Uncovering, Understanding, and Preserving Painted Ornament in Richard Upjohn's

Grace Church

Amanda Stauffer Park

I. Introduction

A. Grace Church

1. Architect, Richard Upjohn, and his background

2. Historical context for the building and style

II. Project Overview

A. Timeline – events from autumn 2009 to October 2013

B. Client goals & Corresponding Challenges

1. Proposed acoustic interventions, which threaten to damage the

original wood substrate and painted finishes at the ceiling

2. Budgetary restrictions preclude the enactment of a thoroughly

conservation-driven approach

III. Painted Finishes Investigation

A. Step 1: Archival Research

1. Alteration Chronology (Summary)

a. Yields Four Periods of Interest

(1) 1848 : initial design

(2) 1866: polychromatic redecoration campaign

(pictured in this photo); also included phased

replacement of quarrelled glass windows with

stained glass

(3) 1891: chancel rededication, including some

overpainting and replacement of the altar and floor

(4) 1909: replacement of wood columns with stone

columns and arches, and the repainting of ceiling

2. Target Era (2nd period, 1866)

a. Symbolism

b. Significance

B. Investigation Methodology

1. Sample location and extraction protocol

2. Production of exposures

3. Microscopy and color matching

C. Findings and Documentation of Discoveries

D. Corresponding Trends in Nineteenth Century American Design

1. Innovations in the Paint Industry

2. Pattern Books

a. A.W.N. Pugin & Grace Church

IV. Design Development

A. Overarching Goal: Design Unity

1. Pugin’s principles of an integrated whole, as exemplified in

Grace Church

2. Principles carried forward into 2012 Design Development by

EAA

a. Maquettes and renderings

3. Challenges

a. Client preference for piecemeal aggregate of original

elements rather than a unified, historically accurate

approach

b. Public distaste for original palette

c. Budgetary restrictions

d. Rejection of original rendering

B. Development of Multi-pronged approach

1. Conservation

a. Full exposure of the ceiling, trusses, and beams

2. Replication

a. Spandrel medallions, dado, frieze

3. Reference in new design

a. Cornice

b. Wall field

V. Mock-up Phase and CD Phase

A. Benefits of having a large-scale mock-up

1. Mock-up Findings during Mock-up Investigation

2. Mock-up Treatments

June 20, 2013 Session CS21: Preserving Decorative Finishes Track: Material Conservation in Urban Environments APTi 2013 NYC Annual Conference

City Hall: City Beautiful Speaker: David Riccio

Outline (DRAFT)

1. Overview of Waterbury City Center Complex a. Cass Gilbert, Architect b. City Hall design and influences of Adam Brothers c. Complex and train station (McKim Mead and White) d. “The Brass City” and Ken Burns documentary “The War” City changes

2. Restoration Project

a. Building abandon for years i. Damage

b. Construction Documents (drawings, studies) c. Restoration program

i. MEP’s ii. Fabrics: wood, metal, stone, paint, decoration and plaster

d. Decorative finishes exploration i. Arthur R. Willett

ii. Original and second paint campaigns iii. Map cracking and canvas encapsulation iv. Revealing original decoration v. Color palette

vi. Conservation vii. Encapsulation

e. Plaster Survey i. Plaster system

ii. Conditions (map cracks) f. Restoration procedures

i. Paint & decoration 1. Documentation 2. Reinstatement 3. Materials 4. Replication of historic decorative art from B/W photos 5. Reproduction on canvas

ii. Cast Plaster iii. Reinforced plaster veneer iv. Casting and installation of coffers

g. Conclusion i. Collaboration

ii. Grand Opening

 Fibrous Plaster Ceilings: Symbols of the Metropolis 

Assessment and Conservation by 

Rod Stewart, Historic Plaster Conservation Services Limited  

Part One The 1857 British Museum represents a novel turning point.   A brief description and three samples of pre‐industrial decorative plaster   Reference to the Industrial Revolution and its effect on building technology generally  Evolution of Fibrous Plaster as a commodity in building construction  Two Tracks of Development   Utility     Fibrous plaster is the pre‐cursor to sheet rock        Less expensive, more efficient, and easier to control method of achieving          plaster finished surfaces on buildings       Example shown is St. Augustine’s Church, South Slope in Brooklyn    Elaboration  Fibrous Plaster facilitates the grand exuberance of           The Belle Epoch (1870 – 1915)       Three typical examples are shown.             Fibrous Plaster requires the simplification of designs       Repetition of thin cast elements       Creates apparent complexity with repetition       Examples are shown from trade catalogues    A nine‐point summary of the claimed attributes of all Fibrous Plaster ceilings      and embellishments is given  Part Two How Fibrous Plaster is made   Description of the four‐step process for making fibrous plaster panels   Description of the installation process   Introduction of the non‐technical term “wad” to describe the fastening of      Fibrous Plaster ceilings   What goes wrong with Fibrous Plaster after installation?   Description of the three main causes of failure or concern     Water Infiltration     Mechanical Damage     Anticipation of future Seismic Events       Description of the Parliamentary Precinct in Ottawa, Canada        and the prevalence of large buildings with Fibrous Plaster ceilings 

     Discussion of the use and lack of use of metal armatures in Fibrous Plaster assemblies   Caution regarding the need to establish the presence of such an armature during any      inspection and the recommended use of metal detectors in inspection.  Brief description of two typical Fibrous Plaster ceilings in buildings in the    Parliamentary Precinct in Ottawa       Part Three Treatment Options   Brief illustrated description of a hand lay‐up method of reinforcing Fibrous Plaster      ceiling panels    Brief illustrated description of a high volume spray application method of reinforcing      Fibrous Plaster in the Parliamentary Precinct in Ottawa.  Conclusion   The fundamental Inspection requirement for a Fibrous Plaster Ceilings Assembly is   to establish the presence or absence of a metal armature within the matrix of plaster.             

COLORING IN THE GUIDELINES: Development of an Exterior Paint Color Palette for Savannah’s National Historic Landmark District

Presenter: Kathryn A. Stephens Session: CS21 Changing Taste: Preserving Decorative Finishes Date: Tuesday, October 15, 12:15-1:45 PM I. Introduction to topic:

a. Overview of paint color review process in Savannah b. Needs of the Metropolitan Planning Commission to be able to analyze color use more

appropriately; goal was to create a palette/brochure for use by staff and district residents c. Overarching themes: color in the built environment, legality of color regulation,

methodologies for architectural paint research II. Project Methodology

a. Began with analysis of historic color use on a national scale; can be divided into six major periods (Early Colonial, Late Colonial, Federal, Romantic, Victorian, Colonial Revival)

b. Comparing these national trends with evidence from Savannah highlighted some specific regional characteristics, but showed that there was little variation in color use. Existing variations resulted from:

i. Patterns of national and international trade ii. Popular modes of transportation

iii. Savannah’s unique architectural character III. Evidence for Regional Color Use

a. Sources included historic accounts, period advertisements, historic imagery, and analysis reports from individual structures

b. Brief overview of each period of regional color use and sources: i. Colonial (1733-1790): reds, browns, blues, grays in monochromatic schemes

ii. Federal (1790-1840): whites, creams, grays with darker trim in greens and blues iii. Romantic (1840-1870): soft earth tones (grays, browns, pinks, yellows) with trims in

subtle shades iv. Victorian (1870-1900): rich tertiary shades in polychromatic schemes v. Colonial Revival (1900-1920): whites, creams, pastel blues and yellows with

contrasting trim IV. Results

a. Research was distilled into a palette of 95 colors divided into three periods i. Colonial and Colonial Revival periods not included as separate distinctions in the

final palette because no early structures survive and little regional evidence for the Colonial Revival period could be found.

ii. 25 colors in the Federal palette, 25 colors in the Romantic palette, and 45 colors in the Victorian palette; intended to be used in a cumulative manner, meaning colors from a structure’s period of construction and any earlier colors can be used on its surfaces

iii. Specific color references were taken from the findings of experienced paint analysts and presented as Pantone swatches (Pantone used for accessibility reasons)

V. Limitations/ Future Research a. This project intended as a first step in understanding Savannah’s exterior decorative finishes b. Needs to be supplemented with additional physical investigations and documentary research c. Allows the city’s preservation staff to justify their decisions on color use, allows residents to

choose from a variety of colors, and provides a framework for future research