Tag Archives: architecture

The Challenges of Assessing Structural Brick Veneer Panels

The origin of Structural Brick Veneer Panel dates back to the early sixties when new “tensile strength intensive” exotic mortar combined with steel reinforcing to create a 4-inch thick, single wythe brick panel. Developments continued to occur throughout the 1960s and 1970s, peaking in use during the 1980s. The system was relatively expensive due to the use of the high tensile strength mortar.
Koin Center brick pane
Developments in both the high tensile strength mortar and the clay units continued to reduce cost and allow the use of regular reinforcing and standard mortar and grout. Newer systems and manufacturing processes accommodated both horizontal and vertical reinforcing and permitted high-lift grouting. Later advancements in the connections of the brick veneer panel system to the building frame resulted in the use of brick veneer panels system on multi-story high-rise office buildings, schools, apartment buildings, residences and many other applications throughout the United States and the Pacific Northwest.
cracked brick_design guide
Major Failure Mechanisms
There are two major failure mechanisms of Structural Brick Veneer Panels: water intrusion and mortar/grout additives. Water intrusion can occur from a lack of adequate flashing at the window head and sill interface, carbonization of the mortar, and structural cracking. Brick veneer panels are commonly designed to allow for limited cracking at the horizontal bed joints at the brick to mortar interface. Masonry veneer panels leak more through the mortar and brick interface than through the masonry unit itself. If the mortar and brick interface is cracked, as is permitted under structural design calculations, water infiltration will increase. A cement based material, panel mortar will carbonize over time decreasing the protective alkalinity environment surrounding the reinforcing bar and thus increasing the potential for corrosion. The largest volume of water intrusion is typically associated with inadequate window systems that fail to keep water out of both the structural brick veneer panel and the cavity interface.
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The durability of the wall is highly influenced by the quality of the mortar joints and interior cell grout. The specification should require reconsolidation of the grout or the incorporation of additives that balance expanding, retarding, and water reducing agents to provide a slow, controlled expansion prior to the grout hardening. Mortar/grout additives, particularly those developed in the 1970s, containing vinylidene chloride can initiate and accelerate reinforcing steel corrosion under the right conditions. The composition of the mortar/grout is determined through laboratory analysis of chloride content, vinylidene chloride, and pH level.

Repairs to structural brick veneer panels is labor intensive and may involve panel replacement, panel encapsulation, window system replacement, and/or extensive individual masonry unit repair.


Written by Peter Meijer AIA,NCARB, Principal
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Acknowledgement: Tawresey, John G. & John M. Hochwalt, KPFF Structural Engineers, Design Guide for Structural Brick Veneer, 3rd Ed, Western State Clay Products Association

Conservation: A Case Study between Art and Architecture

The Oregon State Capitol
The Oregon State Capitol is a landmark of Modernistic design based on Classical Architecture, and was designed by the New York architectural firm of Trowbridge and Livingston in association with Francis Keally. Completed at the height of the Depression in 1938, the Capitol received funding assistance from the Federal Emergency Administration of Public Works (P.W.A.). Constructed of reinforced concrete, the building is distinguished by angular, unadorned exterior elevations and a massive, ribbed lantern – all sheathed in brilliant white Vermont marble. Artists of national reputation, Ulric Ellerhusen, Leo Friedlander, Barry Faulkner, and Franck Schwarz, collaborated in the winning design and were employed at the recommendation of the architects to produce sculptural relief and paintings of a taut and finely wrought decorative program. Erected in the Modernistic style, the Capitol was sensitively enlarged in 1977 by the Portland firm of Wolff Zimmer Gunsul Frasca in association with Pietro Belluschi.
OR State Capitol Building
On Labor Day 2008, a construction fire damaged the exterior Vermont marble, interior Oregon walnut wood panels and a painting by Barry Faulkner adorning the Governor’s Ceremonial Suite. A team of preservation architects and art conservators collaborated to guide the faithful restoration of this important Oregon icon. All restoration work was based on historic research and field analysis of existing materials, but conservation principles were applied differently to the restoration of interior finishes compared to The State of Oregon artwork by Barry Faulkner.
OR State Capitol Fire Destruction Interior
Fire destroyed all the wood panels on the south wall and caused extensive smoke and heat damage on the east and west walls. The north wall suffered minor smoke damage with little to no impact from heat. Oregon Walnut, a species of wood no longer readily available or milled, was incorporated into 30” x 30” veneer panels separated by 1” wide solid walnut splines. Each panel was book matched resulting in pairs of cathedrals providing strong visual character. It was determined through both field and laboratory testing that the original finish system was a shellac formula readily used during the late 1930s. Conservation strategies had to consider: proper dismantling techniques of the remaining panels; reproduction of original finishes using volatile compounds or the replacement with new finishes; repair options for the various degrees of damage to the wood panels, incorporation of new replacement panels, and anticipate potential similar catastrophic events in the future.
Restored OR State Capitol interior
The remaining panels were measured, documented and classified by the extent of damage. Drawings were produced that recorded each panels’ location relative to the adjacent panel and position on the wall and compass orientation. It was determined that each panel and spline were individually blind nailed to a wood lath support grid which was in turn directly fastened to a back-up clay tile wall. Remaining panel construction from the south wall provided evidence of the construction techniques. As a result, it was determined to the remove the panels in an assembly as large as practical for transportation to a controlled restoration shop environment. At the shop, a more thorough, up-close evaluation of the damage was surveyed. During review of the restoration options, discussion ensued over the incorporation of pre-existing conditions, post fire damage, to include evidence of repair, or should all the panels have a uniform appearance.

After considering the impossibility of achieving uniformity with new panels and cleaned and repaired panels, it was decided to remove all finishes, including the protective shellac, by sanding to bare wood. Following the removal process, each panel was stained to match a patina color visible on a panel protected from damage. The final clear coat was a catalyzed finish formulated to provide long-term protection.
Damaged OR State Capitol Art
To further embellish the Governor’s Suite, a map of the State of Oregon was painted by Barry Faulkner, signed and dated in 1938. The work was framed within the wood paneling over the marble mantel on the ¬East end of the Governor’s Suite. Faulkner painted the work in oil on canvas that was subsequently marouflaged to a section of the wall. This section of the wall was clearly part of the original design of the room and was reserved and prepared especially for the painting. As was customary in New Deal era murals, Faulkner’s work was painted on canvas off site and then adhered to the wall when the construction process was advanced or complete. Also quite typical of New Deal murals was the use of a lead paste adhesive for the marouflage, which was suggested in the later W.P.A project guidelines to the artists. The presence of the lead paste adhesive proved to be decisive in the formulation of a method for the deinstallation of the piece. The tenacity of the adhesion of the canvas back to the plaster via the lead paste is such that separation of the canvas from the plaster was impossible, and so the entire section of wall needed to be removed intact for the conservation treatment. The section of wood framing was carefully removed from the clay tile wall substrate by severing the nails that fastened the wood to the tile, and cutting the vertical studs above and below the work. Special precautions were made to protect the fragile paint surface during transport of the work to the conservation lab.
Damaged OR State Capitol art detail
The fire’s effects caused extreme heat damage to the painting primarily in the upper and right areas of the composition, with numerous areas of blistered paint, and many sections of blistered delamination of the canvas from the substrate plaster. The combustible by-products of the fire combined with embedded soot and smoke created a deposited layer of darkened material that obscured the image. The solubility testing results were consistent with the combustible origin of the fire, and a solution of organic solvents was used to remove the deposited surface material, revealing the original chromatic palette of the work. It also became evident that the painting had been cleaned in a previous treatment. The fragile areas of heat-blistered paint were consolidated and smoothed. The areas of blistered delamination were brought back into plane with localized use of humidity and mild head and then, once smoothed into place, were adhered to the substrate plaster. The large blister in the upper right corner of the painting protruded 1 ½” from the plaster surface. Areas of loss were filled, textured and retouched to match the original surface and color. A protective layer of varnish was applied to the painting.

The exposed finish plaster surrounding the painting was also cleaned with dry sponges, consolidated and filled. Some original pencil drawings by the artist were found on the plaster that had been hidden under the paneled frame.
restored OR State Capitol art detial
The most extreme heat damaged areas were irreversibly altered in both their color and texture, and the full extent of the color shift was not revealed until after the cleaning process. In these darkened areas, Gamblin conservation colors were applied over the varnish layer to retouch the creamy yellow ground color only, leaving the darkened red color of the letters in THE STATE OF OREGON untouched. This manner of retouching allowed the painting to acquire a more finished appearance in line with the decisions made regarding the restoration of the wood paneling, while conserving also the memory of the history of the piece.


Written by Peter Meijer AIA, NCARB, Principal. A special thanks to Nina Olsson, Nina Olsson Art Conservation, LLC, who helped write this post in conjunction with Peter Meijer. Nina Olsson Art Conservation , LLC is a private practice for the conservation of paintings and polychrome sculpture based in Portland, Oregon.

Water Intrusion: The Technique of a Leak

With patience, persistence, and a methodical process, water intrusion defects can be
located and repaired.

Finding the source of water intrusion within an older existing building can be exceedingly frustrating. Following a methodical and systematic investigation procedure will manage and organize the process. If the leak is occurring within occupied space, it is critical to interview and obtain information from those individuals directly affected by the circumstance. Is the leak associated with weather, water use, or other activities? If weather related, when did the leak occur relative to the start of the bad weather? Does the leak occur under windy conditions only? Wind driven rain can push water 2 inches up a vertical surface. Does the leak occur consistently in the same spot? Having an understanding of the building’s age, material science, archaic construction techniques, and professional experience brings focus to the investigation.
MW Loft water intrusion PMAPDX
Visual observation is the single most important diagnostic tool. Are there obvious sources of water intrusion like open windows, broken downspouts, exterior holes in the building shell, or leaking bathroom fixtures? Storm days are often good opportunities to observe the flow of water over a building surface leading to potential sources. After a rain storm, are some exterior surfaces slower to dry? Has the water pooled along horizontal surfaces or against exterior walls? These observations can be made directly by the investigation team or related by maintenance personnel or property owners. Photographs taken before, during, and after a leak provide valuable perspective on the dynamic nature of the leak.

Infaread testingInfrared camera analysis adds another diagnostic layer of evaluation data. Temperature differentials between wet and dry surfaces can collaborate other visual observations. However, a number of varying conditions, not just water, can cause temperature differences between materials or even temperature differences within the same material. For instance, an exterior stucco wall installed over steel studs may have extreme temperature changes as a result of heat conductance through the steel studs with no related water intrusion.


Often it becomes necessary to augment general observations of interior and exterior surfaces with destructive investigation, a method by which the surface materials are sequentially removed to investigate archaic construction methods. As materials are removed, construction techniques can be evaluated for water tight joints. Moisture meters and other hand-held evaluation tools verify the presence of defective conditions. Openings, or wall-lets, are located at corners, abutting materials, complex intersections of structural elements and architectural materials, and/or other commonly known sources of water intrusion.
MW Loft Stucco repair PMAPDX
Reverse investigation in which the leak point is enlarged and video scopes or wires or other tracing devices are inserted in the opening are used to back trace the leak from the point of observation to the source. This method is often a last resort because it involves cutting several observation points in all directions to follow the path of water.


Written by Peter Meijer AIA,NCARB, Principal

More than Decorative: Portland’s U.S. Custom House Symbols

The second-half of the nineteenth-century was a prosperous time for architectural development in Oregon. This period saw the establishment of professional architects in Oregon, allowing the state to be comparable with eastern architectural development of the same era in the United States. Portland was the center of economic growth and abundance in Oregon, and the U.S. Custom House was built to promote and accommodate Portland’s economic prosperity. Originally U.S. Customs Services was housed in one of Oregon’s earliest public buildings, the Pioneer Courthouse, which was constructed in stages between 1869 and 1903. However, the U.S. Customs Services quickly outgrew this building, and by 1898 construction began on the present U.S. Custom House. (Ross, Marion D., “Architecture in Oregon, 1845-1895,” Oregon Historical Quarterly 57 (1956) 32-64.)
USCH Courtyard
The present U.S. Custom House is a testament to the Italian Renaissance Revival style, popular in the late nineteenth-century architectural vernacular of Oregon. The building was designed in the office of James Knox Taylor, Supervising Architect of the U.S. Treasury Department, and supervised under noted Portland architect Edgar Lazarus. Portland’s U.S. Custom House is a symmetrical four-story building, H-shaped in plan, and encompasses a full city block. Joint efforts by Taylor and Lazarus resulted in a fusion of style that references Renaissance, Mannerist, and Baroque features that are showcased on the exterior and interior of the building. (GSA. U.S. General Services Administration, U.S. Custom House, Portland, OR (Accessed March 12, 2012).)

This fusion of style begins on the first-story walls which are composed of brick masonry enclosed in light-gray granite, with window and door openings that feature semicircular arches. The first and second floors are separated by a balustrade and a granite stringcourse carved with Vitruvian scroll details. The two upper stories are composed of Roman brick and use terra-cotta to display dentil cornice molding and scrolled consoles detailing. The most distinctive Italian Renaissance Revival style is found in the architectural ornamentation of the exterior fenestration, and is most prominently featured around the second and third-story windows. (GSA. U.S. General Services Administration, U.S. Custom House, Portland, OR (Accessed March 12, 2012).)

Allegorical Symbols
The architectural ornamentation or “Gibbs-surround” of the second and third story windows of Portland’s Custom House borrow directly from Italian Palazzos and include several allegorical symbols: a key and a balance, a symbol of the God of Mercury, a hand with two extended fingers, a laurel wreath, a palm branch, and a flaming torch. At the time of completion the Oregonian ran an article that focused on the obscure nature of these allegorical symbols. Lazarus was questioned on the purpose of the symbols, and he commented on how the allegorical symbols held no significance except for their use as decorations. In agreement with the author of the 1901 article in The Morning Oregonian, “Merely Allegorical and Without Special Significance,” it does not follow that a building in the Italian Renaissance Revival style would showcase allegorical symbols solely for their ornamentation. Allegorical ornamentation is purposeful, with every symbol representing to the public a function or aspect of the intended purposes of the building on which they are represented. (“Custom-House Symbols. Merely Allegorical and Without Special Significance,” The Morning Oregonian, Aug 5, 1901, 5. NewsBank and/or the American Antiquarian Society. 2004.)

USCH Window detailsThe balance is the most recognizable symbol, symbolizing justice. It follows that since the U.S. Custom House was built for the U.S. Custom Services, which played a significant role in the economic growth of the area, architectural ornamentation of the symbol of justice would be included. This symbol tells the audience that all services by its governing body will be conducted justly. The key is borrowed from a Christian symbol which references the bureaucratic nature of Saint Peter’s ability to grant or withhold salvation. This symbol was common in architectural ornamentation in the sixteenth-century, when politics and religion were heavily and most complicatedly intertwined. Perhaps the keys are meant to remind those within to repent, but more likely serve as an emblem of time and removers of obstacles- which are also emblems of the Roman God Janis.

Two other classical symbols are those of the God of Mercury and the flaming torch. The God of Mercury is represented by a staff with serpents entwined. While the symbol of the God of Mercury is often noted as a representation of speed, it is also a representation of opportunity and commerce, which is fitting for its inclusion among the architectural ornamentation of the building. The flaming torch is often related to the God of Eros, who is commonly depicted with bow and arrow and a flaming torch. However, the flaming torch represented on the U.S. Custom House building is more likely an emblem of both enlightenment and hope, similar to the function of the flaming torch in the hand of Lady Liberty. The final two symbols are the palm branch and the laurel wreath, both of which represent victory and glory.

USCH Portland’s U.S. Custom House is unquestionably one of Portland’s finest historic structures. It is an exquisite display of the Italian Renaissance Revival style of architecture with a symmetrical organization, use of terra-cotta, Roman brick, and granite materials, classically engaged Doric, Iconic, and Corinthian Columns, and displays of richly detailed architectural ornamentation found throughout the Gibbs-Surround. While it has been said the allegorical symbolic ornamentation used on U.S. Custom House is without significance and merely decorative, the explanation of each symbol has led to the credible reason for the inclusion of all these symbols. For the architecture of Portland’s U.S. Custom House is in the Italian Renaissance style, a style that uses symbolic ornamentation to signify both emotion and reason.


Written by Kate Kearney, Marketing Coordinator

Surveying Modern Resources in Portland’s Central City

“Modern” is not traditionally part of a historic preservationist’s vocabulary, but as time rolls on, modern resources have become notable for their architectural significance, construction technologies, and association with significant social patterns that define national, state, and local history.

During Summer 2011, Peter Meijer Architect, PC (PMA) performed a reconnaissance level survey of modern historic resources in Portland’s Central City. The work was completed for the City of Portland Bureau of Planning and Sustainability to dovetail with the Bureau’s Central City 2035 Plan. For this survey the modern period is defined as 1945-1985, beginning with Post-World War II development and ending when all Modern era properties will be at least fifty-years in age when the Central City plan is fully realized in 2035.

PMAPDX Survey of PDX Many of Portland’s iconic landmark buildings are modern era resources, such as the Veterans Memorial Coliseum, Lloyd Center Mall, U.S. Bancorp tower, and the Portland Building. The survey intentionally excludes these well-known properties in order to highlight broader architectural patterns and identify some of the less prominent buildings that may be considered historically significant in the future.

PMAPDX PDX survey modern resourceOf approximately 976 modern period resources within the Central City’s seven geographic clusters, PMA selected 152 properties for reconnaissance level survey. Representation of geographic clusters, resource typologies, and
potential eligibility were considered when selecting properties to survey. In a selective survey, most properties should be considered potentially eligible for historic designation. Online maps, tax assessor information, and Google Earth were used to inform the selection process. Fieldwork involved taking photographs of each property, recording the resource type, cladding materials, style, height, plan type, and auxiliary resources, and then making a preliminary determination of National Register eligibility based on age, integrity, and historic character-defining features. A final report outlines the project and findings, and survey data was added to the Oregon Historic Sites database.

PMAPDX modern survey historic photo

Historic photo of East Burnside & Sandy Drive-In


Mod-toids: Some interesting modern survey findings:
• Glass and metal curtain wall, roman brick, and various treatments of concrete (block, poured, panels are the most common exterior materials found on Modern Period buildings.
• No single-family residential units were constructed in the Central City during the modern period.
• Small industrial buildings, including warehouses and service bay resources, are found in every cluster of the Central City. These building types have highly adaptable plan types and their size, character, and location make them ripe opportunities for redevelopment as industrial needs change.
• Modern period transportation developments, such as freeways and bridges, have greatly impacted the Central City urban landscape. Many of the Central City clusters are geographically defined by transportation developments. Larger modern resource types tend to be more concentrated near freeways and freeway entrances.

Written by PMA preservation staff.

Post- Modern Buildings: The Portland Building

Peter Meijer Architect, PC nominates Michael Graves iconic Post Modern Portland Building to the National Register of Historic Places. The Portland Public Service Building, known universally as the Portland Building, is one of the most notable works by internationally-known master architect Michael Graves and is widely credited as the design that established Graves’s preeminence in the field.Portland building The Portland Building itself is significant as one of a handful of high-profile building designs that defined the aesthetic of Post Modern Classicism in the United States between the mid-1960s and the 1980s. Constructed in 1982, the Portland Public Service Building is nationally significant as the notable work that crystallized Michael Graves’s reputation as a master architect and as an early and seminal work of Post-Modern Classicism, an American style that Graves himself defined through his work. The structure is ground-breaking for its rejection of “universal” Modernist principles in favor of bold and symbolic color, well-defined volumes, and stylized- and reinterpreted-classical elements such as pilasters, garlands, and keystones.

Portland buildingAs one of the earliest large-scale Post-Modern buildings constructed, Graves’s design for the Portland Building was daring; almost shocking, in its vision for the future, and for its proposition as to what “after Modernism” could mean for architecture. The building itself is a fifteen-story regularly-fenestrated symmetrical monumental block clad in scored off-white colored stucco and set on a stepped two-story pedestal of blue-green tile. The building’s style is expressed through paint and applied ornament that implies classical architectural details, including terracotta tile pilasters and keystone, mirrored glass, and flattened and stylized garlands, among other elements that are intended to convey multiple meanings. For instance, the building is organized in a classical three-part division, bottom, middle, and top in reference to the human body, foot, middle, and head. At the same time, the building’s colors represent parts of the environment, with blue-green tile at the base symbolizing the earth and the light blue at the upper-most story representing the sky. The building uses layers of references to physically and symbolically tie it to place, its use, and the Western architectural tradition.

Portland BuildingThe boxy, fifteen-story building is located in the center of downtown Portland, Oregon, occupying a full 200 by 200-foot city block right next to City Hall. The Portland Building is a surprising jolt of color within the more restrained environment and designs of nearby buildings, with its blue tile base and off-white stucco exterior accented with mirrored glass, earth-toned terracotta tile, and sky-blue penthouse. The figure of Lady Commerce from the city seal, reinterpreted by sculptor Ray Kaskey to represent a broader cultural tradition and renamed ‘Portlandia,’ is placed in front of one of the large windows as a further reference to the city. The building is notable for its regular geometry and fenestration as well as the architect’s use of over-scaled and highly-stylized classical decorative features on the building’s facades, including a copper statue mounted above the entry, garlands on the north and south facades, and the giant pilasters and keystone elements on the east and west facades. Whether or not one judges the building to be beautiful or even to have fulfilled Graves’s ideas about being humanist in nature, it is undeniably important in the history of American architecture. The building has been dispassionately evaluated in various scholarly works about the history of architecture and is inextricably linked to the rise of the Post-Modern movement.


Written by Kristen Minor, Preservation Planner

Mid-Century Arenas: Memorial Coliseum

Mid-Century Arenas
The emerging interdisciplinary field of Arena Studies focuses on the dwindling global supply of modernist multipurpose arenas—an overlooked subject spanning the fields of historic preservation, architecture, architectural history, engineering, preservation technology, industrial archeology, urban studies, city and regional planning, landscape planning and environmental history.
Veterans Memorial Coliseum Exterior
After World War II, arena builders began to utilize a variety of new technologies and modern building materials to enclose large-scale urban, suburban and rural arenas. Innovative technologies (such as retractable roofs, glass curtain walls and clear-span timber domes) were combined with cutting-edge craftsmanship to create a revolutionary new aesthetic of form-altering functionalism. As an emerging field of study, the topic of historic arenas currently suffers from a dearth of scholarly research, resulting in typological confusion. General and pervasive misidentification and misclassification has greatly hindered the efforts of conservationists to rehabilitate, restore and repurpose these undervalued community resources.

Case Study – Memorial Coliseum
When completed in 1960, Memorial Coliseum, a flat-roofed square “box,” measuring 360 linear feet per side, 100 feet in height, and part of a larger 30- acre area, was a technological feat of engineering and operation unrivaled by any other large civic structure and a fully-articulated example of lnternational-Style Modernism. The building is the only large-scale public arena glass-walled structure of the mid-century retaining its original design, materials, workmanship, highly urban context, and original relationship to nearby geographic features such as the Willamette River.
Veterans Memorial Coliseum Interior
The Coliseum’s weight is supported by four cruciform-shaped, 7O-foot high reinforced concrete columns, 240 feet apart in one direction and 270 feet in the other. At the column pinnacle, “steel hemispheres,” the first use in arena construction, support the steel roof trusses. These half-round bearing points enable the entire structure to move under force, such as strong winds or earth movements. A prominent feature of the building is the oval, free-standing concrete seating bowl, visible from every exterior vantage point due to the building’s transparency giving rise to the nicknames “Glass Palace” and “Tea Cup in a Box.”

VMC steel structure

Photo courtesy of the City of Portland Archives.


Inflecting the conservation and re-use of public arenas is the political desire of the community and receptiveness of the team owner and manager. Many arenas were constructed with complicated financing and management agreements providing the sports organization authority over reuse, urban planning, and demolition options. The single, sports purpose arenas require dramatic alterations to adopt the structure to reprogramming like housing, office, or entertainment. Early arenas are, however, established public structures in the heart of the urban fabric offering unique and profitable opportunities for long-term future success. A key element of successful conservation is an understanding of the adaptability of these structures in material composition, plan, and function. The architectural qualities combined with the urban settings provide mid-century arenas with enduring historic value.


Written by Peter Meijer AIA,NCARB, Principal. A special thank you to Matthew Hayes for contributing to this posting.