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Five Questions with PMA Intern Madison Irwin

PMA’s internship program provides students and recent graduates the opportunity to gain hands-on experience working in the dynamic fields of architecture and historic preservation. Our firm is dedicated to reinvesting into our existing built environment, with a focus on building material science and historic preservation. Since March 2021, Madison Irwin has been an intern with PMA. Her internship has focused on the intersection of net-zero research, approaches to sustainability, and historic preservation. Madison holds a Masters of Architecture from the University of Kansas and is currently completing her Masters of Science, Historic Preservation from the University of Oregon.

PMA intern Madison Irwin

Describe the focus of your internship at PMA. What aspects of your internship opportunity have you enjoyed most?
I enjoyed researching materials and how they relate to new and existing buildings. I learned how old materials could be used in new ways and vice versa. How we should apply an old material in a new space brings up a lot of discussion about preservation theory and my philosophy. At PMA, I was able to learn more about this tension between old and new, and how people view them differently. Tricia, Preservation Planner, and Peter, Principal-in-Charge, made these conversations interesting. They placed these conversations within the context of Portland, Oregon.

Working with Hali, Associate, and Halla, Associate-Principal, provided more of an architectural experience, especially in the realm of sustainability. The most exciting thing I researched was embodied carbon. It places the importance of using old spaces, especially if there is no reason not to use these existing spaces. It was inspirational and helped me narrow down a thesis topic for school.

Has your internship changed your perspective on historic preservation, or working with existing resources?
Yes, most definitely! It has made me more motivated to use existing places and even existing materials. There will always be a layer of history and meaning to materials, regardless of people’s care. It’s sad but true. Knowing this, I feel inspired to try and save as much as possible.

While working at PMA, I was able to work with architects and preservationists who care, very deeply, for these places that have layers of history and meaning, and there is an extra layer of sustainability and affordability that PMA advocates for. If a building means nothing to one person, the amount of carbon that was saved from being emitted or the low construction cost might be more meaningful to that person. Preservation in architecture is a way of retaining as much history as possible while making sure the resource is reused in an impactful way for the community it continues to serve.

There is more than one way to save a building and there is more than one reason to save it. It gave me a sense of opportunity.

How has your internship experience influenced your studies as you return to school to complete your thesis?
My time at PMA impacted my writing skills and how I will ultimately approach my thesis. My writing has always been something I’ve struggled with, and while I had to work through a lot of writing revisions, I also learned that it’s a forever struggle. I will always be working to improve my writing.

My thesis will look at the overlap of preservation, sustainability, and affordability, with embodied carbon being the ultimate argument to save old places. This evolved from research that I conducted at PMA.

Do you have a favorite aspect about architecture or historic preservation?
I especially love the tension between old buildings and new buildings. To see a house built in 1912 next to an ADU built in 2018 is a much more complex story. I find it more compelling than a neighborhood where everything is perfect like it was frozen in time. A layered history is more accurate to how people live their lives. Our own homes are made up of hand-me-downs from parents, grandparents; as well as the latest technologies, fashions, and books.

It sounds eclectic, it might be messy, and some people might be upset to see this new 2018 ADU in the backyard of a historic home. Some people might say, tear down the historic home! I think it comes from our society thinking that there’s no way for the two to live together. The mentality of purity is so dangerous and erases the unique, the different, the excluded.

Exploring this concept has helped me better understand how communities develop and reflect the whole history of an individual lot or a whole neighborhood. Resistance or encouragement to the ebbs and flows of developments also helps to understand the people who live in that community.

As a Kansas City native, we have to ask, what is your favorite style of BBQ?
I am unfortunately a vegetarian at the moment so I don’t get to eat my favorite, which is baby back ribs (with lots of sauce and pickles). But the grillers in KC are coming up with fun substitutes for us veggies. My favorite is a pulled jackfruit sandwich. It tastes like its own thing but is also a great replacement if you ever crave a pulled pork sandwich, with a lot of sauce, of course!

Belgian Blocks, Portland’s Historic Streetscapes

Portland’s historic streetscapes were composed of Belgian Blocks, more commonly referred to as cobblestones. From 1885 to the 1900s, the City of Portland used Belgian Blocks as the primary paving surface, bridging the gap between mud roads and asphalt pavement. When asphalt replaced the blocks as the primary road surface, the asphalt was applied directly over the blocks essentially hiding the blocks from the public domain. During street repair projects, the Belgian Blocks are often rediscovered under the asphalt. Per city ordinance, when blocks are exhumed, they are stockpiled for potential future redeployment.

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Belgian Block streetscape in Portland, Oregon, 1928.


To better understand how the City of Portland might redeploy the existing Belgian Blocks, we completed a research report on the Belgian Blocks for the Bureau of Planning and Sustainability, and facilitated two listening sessions with the Portland Historic Landmarks Commission to gather perspective. The report provides the Portland Historic Landmarks Commission (PHLC) and the Portland Bureau of Transportation (PBOT) with background information and technical data for consideration of how best the city might utilize the redeployment of its Belgian Blocks.

UNDERSTANDING STONE PETROGRAPHY
Background information on stone petrography is necessary to understand durability, chemical composition, and other factors affecting use of stone in the built environment. When it comes to stone found across the Pacific Northwest, when in doubt, guess basalt. The two quarries that the Belgian Blocks of Portland originate from are the St. Helens and Ridgefield quarries, located in the Columbia Plateau Region.

Ridgefield Quarry

Ridgefield Quarry, 2011.


In 1931, Harold Fisk produced a history and petrography of Oregon basalts, providing microscopic imaging of different basalts. The work that Fisk did resulted in a comprehensive analysis and categorization of basalt types in Oregon, meaning that comparable basalt types and the locations in Oregon can easily be found and used.[i]

NEOLITE AND LEATHERED
An US Geological survey from 1976 compared the Columbia Plateau basalt flows to the Oregon and Washington coastal basalt flows, giving specific chemical composition of the samples taken.[ii] To further identify the Belgian Block’s thru petrographic differences, a report from 1983 tests the characteristics of two different types of stone blocks at Lewis and Clark college. The types are referred to as “Neolite” and “Leathered,” the latter a common name that may have been derived by the supplier of the stone at the time of installation.

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Belgian Blocks at Lewis and Clark College. Lyn Topkina, 2014.


REDEPLOYMENT OF BELGIAN BLOCKS
During the 1970s, with renewed interest in saving Portland’s historic character, the City of Portland passed ordinances no. 139670 and no. 141548 in 1975 providing guidance for redeployment of Belgian Blocks removed during street repair projects. At the time of adoption, these ordinances were primarily focused on salvaging characteristics of Portland’s original street scape. As a result, the ordinances did not address the practical aspects of re-deployment and could not anticipate the Americans with Disability Act (ADA) requirements mandating accessibility for all citizens.

Re-deployment of Belgian Blocks within the public right-of-way must meet modern building and land use codes like ADA and historic review. As a part of any re-deployment of Belgian blocks in public spaces, understanding how the blocks meet, or could be modified to meet, current accessibility codes are critical. Specifically related to the use as walking and biking surfaces, two primary concerns arise: tripping and slipping.

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Belgian Block, Lyn Topinka, 2014.


Our report demonstrates that it is possible through manipulation of the stone surface, use of setting means and methods, and testing, to modify the Belgian Blocks to allow for reuse as horizontal surfaces. Modifying the physical characteristics of the blocks to meet tripping and slipping standards for re-deployment is possible. Many modification techniques exist for both shop and field modifications. The report focuses on two: cutting and dressing surfaces.

NEXT STEPS
In review of the primary issues raised regarding resistance to redeployment of the Belgian Blocks, the research performed and presented in the Belgian Block Report provide data and ideas by which both the PHLC and PBOT are able to reconsider polices and from which more alignment with similar goals for redeployment may be met. Our recommendations include:
1. The historic ordinances need to be updated to reflect more deployment options;
2. Design details for deployment are in need of updating and reflect various methodologies;
3. Provide objective criteria for linear deployment of Belgian Blocks within the Public Right of Way;
4. Provide clarity that streetcar and light rail stops are to use Belgian Block in linear patterns;
5. Allow modification of the block surfaces to increase slip resistance and promote textural variations.

Read the full: Belgian Block Report

[i] Harold Fisk, “The History and Petrography of the Basalts of Oregon,” Masters of Art and Science Diss. (1931), University of Oregon, Eugene, OR. University of Oregon Library, 461. F57.
[ii] Allan B. Griggs, and Donald A. Swanson, The Columbia River Basalt Group in the Spokane Quadrangle Washington, Idaho, and Montana, with a Section on Petrography, Geological Survey Bulletin 1413, US Geological Survey (1976).

A Design Concept for an Aging Facility within a Historic District

Extending the operational life cycle of historic and existing architecture is a gratifying aspect of our practice. It connects our core values of integrity, leadership, balance, and stewardship. Renovation and repair work for our existing and historic built infrastructure provides public investment and a more sustainable approach to architecture. It helps create a lasting connection to the evolving communities that use and inhabit the building, and the surrounding communities that interact with the structure.

From minor updates to full-scale renovations the constraints of the built infrastructure push us to reenvision existing architecture while maintaining a connection to the surrounding fabric and context of the resource. Recently we had the opportunity to create a design concept for a six-story structure built in the 1980s composed of reinforced concrete masonry units, with an exterior skin of stucco. The multi-story building also resides in a prominent historic district.
Existing multi-story housing building
The concept removes a false wall over the entry and concrete walls along the sidewalk. Eliminating these elements reduces the visual clutter and floods the entry with daylight, creating a more inviting space with views of the streetscape. Better visibility from the entry to the streetscape also enhances the security of the entry sequence. We also added a visual focal point by reimagining the blank three-story wall above the entry with a hand-painted mural. Beyond a grounding, visual focal point, murals are a cost-effective way to connect communities to local or visiting artists. Additional openings were introduced to the façade to maintain a uniform pattern and bring more natural light to the interior spaces. The final exterior modification includes a new rainscreen consisting of wood, metal, and cement panels to creatively reflect modernization. 1980s stucco façades are not typically energy efficient and modernizing the facade will improve energy and functional performance.
facade design concept for a multi-story housing building
Our approach to this concept draws upon the neighborhood context and the existing building to create a unique, meaningful place rich in architectural character. The proposed alterations balance the need for modernizing the building and improving the envelope’s performance while being conscious of cost and future maintainability.

For us, investing in our existing, recent-past, and historic built infrastructure connects historic preservation and building material science through the sustainable management of materials, identifying next use, and minimizing landfill waste from demolitions.

Written by Kate Kearney and Halla Hofer, AIA, Assoc. DBIA

Project Update: Fountain Place Apartments

Progress photos from our Fountain Place Apartments project for Home Forward

Part of extending the operational life of this existing and historic building is a seismic upgrade. Pictured is the opening up of the floor structure on Levels 1 through 5 to facilitate the installation of a new central egress stair and elevator, which will support accessibility to all levels of the building and provide additional means of egress. Two of the six proposed braced frames will be installed adjacent to this elevator and stair. The braced frames are supported by piles at the foundation and will be tied to a new plywood diaphragm at each floor and the roof which will provide most of the seismic stability required for the building, affording structural safety to future occupants and ensuring the life-cycle of this historic building is extended for another 50+ years.
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SECRETARY OF THE INTERIOR STANDARDS
The project is meeting the secretary of the interior’s standards for redevelopment, reviewed and approved by the Oregon State Historic Preservation Office and the National Park Service. Federal tax incentives were used, and as part of the process the building was listed on the National Register of Historic Places.
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LEARN MORE ABOUT THIS HISTORIC AND SEISMIC UPGRADE PROJECT
To learn more about how our team is reviving a historic building by providing critical infrastructure for current residents and new arrivals, please visit: Fountain Place Apartments.

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Written by Kate Kearney, Associate, Marketing Manger

A Practical Guide to Preservation Terminology

Lovejoy Pavillion 001

There are some instances when the English language enjoys sparking debate, confusion, and often apathy, look no further than the “10 items or less” vs. “10 items or fewer” conversation around the grocery check-out aisle. In the preservation field, we have our own niche conversation – the difference between the terms: preservation, rehabilitation, restoration, and reconstruction. Like with grocery store grammar, these four preservation terms hold undoubtedly different definitions and should be used correctly, but even when used incorrectly, we all still understand what you mean.

Let’s take a second a clarify what these four words do mean. As a preservationist, I turn to the source for these terms, the United States Department of the Interior.

Preservation is defined as the act or process of applying measures necessary to sustain the existing form, integrity, and materials of an historic property. Preservation, keeping a building at a particular moment in time.

Rehabilitation is defined as the act or process of making possible a compatible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values.

Restoration is defined as the act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the removal of features from other periods in its history and reconstruction of missing features from the restoration period. Restoration, pin points a time in the building’s history and is accurate to only that time.

Reconstruction is defined as the act or process of depicting, by means of new construction, the form, features, and detailing of a non-surviving site, landscape, building, structure, or object for the purpose of replicating its appearance at a specific period of time and in its historic location. Reconstruction, recreates missing parts of a property through interpretation with plenty of research to back-up the choices.
Mercy Corps North Facade (Viewing Southeast)
PRACTICAL APPLICATION
I’ve found that the most common error is using preservation or restoration when the person almost always means rehabilitation. For me, much of my work focuses on rehabilitation, especially when a project seeks funding through local, state, or federal incentives like Historic Tax Credits. Aside from the definitions above, the most defining difference between preservation, restoration, and rehabilitation comes down to creative license.

When it comes to creativity and executing an artistic or architectural vision, rehabilitation is essentially synonymous with adaptive-reuse or repositioning. Rehabilitation, retains character but acknowledges a need for alterations in order to keep the property in use. When a building that was historically a school but is converted into a hotel or an office building becomes apartments, that’s rehabilitation. Even improving an existing use can be a rehabilitation project.

In the end, I like to associate each of these terms with what they will mean for their respective scope of work on a project. As mentioned, rehabilitation means a creative process that balances the historic character with modern needs. Preservation is essentially thoughtful maintenance so that the existing resource does not get wholly improved, but also is prevented from falling apart. Restoration and reconstruction are the most technically and scientifically involved requiring sufficient historic research and materials knowledge to justify the choices of retaining or rebuilding a resource. Unfortunately I don’t know of any mnemonic devise or other short cut to help clarify these four words, but hopefully a better understanding of their meaning will lead to fewer instances of their misuse.



Written by Tricia Forsi, Preservation Planner

Mentoring with Your Street, Your Voice (YSYV)

When it comes to after-school programs, Your Street, Your Voice (YSYV) is a trailblazer for Oregon “high school students of targeted identities to learn about careers in the built environment, and use design as a tool for social and environmental justice”. [1] The program asks students to consider how they might redesign their neighborhoods through the lens of equity and inclusion activism, and uses the context of a design studio as a catalyst for conversations. YSYV not only empowers students by connecting them directly with design professionals from a variety of backgrounds, it pays them for their participation as a testament to the value of their voice in shaping the built environment.

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PMA preservation at PPS Madison High School, 2019.


MENTOR EXPERIENCE
Participating in YSYV as a mentor was important to me because, as an architectural designer, my goal is to provide long-term solutions to challenges for clients and the communities they serve. Providing solutions is increasingly difficult when we as designers do not have the personal lived experience(s) of the persons we are designing for. Empathy for the end user is integral to successful design. Mentoring with YSYV provided me an opportunity to see design challenges from different perspectives. As I grow in my career, I want to encourage a more diverse incoming generation of designers in any way that I can, and I want them to know that I have just as much to learn from them as they do from me.

As I worked with students to develop their projects and listened at their final presentations, I was so impressed with the scope of their consideration for current issues. For instance, some students who chose to redevelop a park accounted for the safety and security of protestors who might use that space to gather. It was inspiring to see how individuals lived experiences were reflected in their projects, and how they chose to address issues that directly affect them. Many of the proposals were also realistic and attainable for the communities they targeted, an extremely important facet of making design accessible to everyone. Many students carried out this work despite technology-related hinderances that were out of their control. For instance, poor internet connections prevented several students from turning on their video during Zoom sessions, which directly impacted their ability to share and develop their projects with their peers and mentors. Despite the obstacles created and exacerbated by the pandemic, and subsequently remote learning, the students were able to create an extremely supportive, safe, and open virtual environment in which to share their opinions and ideas. It gives me incredible hope and anticipation for the near future of the AEC industry.

HOW TO SUPPORT YOUR STREET, YOUR VOICE
If you are interested in supporting Your Street, Your Voice and other associated programs, visit their website to sign up as a mentor or make a donation. I plan to participate in future sessions, and I am beyond excited to see where this experience takes these young, talented designers. If nothing else, I hope I can be a resource to students who are considering and have questions about the fields of architecture and historic preservation.

1. About. (n.d.). Retrieved December 24, 2020, from https://www.yourstreetyourvoice.com/about

Written by Skyla Leavitt, architectural designer.

Leaping into the New Year

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THIS YEAR. We could not have navigated 2020 without you and we thank you for your patience, trust, and partnership. We wish you a holiday season filled with warmth and rest, and look forward to collaborating with you in 2021.

Air hugs and elbow bumps,

Peter Meijer Architect, PC
Kate, Skyla, Peter, Tricia, Halla, Hali, and Julia

2020 Community Outreach
As we come to the end of an unprecedented year, we must continue to support our communities in need. In 2020 we supported organizations that provide vital resources for some of Oregon’s most vulnerable community members, including the Giving Tree, Rose Haven, the Oregon Food Bank, Renovate PDX, Your Street Your Voice/ Camp ELSO, Self Enhancement, Inc. (SEI), and Designing Justice + Designing Spaces.

2020 Project Highlights
In 2020 we continued collaborating with Home Forward on the historic renovation and seismic update of Fountain Place Apartments, partnering with Lorentz Bruun Construction. 2020 also brought another important affordable housing project with Home Forward, Dahlke Manor, with the opportunity to partner with WALSH. We performed a window assessment of a converted industrial warehouse, and assessed 612 steel windows on-site by drone! Our office was honored to be part of project teams that won AIA Oregon Architecture Awards and a Restore Oregon, DeMuro Award. 2020 wrapped up with winning an exciting survey & inventory project of mid-century modern resources in Clark County, Washington.

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Mid-Century School Design and Its Role in the Pursuit of Education

Schools come in all shapes and sizes. They are one-story and two-story. Schools serve young children, teenagers, and adults alike, and they are designed in all manner of style. In most instances, schools appear to be historic because of these architectural features. However, there is another yard stick with which to measure school building’s role in architectural history. As with all things, time changes our understanding and perspective, and educational theory is no different. Each school building reflects modern thought and beliefs of the era.

When imagining a school that is two-stories, designed in a classical, Spanish, or other revival style with a central corridor flanked by classrooms, it is likely to be a school from the Progressive era of education. The Progressive Era spans from the end of the nineteenth century to World War II. During this period, there was a shift from informal education to an organized system structed by putting age groups into grade levels and creating a curriculum based on intellectual rigor and mental discipline.
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EARLY TWENTIETH CENTURY SCHOOL DESIGN
By the early twentieth century, school buildings were becoming more specialized and standardized as educators pushed for more control of school design. Plan books and design guides for educational buildings were introduced. There was a movement to make schools a healthier environment, improving ventilation and illumination. H-plan schools were introduced to bring more light and air into classrooms. Early twentieth-century school buildings typically featured traditional architectural styles, monumental designs, symmetrical facades, oversized entrances, and rectangular plans. Designed as civic monuments, the architectural focus was on building a school that would be a source of community pride. [1]

However, despite various applied stylistic details on the exteriors, the interiors were generally the same. The classroom was the basic building block for the school building, stacked vertically and horizontally to form a school. Classrooms were identical and all featured fixed desks facing the teacher at the front of the room with windows along one wall providing a single-direction light source. The emphasis was on order and authority. [2]
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In 1918, the federal Office of Education published Cardinal Principles of Secondary Education. It established a list of seven key elements that education should encompass: command of basic skills, health, family values, vocation, civic education, worthy use of leisure time, and ethical character. Clearly influenced by Progressive ideals, the publication emphasized personal development rather than academic criteria. [3] It developed seven tenets of Progressive education: freedom to develop naturally; interest in the motive of all work; the teacher as a guide, rather than task-master; scientific study of pupil development; greater attention to conditions that affect a child’s physical development; co-operation between school and home to meet the needs of child-life; and the Progressive as a leader in educational movements. Progressive educational ideals were being widely implemented in schools by the 1930s. [4]

There was a considerable lack of new schools constructed between 1930 and 1945, due to a lack of funding during the Great Depression and lack of available building materials during World War II. Educators at the 1947 National Conference for the Improvement of Teaching recommended a ten-billion-dollar building program over the next decade to meet the classroom demand, estimating that “between 50 and 75 percent of all school buildings were obsolete and should be replaced immediately.” [5] At the time, general consensus among educators was that the lifespan of a school was 25 to 50 years after which new teaching methods and technology made it obsolete. Moreover, the population of the United States was increasing at a faster rate than schools could keep up with and soon overcrowded schools became commonplace. New schools were desperately needed, and like the previous Progressive era schools reflected education theory of the day, so too did mid-century schools.
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MID-CENTURY SCHOOL DESIGN AND PLANNING
After World War II, schools stopped serving just the physical and educational needs of students but took interest in nurturing students’ emotional development. Schools of this era were typically long and low, one-story buildings designed in the International style with enormous windows, light-filled courtyards, and a decentralized floorplan.

According to mid-century educators, successful school planning required balancing three primary concerns: environment, education, and economy. The district needed to provide the best possible environment for students and teachers in order to facilitate learning while working within the limitations of the budget. [6] New schools had to meet both physical needs – sanitary, safe, quiet, well-lit – and emotional needs – pleasant, secure, inspiring, friendly, restful. In the Northwest, most schools reflected regional style by incorporating an interior courtyard. [7] During this period, the progressive theory of education was common. This theory was based on the concept that education should include the general welfare of students, not just their intellectual development, and that students should aspire to individuality not conformity. Teachers were encouraged to have a democratic classroom where they worked collaboratively with students rather than lecturing, and assignments were active and engaging rather than reading and watching. Additional topics were added to the curriculum that would better prepare students for the next phases in their lives, these topics included woodshop, home economics, and physical education. The general welfare of students was better minded and encompassed hot lunches, health services, and changes to disciplinary actions. [8]

The other hurdle for school districts was the rising cost of construction in the post-War era. For example, in 1930, $100,000 would buy a ten-room school, in 1940, it would buy an eight-room school and in 1950, it would buy a four-room school. [9] Fortunately for school district budgets, many communities wanted modern design schools rather than the neo-classical or art deco designs from previous decades, and these modern designs were less expensive to build. Mid-century schools and houses utilized new technologies, materials, and mass production methods to meet the demand for affordable and fast construction. [10] Classrooms also featured extensive built-ins that included sinks, slots for bulky roles of paper, and coat storage.
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TYPICAL MID-CENTURY DESIGN ELEMENTS
Mid-century schools and suburban housing shared many design elements, including: floorplans laid out to maximize space and flexibility; floorplans, fenestration, and landscaping designed to create connections between indoor and outdoor spaces; facades featuring large windows and ribbon windows; buildings designed to accommodate easy expansion later; decorative elements replaced with contrasting wall materials on the exterior; floorplans encouraged socializing; single-story designs with flay or low pitch roofs and deep eave overhangs; and buildings integrated into the landscape. Mid-century schools featured larger sites and a greater emphasis on landscaping and outdoor recreation. This resulted in more sprawling school designs. Instead of compactly containing all school facilities within a single rectangular block, facilities were clustered by function, such as separating quiet classrooms from noisy cafeterias. Plans were often irregular.

Schools are designed from the inside out and what is on the inside reflects education theory and beliefs of the day. The next time you admire a school’s architecture, be sure to notice more than its visual aesthetic, but its role in the pursuit of education.

Written by Tricia Forsi, Preservation Planner.




Sources
[1] Donovan, John J. School Architecture: Principles and Practices. New York: MacMillan Company, p. 24
[2] Weisser, Amy S. “’Little Red School House, What Now?’ Two Centuries of American Public School Architecture.” Journal of Planning History. Vol. 5, No. 3. August 2006, p. 200
[3] Graham, Patricia Albjerg. Schooling America: How the Public Schools Meet the Nation’s Changing Needs. New York: Oxford University Press, 2005, p. 76-77
[4] Weisser 2006, 203
[5] Benjamin Fine, “Broader Vocational System Is Advocated to Help Meet Modern Industrial Needs,” New York Times, April 11, 1948.
[6] William W. Caudill, Toward Better School Design, New York: F. W. Dodge Corporation, 1954,
[7] Entrix, Inc., Portland Public Schools Historic Building Assessment, October 2009, p. 3-18
[8] “Modern Design Transforms Schools.” New York Times. August 24, 1952; “Modern Schools Are Built to Fit Child Emotionally and Physically,” New York Times, December 23, 1956; New Schools of Thought: Modern Trend in Education Is Reflected in Buildings Themselves,” New York Times, December 16, 1952; Abigail Christman, National Register of Historic Places Nomination: Colorado’s Mid-Century Schools, 1945-1970,” May 1, 2017
[9] “New Schools, U.S. Is Building Some Fine Ones But Is Facing A Serious Shortage.” Time. October 16, 1950, p. 80
[10] Otaga, “Building for Learning in Postwar American Elementary Schools.” p. 563.

5 Questions with PMA’s Research & Sustainability Intern, Julia Kramer

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This summer Julia Kramer had the opportunity to participate in a paid internship at PMA. It has been a delight to have Julia working with all levels of staff at PMA to assist with our sustainability initiatives for historic properties. In addition to working as an intern, Julia is a graduate teaching assistant at Portland State University. She is currently in her third and final year of completing her Master of Architecture Degree & Graduate Certificate in Urban Design at Portland State University. Julia is a member of the Society of Architectural Historians, the Architecture Lobby, Portland Chapter, and Women Also Know History.

Describe the focus of your internship at PMA. What aspects of your internship opportunity have you enjoyed most?
The focus of this internship is spread out into several initiatives PMA is making towards sustainability. I am working on collecting resources for an upcoming presentation, making connections in the local community for opportunities to recycle demolition waste, finding innovative processes to recycle or reuse of demolition waste, and looking at innovative strategies in creating and monitoring efficient building envelopes in historic buildings. Overall, the aspect of this internship I am enjoying the most is learning how historic preservation plays a crucial part in the design of sustainable buildings and cities, and all of the fascinating technologies that contribute to the actualization of those spaces.

Has your internship changed your perspective on historic preservation, or working with existing resources?
Absolutely! Throughout my architectural education, I have found myself consistently interested in architectural history. It wasn’t until recently that I understood what I am truly passionate about is Historic Preservation. I have found that my work as a creative person, an activist, and community member can be best expressed through working in Historic Preservation. This work allows me to use my knowledge and passion of architecture, art, and history, to actively support communities and cultures, seek sustainable solutions that work with the already built environment, and overall offers creative challenges that continually spark my curiosity.

How will your internship experience influence your studies when you return to school?
As a student in my third and final year at PSU I will begin my thesis project in the Fall and am considering a few topics, all related to historic preservation. Through this internship I have gained invaluable tools including new knowledge, resources, mentors and connections with real leaders in this field.

Do you have a favorite aspect about architecture or historic preservation?
My favorite aspect of architecture and historic preservation is that I have the privilege of doing work I truly believe in. As an architectural designer with a passion for historic preservation I seek to be a collaborative member in the design, redesign, and celebration of cities and their citizens. I believe to do so, it is important to recognize the memory and heritage of each space, and seek to preserve, teach, and tell the histories and narratives of those spaces.

Do you have any tips for working remotely for a new firm during these pandemic/quarantine times?
Working for a new firm during these pandemic/quarantine times has gone really well. I believe it has a lot to do with the small firm culture that exists at PMA. I have felt like a recognized member of the firm, am asked how I am and what I am up to every morning during our zoom meeting, and have been reached out to by all members of the firm at some point. Even taking our lunch breaks together over zoom sometimes. I think the effort put into those small aspects have made a great impact in creating a sense of firm community.

Understanding the Veracity of In-Situ Data Acquisition on Historic Buildings

Many historic preservation, restoration, renovation, and/or adaptive reuse projects require the analysis of existing building materials. This could be to meet demands for repair treatments, ensure energy performance targets, or research the history and authenticity of a building or site (amongst many others). Projects often call for advanced analytic techniques such as infrared thermography, RILEM tube water absorption, acid-dissolution of mortar, petrography, x-ray diffraction, and a plethora of other scientific tests to ensure a proper understanding of the chemical and physical properties of the existing building materials. These tests are often costly and time-consuming. For these reasons, many projects rely on results from a single test, or a small handful of tests. This begs the question, are the results from a few analytical or forensic tests representative of the entire building (either in its performance or historical characteristics)?
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HISTORIC BUILDING MATERIAL PROPERTIES
Historic buildings present unique challenges. Unlike modern construction, historic buildings were built in a time without the same levels of standardization and mass-production that we see today. Home Depot was not a thing yet, and in its place, contractors were reliant on local hardware stores or local/regional distribution sources for building materials. In many cases, they made their own! As a result, when analyzing historic buildings today, the material properties are generally unknown and undocumented.

TIME AND THE ELEMENTS
Adding to the unknown is the process of time. Mother nature and the elements are a continuous impact – weathering historic buildings and changing the chemical and physical nature of extant materials. Different parts of a building will also weather at different rates, depending on several variables such as orientation, exposure, occupation, micro-climates, site and neighboring elements, water migration, and so on. There is also a good chance that over the years many repairs have been made, creating a patchwork of different materials. This creates buildings with highly varying characteristics and performance when measured in-situ.





Written by Daniel Castele, Designer and Conservator.