![]() ![]() If everything was verbal, then basically it is every man for himself doing what they think is best. What written agreements do you have stating who will do what? etc.ĪND the homeowner or client, (whoever is project managing the job). ALL trades Builders, Carpenters, Plasterers, Plumbers, Electricians. Note: This article was originally published by AIA Chicago in the September-October issue of Chicago Architect magazine.This type of question depends upon the competence of ALL parties involved.Į.g. is to restore the plaster to its original design intent: the soft and subtle kind of finish that was known to have existed and was rediscovered after extensive investigation.Īccording to general contractor Berglund Construction, the scope of the plaster restoration is to provide a new plaster finish to all of the originally plastered walls and ceilings, replicating the original composition, finish, and color. Originally there were three finishes: a strongly textured sand finish with distinctive trowel markings a lightly textured sand finish and a more challenging smooth finish, monolithic in appearance. In areas where no patching is required, the new finish will be applied as a skim coat over existing surfaces. In areas requiring minor patching, plasterers will apply a base coat of sand, cement, and lime in proportion to match the original composition this new base coat gets applied to wire lath that is attached directly to the original cast-in-place concrete structure prior to the new finish coats. In ceiling coffers and in areas requiring major patching, such as wall chases required by mechanical and electrical updates, a similar method will be used. The paint, under equal scrutiny as the plaster, will be applied by architectural conservators from Evergreene Architectural Arts.Īfter many weeks of trials and sample panels painstakingly constructed on-site, the plasterers were finally able to meet Harboe Architects’ strict requirements for composition and texture of the plaster’s base and finish coats. Upon completion, the beautiful and historically accurate restoration of Unity Temple’s walls and ceilings will be a testament to the shared goals and tight collaboration among the conservator, the architect, and the plasterers. Over the decades, many plaster repairs have obscured and compromised the original textured plaster, and modern latex paint has completely altered the appearance of Wright’s design aesthetic. The challenge for the restoration architects from Harboe Architects, PC, involved in Unity Temple’s restoration since 2001, and the plastering contractor J.P. In my role as director of technical service with International Masonry Institute (IMI), I am often asked by Chicago architects “Do today’s plasterers have the same skills as those from a hundred years ago?” My answer is always a reassuring and resounding yes! Plastering is alive and well in Chicago and across the United States, thanks to the comprehensive apprenticeship and training programs of IMI’s International Masonry Training and Education Foundation and the plastering contractors signed with the International Union of Bricklayers and Allied Craftworkers (BAC). Plastering, like ceramic tile and terrazzo, is an allied craft of the bricklaying trade. The restoration of the historic plaster work at Frank Lloyd Wright’s Unity Temple in Oak Park, Illinois is one example of how today’s expert plasterers are employing classic techniques with modern materials to deliver high performing and historically accurate plaster finishes to this building’s walls and ceilings. As of this writing, the plaster is in the early stages of restoration, expected to be complete by the end of 2016.ĭesigned in 1905 and dedicated in 1909, Wright’s masterpiece had many architectural features that define its significance, not the least of which are the subtly painted and textured plaster finishes. According to the Unity Temple Restoration Foundation (UTRF), original specifications indicate that the plaster interior was composed of a lime cement plaster with crushed flint or torpedo sand aggregate and goat or cattle hair fibers “well beaten, soaked, and thoroughly mixed into lime paste” finished evenly with a soft felt or cork faced trowel. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |