAID SU D I :THENCE SOUTH 88007`30° EAST 157, EET TO THE 1 0 GINNING, BEING SITUATE IN GOVERN LOT 14, SECT 8 NSHIP 52 SOUTH, RANGE 27 EAST, T SSEE MERI ODLAND, COLLIER COUNTY, FLORIDA, (� �Tf�L CIRC�� Co er 4C,014VMY Growth Management Department Zoning Division April 7,2021 Mr. Ruben A. Acosta Survey and Registration Supervisor Bureau of Historic Preservation R.A. Gray Building 500 South Bronough Street Tallahassee, Florida 32399-0250 RE: Collier County Preservation Board Meeting Mr. Acosta: Please be advised that a public meeting for the Collier County Historic and Archaeological Preservation Board (HAPB) has been scheduled on Friday, April 16, 2021 and will begin at 9:15 a.m. at the Collier County Growth Management Department— Planning & Regulation, Conference Room 610, located at 2800 North Horseshoe Drive, Naples Florida I have attached a copy of the agenda for your reference. Also, a copy of the March 19, 2021 minutes has been attached for your records. If you have any questions concerning this meeting, please do not hesitate to call me. My phone number is 239-252-1035, or you can e-mail me at TimothyfinnAcolliergov.net. Sincerely, Timothy Finn, AICP, Principal Planner (Historic Preservation Board Liaison) Planning and Zoning Division - Zoning Services Section cc: Preservation Board Members (7) Amanda Townsend Ray Bellows BCC Office County Attorney's Office HAPB Cover Letter