Throughout the process I felt that achieving the 'right look' for a high-end architectural products showroom was just as important to you as it was to me.
- Richard S. Cohen, Feather River Wood, Wilmette
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Author Archive for Mario – Page 20

A Paint Color Makeover – Before and After

This 1889 vintage Chicago building was in sore need of a historical paint makeover. The consensus among the owners of its ten condos was that the old color scheme did not do justice to the period, the style, nor the masonry materials of the building’s facade. The owners were unanimous in their desire to have a color scheme that flattered the beauty and history of their building.

We met twice with a committee of the owners most interested in being involved in the selection of a new color scheme. The first time we met was a fact-finding mission where we learned about the owners’ color likes and dislikes. We incorporated that feedback in developing a color palette that we felt would produce the desired result. To facilitate the communication with the owners, we prepared a sample board showing a mockup of key sections of the building using the six-color palette we were recommending. During the second color consultation, we went over the sample board with the owners. Based on the feedback we received, we made one change to the color scheme. We now had the green light to proceed!

Three hundred fifty hours of work later, the owners, neighbors and pedestrians in this busy neighborhood are now able to rejoice in the new period colors of this vintage building and have a renewed appreciation for the beauty of its Victorian period details. Here is what one of the owners had to say:
“The paint color palette turned out better then we could have hoped for. You and your wife were able to help our association come to an agreement on a historically accurate plan that incorporated all of our feedback in a matter of two meetings, something that would have taken us months to do on our own. The painted areas now complement and accentuate the beautiful stone and metal features of our building, instead of clashing like a sore thumb. In a neighborhood where many building owners have chosen to paint such metal features a uniform color, to save the effort and cost, our building is now a shining example of what these historic buildings can be. Given the feedback from the neighborhood, I hope our building will be an inspiration for others to make the extra effort to celebrate the unique architectural character and history of our community.”

Below are some before and after pictures of key portions of the building.

Bay Window After Paint Color Restoration

Bay Window Before Paint Restoration

Facade After Paint Color Restoration

Facade Before Paint Color Restoration

Front Unit After Paint Color Restoration

Front Unit Before Paint Color Restoration

Containing Lead Debris During the Restoration of a Vintage 1889 Building in Chicago

Containing Lead Paint Chips

Scaffold Lead-Safe Containment

EPA’s RRP rules define the principles to follow to ensure a lead-safe painting project involving buildings built prior to 1978. Our paint restoration project on the façade of this 1889 vintage Chicago building surely fell into this category. Outlined below are the steps we followed to comply to the requirements of the RRP rules on this high visibility exterior painting project.

RRP rules layout the principles, but do not get into the specifics of how to comply to the rules. Their intent is to ensure containment of the dust and debris, so that the workers, the public and the environment are protected from the harmful effects of old lead paint. Consequently, depending on the specific conditions of each project, work practices must be devised that will ensure the containment of the dust and debris.

In the case of our Chicago historical restoration project, almost all our work took place above a busy sidewalk, on a canopy and four layers of scaffolding above it. One of the first measures we took was to build a 4-mil, plastic shield on both ends of the scaffold, from top to bottom in order to prevent debris from falling out of the scaffold area. We then sealed the floor of the canopy using heavy-duty blue taps. Contrary to plastic sheeting, blue tarps are not slippery, which is an important safety factor in selecting floor containment materials. Every work area was then sealed with 4-mil plastic sheeting to capture the debris, as it was generated by the carbide wet scraping and wet sanding. To protect our painters from the dust, we used full-body coveralls and P-100 respirators.

Following RRP rules on interior and exterior paint restoration projects is critical to ensure the safety of everyone involved. As a Lead-Safe Firm, we are committed to fulfill the intent of EPA rules on all our painting projects.

Preserving the Irreplaceable!

Vintage Tin-Clad Bays - Before

Plaster Reproductions of Metal Ornamentation

Repair Needed to Tin Surface

We just completed three hundred hours of historical restoration work on a Chicago vintage building, which dates back to 1889. The bulk of the work centered on two Victorian-style, two-story bay windows in their original tin cladding. Our work also included the cornice, which was also quite detailed and made of the same metal.

Needless to say, time and weather had played many tricks on this piece of Chicago history. Numerous elements of the tin ornamentation had fallen off from the building. Part of our work consisted in replicating the missing pieces, using an exterior grade plaster, sealed with 2 coats of linseed oil, then painted and reinstalled on the building. A few years ago, that same technique was used in the restoration of Frank Lloyd Wright’s Dana Thomas House in Springfield, Illinois.

Over the years, the metal ornamentation and the metal cladding had developed cracks, gaps in the joints, holes etc. To execute those repairs, we used a two-part epoxy that is easily shapeable and retains its shape while curing. The goal here was to help keep the water from finding its way behind the metal cladding. So we sealed any opening we could find with that epoxy.

We discovered that the last people who painted the building, over fifteen years ago, had used duct tape to patch holes in the metal cladding and painted it, as shown in the attached picture. Only a close inspection revealed the problem. We called on a metal worker to rebuild a corner with zinc sheet metal.

Lastly, several pieces of the original window casing moldings had fallen off. Over time, the original forged iron nails had rusted away and broken off, leaving some trim pieces dangling. Others had fallen off altogether. We had the millwork replicated in Ponderosa pine to replace the missing pieces.

As historical restoration specialists, we believe that preserving such architectural elements is critical, because they are irreplaceable. Every effort must be made to restore and protect that part of our heritage. But no duct tape allowed!

Gearing Up for a Chicago Oldie’s Paint Color Makeover

Scaffolding and Dust Containment

A paint restoration project can involve much advanced planning and equipment, especially for an old building in a large urban area like Chicago. Before any work can be performed, power lines will have to be moved because of their proximity to the work areas. The Chicago Department of Operations handles that service, at a hefty cost! Additionally, there may be an additional low voltage wire for police and fire communications that will need to be wrapped. That service is performed by a different Chicago Department, this one at no cost, amazingly.

An old city building is often right up against the sidewalk and, if it has bay windows on its façade, the building actually extends three or four feet over the sidewalk. Consequently, city ordinances require the erection of a canopy over the sidewalk to protect pedestrians. It also must remain lit from dusk to dawn. Once that work is completed, the scaffolding can then be erected to ensure safe and comfortable access to all work areas. In the case of our paint restoration project in the Old Town neighborhood of Chicago, four layers of scaffolding covering the entire façade needed to be installed. The scaffolding company secured the necessary permits prior to installation. Lastly, our painting project will require the rental of a scissor lift to reach a section of the cornice that extends into the alley. A separate permit has to be secured for the use of space in the alley.

Personal Safety Equipment

Once the work above has been completed, two important aspects need to be addressed before work can begin on the painted surfaces. First, dust containment must be set up, as required by the RRP rules. In our case, it involved the set up of 4 mil plastic barriers on both ends of the scaffolding, the use of 6 mil plastic to seal the canopy to the edges of the building and the containment of the work areas to capture the paint debris and dust. The second aspect involves personal safety equipment to meet OSHA and EPA requirements. In our paint restoration project, it involved the use of fall arrest protection equipment, hard hats, dust suits, special respirators and eye protection. Having now completed all the surface preparation, we are ready to paint, finally!

Involving the Owners in the Creation of an Exterior Period Color Makeover

When developing a new historical paint color scheme for a building, we believe in involving the clients in the process. As indicated in a recent blog post, we recently went through the development of a new color palette for the façade of this unique 1889 Chicago brick Victorian-era building, now converted to condominiums.

As a first step, we invited the owners to attend a meeting with Rita Guertin, our Color and Concept Consultant. From the outset, it was evident that they all shared a common discontent about the current color scheme. During the meeting, the owners voiced their color likes and dislikes. Some even brought color samples and pictures. We believe that involving the clients early in this way helps to create a successful outcome for everyone.

Historical Paint Color Makeover

Armed with that feedback and input, we began to put together a six-color palette for the building’s façade. One of the flaws of the old color scheme was that it did not take into account the colors of the building’s masonry: gray limestone, strong red face brick and warm/earthy tones for the common brick of the sides of the building. We felt that incorporating these colors into the palette was needed to create harmony, and highlight the beauty and character of the decorative features of the building.

We then organized a second client meeting to review our proposed historical color selection and its placement on the building. In order to easily communicate the concept, we overlaid our color selections onto four color pictures of the building’s main decorative elements. From the feedback we received, we made only one change to the color scheme: the warm buff color was replaced by a taupe gray color, which harmonized well with the mortar color of the common brick, as well as the limestone.

Our next blog post, will describe how you “rig up” to handle a project of this size and nature, in order to meet the many requirements of City ordinances, as well as EPA and OSHA regulations.