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REQUEST FOR PROPOSALS NO. FOR THE RESTORATION, IMPROVEMENT, AND LEASE OF THE OLYMPIA THEATER AND TOWER LOCATED AT 174 EAST FLAGLER STREET MIAMI, FLORIDA 33131 JAI; I (aTiriN o1 il,u YI 1=t ua I-IN'tion 111 au.B.uo Baaaa IIh.IIIi*. MIN Como rr 11111111 1111111 49`?6Yv, �4yti PRESENTED BY THE 8 CITY OF MIAMI DEPARTMENTS OF PROCUREMENT & REAL ESTATE AND ASSET MANAGEMENT • • (itp of , 2022 Ladies and Gentlemen: The Department of Procurement in conjunction with the Department of Real Estate and Asset Management for the City of Miami do hereby issue the attached Request for Proposals for the restoration, improvement, and lease of a historic City -owned property located at 174 East Flagler Street, Miami, Florida, and known as the Olympia Theater and Tower. The goal of this RFP is to enter into a long-term lease agreement with a responsive and responsible Proposer who will, among other tasks, redevelop/operate and maintain a boutique hotel, performing arts theater, and ancillary uses in order to create vibrant downtown destination for tourists and City residents alike. As described herein, the vision of this RFP is to help develop an appropriate adaptive use for the Olympia Apartment Building and the ground level retail spaces that will complement and enhance the existing historic Olympia Theater. Concept Plans have been prepared to illustrate this potential rehabilitation scenario (refer to Exhibit C). Other alternative development scenarios that are sensitive to the historic nature of the buildings will be considered. A preliminary zoning analysis has been prepared that illustrates excess development rights that the lease will be entitled to, including square footage and density, that are transferrable under Chapter 23 of the City Code (refer to Exhibits A & B). The City hereby requests that Proposers submit a proposal package including all the items required by this RFP. This RFP contains information regarding the Property, submission requirements, and selection procedures. Carefully review all enclosed documents. Proposers must comply with all submission requirements, as well as all applicable legal and regulatory requirements in order to be eligible for consideration. The Successful Proposer shall be subject to all applicable laws, including, but not limited to, the laws of the State of Florida, Miami -Dade County, and the Charter and Code of the City. On behalf of the City of Miami Mayor and Commissioners, I welcome responsive proposals from responsible Proposers that will realize the full potential of this prime real estate location. Sincerely, Arthur Noriega V City Manager TABLE OF CONTENTS I. EXECUTIVE SUMMMARY II. GENERAL TERMS AND CONDITIONS III. SPECIAL CONDITIONS A. THE PROPERTY B. PROPOSED PROJECT C. SELECTION PROCESS AND CONTRACT AWARD D. LEASE E. BACKGROUND CHECK IV. TECHNICAL SPECIFICATIONS A. MINIMUM PROPOSAL REQUIREMENTS & FORMAT B. DEADLINE FOR RECEIPT OF INFORMATION/ CLARIFICATION C. RECEIPT OF RESPONSES EXHIBIT A EXHIBITS & APPENDICES PROPERTY INFORMATION 1. Property Survey and Legal Description Prepared by Lannes & Garcia, Inc. Field Date 02/04/2014 2. Property Location Map 3. Property Photos — Exterior/Interior 4. Miami21 Zoning Code Map of Downtown 5. Flood Zone Map 6. Future Land Use Map 7. Preliminary Transfer of Development Rights TDR/TDD Calculations EXHIBIT B REFERENCE MATERIALS 1. Miami 21 Zoning Code: T6-80-0 2. City Code Section 18-74 - Cone of Silence 3. City Code Section 18-104 - Bid Protests 4. City Code Section 2-612 - Conflicts of Interest 5. City Code Section Chapter 23 Historic Preservation 6. City Charter Section 29B - City -owned Property Sale or Lease - Generally 7. City Charter Section 3 — Powers EXHIBIT C REFERENCE MATERIALS 1 Existing Conditions Drawings 2. Adaptive Use Boutique Hotel Concept Plans 3 Federal Tax Incentives Brochure 4. Secretary of the Interior's Standards and Guidelines Please note the materials in Exhibits A B & C above are included for informational purposes only and Proposer should not rely upon the included information without further investigation. APPENDIX 1 RFP CHECKLIST APPENDIX 2 RFP PROPOSAL SUMMARY FORM APPENDIX 3 TEAM QUALIFICATION FORMS APPENDIX 4 ENTITY CERTIFICATE OF AUTHORITY FORMS APPENDIX 5 DISCLOSURE/DISCLAIMER FORM APPENDIX 6 INSURANCE REQUIREMENTS APPENDIX 7 CONSENT FORMS APPENDIX 8 NON -COLLUSION AFFIDAVIT APPENDIX 9 SCRUTIIZED COMPANIES AFFIDAVIT REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns I. EXECUTIVE SUMMMARY Project: The City is seeking responsive proposals from qualified Proposers willing to plan, design, permit, construct, renovate, lease, manage and operate a downtown facility with uses including a theater, boutique hotel, lounge and restaurant, located within the historic Olympia Theater and Olympia Apartment Building ("Project"). The vision of this RFP is to develop an appropriate adaptive use for the Olympia Apartment Building and retail spaces that will complement and enhance the historic Olympia Theater. The City currently believes that a boutique hotel concept with active ancillary spaces will help to activate and enhance the downtown environment and will be the highest and best use of the property. Concept plans have been prepared to illustrate this potential adaptive use scenario (refer to Exhibit C). Alternative development scenarios that are sensitive to the historic nature of the building will be considered. It is the intent of this RFP to encourage an integrally planned and designed development vision for the Property. A creative proposal for the adaptive reuse of this existing buildings is encouraged. Location: 174 EastFlagler Street, Miami, Florida, Folio No. 01-0112-010-1010 ("Property"). Property Size: Approximately 21,477 SF lot size. Land Use: Central Business District. Zoning: T6-80-0 Urban Core Zone according to the Miami 21 Zoning Code. Historic Status: The Property is listed on the National Register of Historic Places and is recognized as a historic landmark in Miami. Property Condition: The Property is offered in "as is, where is" condition by the City. Taxes & Impositions: Deed & Litigation: Existing Grants: The project is potentially eligible for the Federal 20% Historic Rehabilitation Tax Credit, provided that it meets the Secretary of the Interiors Standards and Guidelines for the Restoration and Rehabilitation of Historic Structures. (refer to Exhibit C). The Successful Proposer will shall be responsible for all taxes, levies, governmental impositions, surcharges and assessments due or assessed on the Property. The Successful Proposer shall be responsible for payment in lieu of taxes ("PILOT") during the term of the Agreement in the event the Property becomes exempt from ad valorem real estate taxes. The Property was conveyed to the City subject to certain deed restrictions as more particularly set forth in Official Records Book 9053 Page 723. Additionally, there is an existing litigation filed against the City pertaining to the Property, identified as Case No. 2019-033637-CA-01. This RFP and Successful Proposer's proposal shall be subject to the existing deed restrictions and the litigation. The Property is subject to various restrictions further specified below, which exist as a result of certain grants which have been obtained to update and renovate the Property. The Successful Proposer shall be required to comply with all restrictions, 1 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns Lease: Lease Term: and shall covenant that it shall not cause, directly or indirectly, any action, omission, or inaction that would result in a violation of such restrictions. After the City Commission awards this RFP to the top -ranked proposer, the City will negotiate a lease agreement ("Lease") with the Successful Proposer. Such Lease shall be in compliance with the terms of this RFP, and shall include such standard provisions required in City leases, including, but not limited to, a broad indemnification, hold harmless, and duty to defend the City, insurance requirements, and guarantees in favor of the City. The Lease consists of a thirty (30) year initial term, with a thirty (30) year renewal term. The cumulative term shall be (60) years ("Lease Term"). Notwithstanding the above, the City may elect to grant a longer or different Lease Term during negotiations and subject to City Commission approval. Rent Requirements: RFP Proposals shall include a base rent and percentage rent which shall be equal to or greater than fair market value, as determined by two State -certified Appraisers procured at the direction of the City ("Rent"). Additional rent may be applicable, as negotiated and specified in the Lease. Proposal Security: The Successful Proposer shall provide a Proposal Security equal to Twenty -Five Thousand Dollars ($25,000) upon proposal submission, as further clarified below. Earnest Money Deposit: The Successful Proposer shall provide an Earnest Money Deposit equal to three percent (3%) of estimated construction costs payable by irrevocable/unconditional Cashier's Check drawn on a financial institution authorized to do business in Florida, by proof of deposit into a third -party escrow account, by letter of credit, or by surety bond. Proposer Entity: Responsibility: Pre -Proposal Conference and Site Visit: Deadline for Questions: Procurement At the time of submission of the Proposals, the Proposer must be a business entity (i.e., Partnership, Limited Partnership, Limited Liability Company, Corporation, etc.) already authorized to do business in the State of Florida, Miami -Dade County and the City of Miami under the Proposer entity's legal name. Any principal(s) included in Appendix 3 ("RFP Proposal Summary Form") may not be substituted or withdrawn from participation after the Submission Date unless the City Manager specifically authorizes in writing a request for substitution. Each Proposer, including the principals thereof, and/or its assigns, shall be subject to responsibility review to determine responsibility and capacity to perform all items required by this RFP. The City may conduct a Pre -Proposal Submission Conference and Site Visit on a date and time that is yet to be determined. In the event of such Conference, notice of the date, time, and location shall be posted and sent to all Registered Proposers via email. TBD 2 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns Contracting Officer: Charles Johnson City of Miami Depaituient of Procurement 444 SW 2nd Avenue, 6th Floor Miami, Florida 33130 E: cjohnson@miamigov.com Proposal Due Date TBD and Location: Periscope S2G (f/k/a/ BidSync) periscopeholdings.com/s2g 3 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns II. GENERAL TERMS AND CONDITIONS A. Definitions 1. Proposal — shall refer to any offer(s) submitted in response to this solicitation. 2. Proposer — shall refer to anyone submitting a Proposal in response to this solicitation. 3. Solicitation— shall mean this solicitation documentation, including any and all addenda. 4. Solicitation Submittal Forms — forms that must be submitted with the Proposal. 5. City — shall refer to the City of Miami, Florida 6. DREAM — shall refer to City of Miami Depaitinent of Real Estate and Asset Management. 7. Procurement — shall refer to City of Miami Department of Procurement 8. Successful Proposer — shall mean the Proposer(s) recommended for award. B. Instruction to Proposers 1. Public Entity Crimes To be eligible for award of a contract, firms wishing to do business with the City must comply with Section 287.133(2)(a) of the Florida Statutes, which provides that a person or affiliate who has been placed on the convicted vendor list following a conviction for a public entity crime may not submit a Proposal on a contract to provide any goods or services to a public entity, may not submit a Proposal on a contract with a public entity for the construction or repair of a public building or public work, may not submit Proposals on leases of real property to a public entity, may not be awarded or perform work as a contractor, supplier, subcontractor, or consultant under a contract with any public entity, and may not transact business with any public entity in excess of the threshold amount provided in Section 287.017 of the Florida Statutes, for CATEGORY TWO, as defined by Section 287.017(2) of the Florida Statutes, for a period of thirty-six (36) months from the date of being placed on the convicted vendor list. 2. Request for Additional Information i. Cone of Silence: Pursuant to Section 18-74 of the City Code, all Solicitations, once advertised and until an award recommendation has been forwarded to the appropriate authority, are under the "Cone of Silence". Any communication or inquiries, except for clarification of process or procedure already contained in the Solicitation, are to be made in writing to the attention of the Procurement Contracting Officer identified in the Solicitation with a copy sent to the City Clerk either via email at clerks@miamigov.com or via mail at Office of the City Clerk, Attn: Todd B. Hannon, 3500 Pan American Drive, First Floor, Miami, Florida 33133. ii. Addenda: Procurement may issue an addendum in response to any inquiry received prior to the Deadline for Questions, as identified within the Executive Summary above, that changes, adds to, or clarifies the terms, provisions or requirements of the Solicitation. The Proposer should not rely on any representation, statement or explanation whether written or verbal, other than those made in this Solicitation or in any addenda issued. Where there appears to be a conflict between this Solicitation and any addenda, the last addendum issued shall prevail. It is the Proposer's responsibility to ensure receipt of all addenda, and any accompanying documentation. 4 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns 3. Solicitation and Proposers' Responsibilities It is the responsibility of the Proposer to become thoroughly familiar with the requirements, terms, and conditions of this Solicitation. Allegations or pleas of ignorance by the Proposer of conditions that exist or that may exist will not be accepted as a basis for varying the requirements of the City. This Solicitation is subject to all legal requirements contained in the applicable City Charter and City Code provisions, as well as all applicable County, State, and Federal laws, rules, and regulations. It is the responsibility of the Proposer, prior to conducting any lobbying regarding this Solicitation to file the appropriate form with the City Clerk stating that a particular lobbyist is authorized to represent the Proposer. The Proposer shall also file a form with the City Clerk at the point in time at which a lobbyist is no longer authorized to represent said Proposer. Failure of a Proposer to file the appropriate form required, in relation to each Solicitation, may be considered as evidence that the Proposer is not responsible, as required by subsection G below. 4. Change or Withdrawal of Proposals i. Changes: Prior to the scheduled Proposal receipt and opening, a Proposer may change its Proposal by submitting a new Proposal. Other than scrivener's errors or other non- material errors that serve the City's best interest once revised, no changes to a Proposal will be accepted after the submission deadline. ii. Withdrawals: A Proposal shall be irrevocable unless the Proposal is withdrawn as provided herein. A Proposal may be withdrawn within ninety (90) days after the Proposal has been received and opened and prior to award, by submitting a letter to the Procurement Contracting Officer identified in this Solicitation. The withdrawal letter must be on company letterhead and signed by an authorized agent of the Proposer. Proposals may not be withdrawn except as expressly provided in this Section II.B.4.ii. 5. Conflicts within Solicitation Provisions contained herein will be interpreted in a manner consistent with all other provisions. However, where there exists a conflict between the General Terms and Conditions, Special Conditions, the Technical Specifications, or any addendum issued, the order of precedence shall be: the last addendum issued, the Technical Specifications, the Special Conditions, and then the General Terms and Conditions. Additionally, the provisions of this solicitation shall govern over all agreements to be negotiated with Proposer pursuant to this solicitation. In the event of a conflict between any draft agreement included as an exhibit, attachment, or appendix and the terms of this solicitation, the terms of this solicitation shall govern. C. Preparation of Proposals 1. Submittal Forms — the Proposal Submission Form and all other required solicitation documents define requirements of the Solicitation and must be completed and submitted as outlined within the Solicitation. Use of another form may result in rejection of the Proposal. 2. Authorized Agent — An authorized agent of the Proposer's firm must sign the Proposal Submission Form and submit it together with the Proposal. 3. Conditions — The Proposer may be considered non -responsive if Proposals are conditioned to modifications, changes, or revisions to the terms and conditions of this Solicitation. 4. Additional/Alternate Proposals - Additional or alternate Proposal(s) for this Solicitation shall not be accepted. 5. Price Discrepancies — where there is a discrepancy between the prices offered within the Proposal, the prices or amounts that would provide the greatest return to the City shall prevail. 5 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns D. Cancellation of Solicitation The City reserves the right to cancel, in whole or in part, any Solicitation when it is in the best interest of the City. The City shall have the sole and absolute discretion to determine which actions are in the best interest of the City. E. Award of Solicitation 1. Generally — This RFP may be awarded to the responsible Proposer meeting all requirements as set forth in the Solicitation. The City reserves the right to reject any and all Proposals, to waive irregularities or technicalities and to re -advertise for all or any part of this Solicitation as deemed in its best interest. The City shall be the sole judge of its best interest. 2. Unreasonable Offers — The City expressly reserves the right to reject any and all Proposals if it is determined that prices are insufficient, best offers are determined to be unreasonable, or it is otherwise determined to be in the City's best interest to do so. 3. Negotiations — The City reserves the right to negotiate rent with the Proposer providing the best financial return to the City, provided that the Solicitation's scope of work and/or minimum requirements, including rent, remains the same or revised for the City's benefit (such as increased rent). 4. Contractor Responsibility — Pursuant to City Code Section 18-120, the Proposer's performance as a tenant, vendor, prime contractor or subcontractor, or other contracting party (as may be applicable) on previous City contracts shall be taken into account in evaluating the Proposal received for this Solicitation. 5. Award Information — To obtain a copy of the evaluation scores, upon notice of Award Recommendation, Proposer(s) may request the scoring sheets or other award information by contacting the Procurement Contracting Officer identified within the Solicitation. 6. Contract — The Solicitation, any addenda thereto, the subsequent agreement(s), and any properly executed modifications shall constitute the resultant contract. 7. Required Documentation — Award of this Solicitation may be predicated on compliance with and submittal of all required documents as stipulated in the Solicitation. 8. Request for Additional Information — The City reserves the right to request and evaluate additional information from Proposers after the submission deadline as the City deems necessary. F. Proposal Security A cashier's or certified check, or a Bid Bond signed by a recognized surety company that is licensed to do business in the State of Florida, payable to the City of Miami, for the amount bid is required from all bidders/proposers, if so indicated under the Special Conditions. This check or bond guarantees that a bidder/proposer will accept the order or contract/agreement, as bid/proposed, if it is awarded to bidder/proposer. Bidder/Proposer shall forfeit bid deposit to the City should City award contract/agreement to Bidder/Proposer and Bidder/Proposer fails to accept the award. The City reserves the right to reject any and all surety tendered to the City. Bid deposits are returned to unsuccessful bidders/proposers within ten (10) days after the award and successful bidder' s/proposer' s acceptance of award. If one hundred and twenty (120) days have passed after the date of the formal solicitation closing date, and no contract has been awarded, all bid deposits will be returned on demand. Failure to execute an agreement and/or file an acceptable Performance Bond, when required, as may be provided herein, shall be just cause for the annulment of the award and the forfeiture of the Proposal Security to the City, which forfeiture shall be considered, not as a penalty, but in mitigation of damages 6 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns sustained. The amount of the Proposal Security shall be a liquidated sum, which shall be due in full in the event of default. Award may then be made to the next highest -ranked responsive, responsible Proposer whose Proposal is most advantageous to the City, or all responses may be rejected. G. Determination of Responsiveness and Responsibility 1. Determination of Responsiveness. A Responsive Proposal is one which follows the requirements of the Formal Solicitation, includes all documentation, is submitted in the format outlined in the Formal Solicitation, is of timely submission, and has appropriate signatures as required on each document. Failure to comply with these requirements may deem a Proposal non -responsive. 2. Determination of Responsibility. A Responsible Proposer shall mean a Proposer who has submitted a proposal and who has the capability, as determined under Section 18-95 of the City Code, in all respects to fully perform the Contract requirements, and the integrity and reliability of which give reasonable assurance of good faith and performance. i. Proposals will only be considered from any person or firm who are regularly engaged in the business of providing the good(s)/service(s) required by the Formal Solicitation. Proposer must be able to demonstrate a satisfactory record of performance and integrity, and have sufficient financial, material, equipment, facility, personnel resources, and expertise to meet all contractual requirements. ii. The City may consider any information available regarding the financial, technical, and other qualifications and abilities of a Proposer, including past performance (experience) with the City or any other governmental entity, in making the award. iii. The City may require the Proposer(s) to provide documentation that they have been designated as an authorized representative of a manufacturer or supplier which is the actual source of supply, if required by the Formal Solicitation. H. Bid Protest All bid protests shall be processed in accordance with the procedures contained in Section 18-104 of the City Code. All of the requirements and procedures specified in Section 18-104 shall be mandatory in order to properly file and proceed with a bid protest. Section 18-104, as the same may be amended, shall be deemed as incorporated by reference herein as if set forth in full. I. Laws and Regulations The Successful Proposer shall comply with all applicable laws, codes, rules, permits, approvals, and regulations applicable to enter into the agreement specified in this Solicitation. The Successful Proposer shall comply with all applicable federal, state and local laws that may affect the execution of the agreement. J. Licenses, Permits, and Fees The Successful Proposer(s) shall hold all licenses and/or certifications, obtain and pay for all permits and/or inspections, and comply with all laws, ordinances, regulations and building code requirements applicable to the agreement required herein. Damages, penalties, and/or fines imposed on the City or Successful Proposer for failure to obtain and maintain required licenses, certifications, permits and/or inspections shall be borne by said Successful Proposer. K. Assignment Unless otherwise specified in this Solicitation, the Successful Proposer shall not assign, transfer, pledge, convey, hypothecate, or otherwise dispose of their Proposal, including any rights, title or 7 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns interest therein, or its power to execute a contract with the City thereby, to any person, company or corporation without the prior consent of the City Commission by way of resolution, which may be conditioned, withheld, or refused at the City's absolute discretion. L. Indemnification The Successful Proposer shall indemnify, defend (at its sole cost and expense), save, and hold harmless the City and its officers, officials, employees, agents, agencies, and instrumentalities from any and all actions, claims, protests, proceedings, causes of action, legal, equitable, regulatory, administrative or otherwise, liability, losses or damages, which the City or its officers, employees, agents or instrumentalities may incur as a result of claims, demands, suits, causes of actions or proceedings of any kind or nature arising out of, relating to or resulting from the performance, non-performance, or breach of the agreement by the Successful Proposer, including without limitation the Solicitation, evaluation, recommendation(s) for award, and award of the Lease, the later possession and Tenancy and all activities or omissions thereon, the design and construction of all improvements, betterments, additions and structures, including the maintenance and use thereof, compliance with all applicable laws, codes, rules and regulations and payment of all debts, expenses, costs, and fees that are the responsibility of the Proposer as they come due. The foregoing indemnity, hold harmless and duty to defend the City shall include the Proposer and/or its employees, agents, servants, partners, principals or subcontractors, jointly and severally. The Successful Proposer shall pay all claims and losses in connection therewith, and shall investigate and defend all claims, suits or actions of any kind or nature in the name of the City, where applicable, including appellate proceedings, and shall pay all costs, judgments, and attorney's fees which may be incurred thereon. The Successful Proposer expressly understands and agrees that any insurance protection required by this Solicitation or subsequent agreement, or otherwise provided by the Successful Proposer shall in no way limit the responsibility to indemnify, keep and save harmless and defend the City or its officers, officials, employees, agents, agencies, and instrumentalities as herein provided, which duty shall survive the cancellation of the Lease, as may be applicable. Submittal of a Proposal shall constitute voluntary and knowing acknowledgment and acceptance of this Indemnification provision, which will become effective upon submission through selection until such time the Lease is executed, at which point all the indemnifications provided therein shall apply; the Indemnification provisions in the Lease shall be generally consistent with the protections provided above. For the avoidance of doubt, this Section will obligate the Successful Proposer to intervene, indemnify, hold and save harmless, fully cooperate, defend, and assist (at the option of the City Attorney) in the defense of the City in any protest. M. Insurance Requirements Prior to execution of the agreement by the City, the Successful Proposer shall furnish to the City Certificates(s) of Insurance that indicate that insurance coverage has been obtained which meets the requirements as set forth by the City. The title and/or number of this Solicitation number must appear on each certificate. All policies and/or certificate(s) of insurance are subject to the review and approval by the City's Department of Risk Management prior to approval. The certificate(s) of insurance shall substantially comply with the insurance requirements listed in Appendix 6. Certificates will indicate that no modification, lapse, or change in insurance shall be made without thirty (30) days written notice to the Certificate Holder. If insurance certificates are scheduled to expire during the contractual period, the Successful Proposer shall be responsible for submitting new or renewed insurance certificate(s) to the City at a minimum of ten (10) calendar days in advance of such expiration. The City of Miami Director of the Department of Risk Management shall have the right to amend or solicit additional insurance requirements as needed in connection with the construction or operational phases of the Project. 8 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns N. Auditor General The City reserves the right to require the Successful Proposer(s) to submit to an audit by the Auditor General or other auditor of the City's choosing at the Proposer's expense. The Successful Proposer shall provide access to all of its records, including access to its designated bank account(s) for this Project, which relate directly or indirectly to the Proposal, Project, or subject agreement at its place of business during regular business hours. The Successful Proposer shall maintain a separate bank account, retain all operational and financial records pertaining to the Lease, and upon request make them available to the City for seven (7) years following expiration of the agreement. Alternatively, the Successful Proposer may transfer the records to the City throughout the term of the agreement, subject to the Successful Proposer's maintenance of these records for at least seven (7) years after creation of such records. The Successful Proposer agrees to provide such assistance as may be necessary to facilitate the review or audit by the City to ensure compliance with applicable accounting and financial standards. O. Collusion Any Proposers interested in bidding on a competitive solicitation for any DREAM project including, but not limited to, a purchase, lease, permit, concession or management agreement, shall submit the Non -Collusion Affidavit included herein as Appendix 8 under penalty of perjury. The Non -Collusion Affidavit provides either that the Proposer is not related to or affiliated with any of the other parties submitting a Proposal in this Solicitation or identifies all affiliated or related parties that submitted a Proposal in the Solicitation. The Non -Collusion Affidavit further attests that the Proposer's proposal is genuine and not sham or collusive or made in the interest or on behalf of any person not therein named, and that the Proposer has not, directly or indirectly, induced or solicited any other Proposer to put in a sham proposal, or any other person, firm, or corporation to refrain from proposing, and that the proposer has not, in any manner, sought by collusion to secure to the proposer an advantage over any other Proposer. In the event a recommended Proposer identifies related parties in the competitive Solicitation its Proposal shall be presumed to be collusive and the recommended Proposer shall be ineligible for award unless that presumption is rebutted. Any person or entity that fails to submit the required affidavit shall be ineligible for contract award. Failure to provide the Non -Collusion Affidavit with the Proposal or within five (5) days' request by the City, shall be cause for the contractor to forfeit their Proposal Security, if applicable. P. Proprietary/Confidential Information All Responses submitted to the City are subject to public disclosure pursuant to Chapter 119, Florida Statutes. An exception may be made for "trade secrets." If the Response contains information that constitutes a "trade secret", all material that qualifies for exemption from Chapter 119 must be submitted in a separate envelope, clearly identified as " TRADE SECRETS EXCEPTION," with your firm's name and the Solicitation number and title marked on the outside. Please be aware that the designation of an item as a trade secret by you may be challenged in court by any person. By your designation of material in your Response as a "trade secret" you agree to indemnify and hold harmless the City for any award to a plaintiff for damages, costs or attorney's fees and for costs and attorney's fees incurred by the City by reason of any legal action challenging your claim. Q. Governing Law This Solicitation and subsequently executed agreement, including appendices, and all matters relating to the agreement (whether in contract, statute, tort, regulatory, administrative, or otherwise) shall be governed by, and construed in accordance with, the laws of the State of Florida regardless of the domicile of any Proposers. Exclusive venue shall be Miami -Dade County. By submitting a proposal response, the Proposer knowingly and voluntarily agrees to this choice of applicable law and venue and to all other requirements of the Proposer in the RFP. 9 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns III. SPECIAL CONDITIONS The information contained in this RFP is published solely for the purpose of inviting Proposers to consider the Project described herein but is not warranted in any manner. Proposers should independently verify factual items they deem relevant and perform their own due diligence investigations and projections and render their own conclusions without reliance upon the Pre -Proposal Submission Conference(s) or the material contained herein or any addenda hereto. A. THE PROPERTY 1. Property Description and Historical Significance The Olympia Theater, also known as the Gusman Center for the Performing Arts or the Maurice Gusman Cultural Center, is in the heart of Downtown Miami at the bustling intersection of East Flagler Street and Northeast Second Avenue. With a Mediterranean revival style and atmospheric design, the Olympia Theater is said to have been one of the first air-conditioned theaters in the South. Cultural icons such as The King - Elvis Presley, B.B. King, Luciano Pavarotti and Etta James have provided memorable evenings under the Olympia Theater's striking "night sky" ceiling. The theater is listed on the National Register of Historic Places and is recognized as a landmark in Miami. It was designed by John Eberson with construction commencing in 1925, and with its grand opening held on February 18, 1926. The Successful Proposer shall be responsible to renovate and maintain the historic theater in accordance with applicable regulations and in a manner befitting of such a historic landmark. All projects on this site are subject to Chapter 23 of the Miami City Code and will require approval of a Certificate of Appropriateness from the City of Miami Historic and Environmental Preservation Board ("HEPB"). 2. Parcel Size and Components The Property is located at 174 East Flagler Street, Miami, Florida 33131, and identified by Folio No. 01-0112-010-1010. The lot size is approximately 21,477 SF. The Existing Facilities include the following structures and amenities: • One 1,558 seat performing arts theater approximately 40,911square feet. • One 80-unit apaitnient building approximately 40,370 square feet. • Retail spaces approximately 3,407 square feet total. The Olympia Building and Theater do not have any on -site parking. Loading of the theater occurs through the south alley and loading of the retail stores occurs from the street. Proposers should discuss municipal parking options directly with the Miami Parking Authority or other nearby parking providers. The City is currently undergoing repairs to the facade of the Olympia Building and Theater and may utilize certain historic grant funding in relation thereto. Such grant funding contains various restrictions including that the maintenance, design, and construction of the facility be completed in accordance with the Secretary of the Interior's Standards for Rehabilitation, which will be memorialized by a restrictive covenant that runs with the land. The Lease shall be subject to such covenant unless otherwise released. 10 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns 3. Existing Conditions The Property, and its improvements are offered "AS IS, WHERE IS." NO REPRESENTATIONS OR WARRANTIES WHATSOEVER ARE MADE AS TO ITS CONDITION, STATE OR CHARACTERISTICS BY THE CITY, INCLUDING BUT NOT LIMITED TO ANY ENVIRONMENTAL CONDITIONS. EXPRESS WARRANTIES, IMPLIED WARRANTIES OF MERCHANTABILITY, SUITABILITY, AND/OR FITNESS FOR A PARTICULAR PURPOSE, USE, OR HABITABILITY ARE HEREBY DISCLAIMED. No representation whatsoever is made as to any environmental, surface, subsurface, water or soil matter or condition. Testing, audits, appraisals, inspections, etc., desired or necessary to prepare an RFP response shall be at the sole cost and expense of the Proposers. 4. Environmental Proposers may perform their own "due diligence" inspections, including environmental site assessments, sampling and testing of the soils, sediments and groundwater, subject to such conditions and limitations as the City Manager may impose, including without limitation, requirements for supervision by the City, indemnification of the City, disposition of reports and execution of any legal documents, as the City Attorney may require. Testing, audits, appraisals, inspections, or other non-invasive studies that are necessary or desired to submit a proposal, shall be conducted at the sole expense of the Proposer, and only with prior written approval by the City. The Successful Proposer shall remove or remediate any hazardous materials that are required by law to be removed or remediated for the Project at the sole cost and expense of the Successful Proposer. 5. Utilities Water, sanitary sewer, electric and telephone utilities are currently available on the Property. For additional information, please contact the respective utilities. The Successful Proposer shall bear the sole financial responsibility for all connection fees, design, construction, and installation costs and of any costs associated with compliance with any County or City requirements. In the event the Successful Proposer wishes to relocate existing utilities, it shall do so at its sole cost and expense. 6. Land Use & Zoning Development capacity and program for this site are regulated by the City of Miami Comprehensive Neighborhood Plan, the Miami 21 Zoning Code, and Chapter 23 of the Miami City Code, Historic Preservation. The Property is zoned as T6-80-0 Urban Core Zone. For more information, please review the Miami 21 Zoning Code, T6-80-0 Urban Core Zone Reference Manual. Proposers are responsible for verifying all information concerning planning and zoning requirements with the applicable agencies and departments. B. PROPOSED PROJECT 1. Project Goals The City wishes to renew the Olympia Theater and refurbish it to its former glory as one of the leading cultural icons of downtown Miami. Further, it wishes to convert the Tower into a boutique hotel. This RFP seeks to identify the proposal deemed most advantageous to the City, taking into consideration the goals and requirements specified in this RFP, the evaluation criteria listed in Section III.C. below, and the following objectives and guidelines: 11 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns a. Economic Objectives • Increase the City's financial return; • Improve the revenue producing capacity of Property; • Ensure that all proposed uses maximize economic potential and further enhance the destination market appeal and overall value of the immediate and greater neighborhood; Proposers should consider developing and operating the Project at varying price - points so as to provide access to the greater community b. Planning, Land Use, and Urban Design • The proposed hotel and ancillary uses shall enhance and emphasize the historic nature of the theater. • Attract residents and visitors to Flagler Street and Downtown Miami; • Creative and distinctive exterior lighting is encouraged; • Incorporation of pedestrian -scale decorative lighting, as well as low-level path and landscape accent lighting, where possible; • Signage shall be designed to meet compatibility, uniformity and size standards that do not compete with the historic architecture. • Architecture and landscape should be noteworthy, memorable, first-class in design and features, and become symbolic and representative of the neighborhood and greater Miami. The Property is already "historic," but it needs to be brought back to the level of prominence it deserves. 2. Required Renovations The Successful Proposer shall maintain the Property in First -Class operating condition. For the purposes of this RFP, "First Class" shall refer to the use of state-of-the-art or high-grade technology, materials, and services according to acceptable industry standards and applicable laws. All improvements are to be applied for, permitted, or otherwise approved as required by applicable laws, codes and regulations by the Successful Proposer or the Successful Proposer's authorized agents, if applicable. The Successful Proposer must make the required improvements, as well as any additional renovations/rehabilitation to the Property, at its sole cost and expense. All improvements to the Property will require prior City consent. Should the Successful Proposer elect to implement additional improvements, such improvements cannot impact the historic theater and/or the apartment building in a manner that violates their historic designation. The requirement of Chapter 23 and/or the Secretary of the Interiors Standards for the Rehabilitation of Historic Buildings must be adhered to. Proposer should describe any themed aspects of the proposed decor for the boutique hotel, restaurant and lounge components, retail components and any ancillary services which are intended to enhance the market draw to patrons. The Successful Proposer shall, prior to final approval of the Project plan, and subject to applicable laws (including permitting and other regulatory requirements), substantially comply with, and provide for, the following: i. Olympia Theater 12 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns The Successful Proposer shall be required to restore and renovate the theater facade without compromising the historical significance of the structure. Additionally, the Successful Proposer shall not propose any structures above the existing Olympia Theater. The Olympia Theater shall be operated in a manner that provides cultural shows, events, displays and other such cultural opportunities to the community throughout the year. ii. Olympia Hotel & Ancillary Uses The residential tower and retail shall be renovated and/or repurposed to provide for a hotel and ancillary retail or other mixed uses which support the theater and provides additional public benefits. Proposers may propose alternative uses of the Apartment building and Retail space within the existing Property. 3. Transfer of Development Rights After the Lease has been accepted by the City and executed by all parties, the Successful Proposer shall have the right to sell the development rights remaining on the property for an amount equal to or greater than fair market value. The Successful Proposer shall be required to invest all sums generated as a result of, or in connection with, the transfer or sale of such development rights into the renovation and development of the Property. 4. Referendum Requirements Per Section 29-B of the City Charter, if less than three (3) responses are received to this RFP any Lease will not be valid and will be void unless the Lease has been presented to the voters of the City and approved by public referendum. This is an express condition precedent to the validity of the Lease, as may be applicable. In the event a Referendum is determined to be a requirement of award, Successful Proposer shall submit a non-refundable Referendum Deposit of $200,000 payable to the City after City Commission approval of contract award and within fifteen (15) days of request by the City to cover the expense of placing the item on an existing ballot. 5. Regulatory Process — Permitting & Licensing The plans for this Project may require various permits, consents, and approvals, and each Proposer to the RFP is responsible for determining which permits and approvals will be required for the renovation and operation of the Project. Regulatory permits may be necessary from the following agencies, including but not limited to: City of Miami Building Department, City of Miami Heritage and Environmental Preservation Board, Miami -Dade Water and Sewer Department, and Miami -Dade Department of Regulatory and Economic Resources. The information in this RFP is intended to help the Proposer determine the applicable requirements and is not meant to be an exhaustive summary of all permits, licenses and approvals required. 6. Proposal Security Proposers shall be required to submit with their proposals a Proposal Security equal to Twenty -Five Thousand Dollars ($25,000) by cashier's check, certified check, or bid bond. The Proposal Security shall be subject to the terms specified in Section II.F. 7. Pre -Proposal Submission Conference & Site Visit The City may conduct one or more Pre -Proposal Submission Conferences and site visits on dates/times that are yet to be determined. In the event of such conference, notice shall be posted. Attendance at any Pre -Proposal Submission Conference and Site Visit shall be optional; however, prospective Proposers are strongly advised to attend. 13 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns C. SELECTION PROCESS AND CONTRACT AWARD 1. Administrative Review City staff will conduct an initial administrative review of the proposals received for completeness and compliance with all content requirements set forth in the solicitation ("Administrative Review"). Administrative Review may include a financial or technical analysis of the Proposals prepared or procured by the City or its agents. During this Administrative Review, City staff may contact Proposers to cure non -material, non - substantive defects in any Proposals or to clarify unclear portions of the Proposal. If notified of deficiency or request for clarification, the Proposer shall provide a written response in accordance with the requirements designated by the Procurement Contracting Officer. Such written responses shall not change, and may only clarify, the terms included in the Proposer's proposal. Each proposal will be reviewed to determine if the proposal is responsive to the submission requirements outlined herein. Proposals that deviate from the City's "Must", "Shall" or "Mandatory" requirements may be found non -responsive without further evaluation. 2. Evaluation Criteria Proposers shall be evaluated based on the following criteria ("Evaluation Criteria"): CRITERIA POINTS Overall Experience and Qualifications 30 Demonstrated capacity and past performance of firm and team members on restoration and construction projects of similar scope and magnitude 15 Demonstrated capacity and past performance of firm and team members on operational projects of similar scope and magnitude 15 Financials and Proposed Revenues 30 Cash Flow Analysis / Market Analysis 5 Financial Plan 10 Financial Return to the City 15 Design Development & Operational Plan 25 Compatibility with historic theater and consistency with historical design 10 Aesthetics & functionality of proposed improvements 10 Improved efficiencies of Theater operation and site utilization 5 Resiliency & Environmental Considerations 10 Long term resiliency of the renovated site 5 Commitment to protection of environmental assets and history of environmental stewardship 5 Public Benefits 5 Benefits received by the Public 14 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns Based upon the Evaluation Criteria provided above, the selection committee ("Committee") will evaluate, assign points, and rank proposals in accordance with the requirements of the RFP. The Committee shall review the proposals together with the Evaluation Criteria and the requirements specified throughout this RFP and rank each Proposal according to the criteria listed above. The Committee members may further define each of the criteria stated above so long as consistent with the information in this RFP. The Committee members shall be appointed by the City Manager, who reserves the right to appoint voting members as well as alternates. 3. Oral Presentations The Proposers shall be required to provide oral presentations. All Proposers will be afforded the same time limits for presentations and responses to questions, so as not to place one Proposer at an advantage over any other Proposer. 4. Selection Committee Recommendation The Committee will make its final ranking and recommendation to the City Manager, with due consideration of: (1) the findings of the Administrative Review (including, as applicable, any financial or technical analysis by the City or its agents); (2) the Evaluation Criteria and the requirements of this RFP; and (3) applicable laws and regulations. Such recommendation is subject to compliance with the applicable provisions of the City Charter and Code. 5. City Manager If the City Manager accepts the Committee's recommendation, a Lease will be negotiated with the top -ranked Proposer and the final recommendation of award, approved by the City Manager, will be presented to the City Commission for their review and approval. The City Manager reserves the right to (1) approve the Committee's recommendation, written notice of which shall be provided to all Proposers, and the City Manager shall then submit his or her recommendation to the City Commission (2) reject the Committee's recommendation, (3) reject the Committee's recommendation and instruct the Committee to re-evaluate and make further recommendations, (4) reject all proposals, or (5) recommend to the City Commission that they reject any and/or all proposals. 6. Negotiations Negotiations will take into consideration terms most beneficial to the City until an agreement acceptable to the City, and in compliance with this RFP, is agreed upon. The City reserves the right to negotiate increased benefits to the City from the top -ranked Proposer. In the event negotiations fail, the City Manager reserves the right to proceed to negotiate with the next highest ranked Proposer. 7. City Commission The City Commission may 1) approve the City Manager's award recommendation and negotiated contract; 2) Approve the City Manager's recommendation and authorize contract negotiations; 3) reject all proposals; 4) reject all proposals, and instruct the City Manager to reissue a solicitation; or 5) reject all proposals and instruct the City Manager to enter into competitive negotiations with at least three (3) individuals or firms possessing the ability to perform such services and obtain information from said individuals or firms relating to experience, qualifications and the proposed cost or fee for said services, and make a 15 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns recommendation to the City Commission. All applicable Charter and Code provisions will be followed. The final decision of the City Commission shall be final action by the City. 8. Estimated Timetable The timetable for the RFP selection process is summarized below. Note that these are tentative dates and are subject to change at any time by the City. Anticipated RFP Schedule Dates Issuance of Solicitation 8/5/2022 Optional Pre -Proposal Conference and Site Visit 9/5/2022 Deadline for Questions 9/20/2022 Proposal Submission Deadline 11/3/2022 Adoption of Legislation Authorizing the City Manager to Negotiate and Execute a Lease TBD Referendum (if applicable) TBD D. LEASE REQUIREMENTS 1. Generally The City requires that a lease and development agreement ("Lease") be executed upon approval of the Successful Proposer (or "Lessee") by the City Commission. The terms and conditions within the Lease will capture the use of the Property according to the parameters of the Proposal and this RFP. The Lease shall require the Successful Proposer to conform and comply with all of the requirements specified throughout this RFP. The City will not consider a sale of any part of the Property. The Successful Proposer shall have no vested rights, nor any title or interest in the Property or in the development proposed thereon until a Lease is fully executed, and then only in the manner stipulated therein. The Lease shall not confer on, or vest in, the Lessee any title, interest, or estate in the Property other than a leasehold interest. The Lease will be furnished by the City; however, the terms of the Lease shall be as negotiated between the Successful Proposer and City staff, subject to final approval by the City Commission. Once the parties agree to the terms of the Lease, the executed Lease shall comply with this RFP. Certain clauses of the Lease shall be deemed nonnegotiable, including, but not limited to, those terms explicitly required by this RFP. The Lease may be assigned or transferred to a third unrelated party after completion of the improvements and after stabilization (but in no event less than ten (10) years after the effective date of the Lease, subject to and at the discretion of the City, which shall not be unreasonably withheld conditioned or delayed. Such transfer or assignment shall be subject to financial and operational ability of the transferee, including that the proposed transferee shall not be deemed non -responsible for the criteria specified in this RFP, shall comply with the various requirements specified in this RFP, and at no time shall be allowed without the written consent of the City. Any such assignment or transfer shall require a transfer fee payable to the City in an amount to be negotiated between the parties ("Transfer Fee"). The Lease may be collaterally assigned during the entire term of the Lease to a financial institution. 16 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns All leasehold improvements shall become the sole property of the City upon the expiration or earlier termination of the Lease and Lessee shall ensure no financial or other encumbrances remain thereon. 2. Term The Lease consists of a thirty (30) year initial term, with a thirty (30) year renewal term. The cumulative term shall be sixty (60) years ("Lease Term"). Notwithstanding the foregoing, the City may authorize a different or longer Lease Term provided the same is approved by City Commission. The Lease Term shall commence upon lease execution. 3. Rent Under no circumstance may the City accept a proposal falling below the fair market value determined by the two appraisals conducted by independent state -certified appraisers. Nor shall the City accept a proposal falling below the minimum base rent established herein. See also the City Charter Section 29-B for related requirements. The City reserves the right, at its sole discretion to obtain updated fair market appraisals of the Successful Proposers project prior to execution of the Lease. The rent shall be inclusive of Base Rent as well as Percentage Rent. Proposals shall include a stated commitment of annual lease payments to the City in the form of a guaranteed base rent ("Base Rent") plus a percentage(s) of gross revenues for each component ("Percentage Rent"). In order to ensure accurate records of revenues are maintained, the Lease shall provide that Tenant will maintain one or more accounts dedicated solely to the Project and the City shall have continuous electronic access to all banking and credit card deposit information and have the right to audit the same. Base Rent shall be increased annually by the greater of three percent (3%) of the previous year's Base Rent, or an increase based on the amount equal to the annual percentage increase in the Consumer Price Index for All Urban Consumers for Miami - Fort Lauderdale — West Palm Beach (Base: 1982-84=100), not seasonally adjusted. In no event shall any such annual adjustment to the Base Rent result in an increase which is less than three percent (3%), or greater than an agreed upon maximum rate, of the Base Rent amount in the immediately prior year of such adjustment. Base rent shall be paid monthly in advance commencing with the Lease Date. Base rent shall be adjusted annually according to the formula outlined above. Additional rent may be applicable, as negotiated and specified in the Lease. The City and the Successful Proposer may negotiate a partial rent credit for the verifiable investment made for the renovation of the Olympia Theater. In no event shall the Successful Proposer receive any rent credit for sums paid by means of the sale of development rights on the Property. 3. Development & Renovation Schedule The Project shall be planned and developed in a contiguous manner, although there may be a phased construction schedule, as may be approved by the City Manager or authorized designee, and therefore a corresponding phased delivery of possession. The Lease Term shall commence upon execution of the Lease. Subsequent phases of the lease shall be coterminous, i.e., run concurrently, with the initial phase. The renovation of the facade of the Olympia Theater must occur in the first phase of any phased development. All construction must comply with the provisions of the City Charter and City Code, as amended and as applicable. 17 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns The City will require the Successful Proposer to have obtained all required permits and commenced the renovation process for the facade of the Olympia Theater within twenty-four (24) months from the effective date of the Lease, unless otherwise extended by the City Manager. All physical improvements for all Project components must be completed within forty-eight (48) months from execution of the Lease by both parties, unless the successful Proposer applies for and receives a waiver from the City or the City Commission otherwise approves an extended or alternative time frame to be included in the Lease. The Successful Proposer, at its sole cost and expense, shall be responsible for applying for and acquiring all required permits, licenses, consents, and approvals from all appropriate governmental agencies. Additionally, all improvements must comply with applicable building, fire, planning and zoning, health, and all other applicable local, state and federal requirements in place at the time of application submittal. The City, pursuant to all necessary reviews and approvals of design concepts, will, if necessary, and at no cost to the City, provide owner sign -offs required for the Successful Proposer to obtain the appropriate regulatory permits, consents, and approvals from local, state, and federal agencies. Compliance with all legal and regulatory conditions will be strictly required. 4. Maintenance and Inspection Rights Successful Proposer shall maintain the Property at its sole cost and expense. The City has the right to inspect the Property at any time and will provide notice of any repairs that are deemed necessary to comply with the standards stated above. If repairs have not commenced within thirty (30) calendar days of notice from the City, the City has the right to self -perform the repairs and invade the security deposit for that purpose. If it becomes necessary for the City to self -perform repairs, the City will prepare a cost estimate of the work to be performed. If the cost of necessary repairs exceeds the Security Deposit, the successful Proposer will have thirty (30) calendar days from the receipt of notice to provide additional necessary funds or shall be considered in default. This or any other funds needed to address default conditions will be considered as additional rent for the following applicable monthly period after the repairs are completed and an invoice is presented and will be used to replenish the Security Deposit as necessary. 5. Existing Tenants Successful Proposer shall take possession of the Property subject to the existing residential and retail tenancies and shall provide at least six (6) months' notice to vacate to all residential tenants. Successful Proposer shall, at its sole cost and expense, be responsible for vacating all tenancies but shall be entitled to extensions to existing deadlines in the event it is necessary to undergo eviction processes to properly vacate tenants. 6. Payment and Performance Bond Prior to the commencement of any construction on the Property, the Successful Proposer shall be required to provide a Payment and Performance Bond satisfying the requirements set forth by the City as well as those set forth by Section 255.05 of the Florida Statutes. The Payment and Performance Bond will be posted in an amount representing at least one hundred (100%) percent of the sum of the construction cost. Construction costs for purposes of this Section shall mean the total cost of the Project to the Proposer as designed or specified by the architect or design/build firm including at current market rates a reasonably customary allowance for overhead and profit, the cost of labor and material, and any equipment designed, specified, selected or specially provided for by the architect/engineer or design/build firm, but not compensation to the architect/engineer or design consultants, or the costs of acquiring rights -of -way or easements or the like. 18 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns 7. Earnest Money Deposit Upon execution of the Lease, the Successful Proposer shall provide the City with an earnest money deposit in an amount equal to three percent (3%) of the estimated cost of construction, payable by irrevocable/unconditional Cashier's Check drawn on a financial institution authorized to do business in Florida, by proof of deposit into a third -party escrow account, or by letter of credit. Upon seventy percent (70%) completion of construction, the Successful Proposer shall be allowed to reduce or withdraw from such deposit in order to pay for the costs of construction and operation. 8. Taxes The Successful Proposer will not be responsible for any ad -valorem taxes, sales and use taxes, or any other levies, governmental impositions, surcharges, fees or other taxes or assessments associated with the Property that are due or may be owed prior to the execution date of the Lease. The Successful Proposer will, however, be responsible for all ad -valorem taxes, sales and use taxes, or any other levies, governmental impositions, surcharges, fees or other taxes or assessments that are incurred commencing on the date of Lease execution. Additionally, the Successful Proposer shall be responsible for payment in lieu of taxes ("PILOT") during the term of the Agreement in the event the Property becomes tax exempt. 9. Impact Fees & Other Expenses The Successful Proposer must pay for all impact fees related to all improvements to the Property. Impact fees by Code requirement must be paid prior to issuance of a building permit. For more information, see Chapter 13 of the City Code. Additionally, the Successful Proposer shall be required to pay for any survey(s), site plans, permits, or other application fees required for the implementation of the Project. 19 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns TECHNICAL SPECIFICATIONS A. MINIMUM PROPOSAL REQUIREMENTS & FORMAT Proposers shall be required to submit a Proposal that includes and complies with the minimum proposal requirements specified below ("Minimum Proposal Requirements"). Any missing information may result in the disqualification of the Proposal as non -responsive. A "responsive proposal" is one that conforms in all material respects to the Minimum Proposal Requirements. The City may issue requests for clarification or request additional information from the Proposers. Proposers shall submit responses in a bound format with tab dividers separating each section. A minimum font size of 11-point, 1-inch margins, and single spacing shall be utilized on all text documents submitted. Proposers shall be required to submit Proposals through BidSync no later than the date and time indicated within the RFP, in order to be considered. Faxed documents are not acceptable. Emailed submissions are not acceptable. Hardcopy submissions are not acceptable. Proposals must be timely submitted through BidSync, or the Proposal will be disqualified. Untimely or misdelivered submittals will not be considered. NO EXCEPTIONS. Proposals shall be prepared in accordance with the following outline, adding tabs and sub -tabs as needed: 1. COVER PAGE The cover page shall include the Proposer's name; Contact Person; Firm's Liaison for the Contract; Primary Office Location; Local Business Address, if applicable; Phone and Fax Numbers, as applicable; Email addresses; RFP title and RFP number. 2. TABLE OF CONTENTS Table listing, in sequential order, the location of all contents, including required response forms, charts, illustrations, and additional enclosures. All pages of the Proposal, including enclosures, shall be clearly and consecutively numbered, consistent with the Table of Contents. 3. EXECUTIVE SUMMARY Summarize the proposal by providing a narrative overview of the proposal submission, including a brief description of the major components of the proposal. 4. VISION, GOALS, AND OBJECTIVES Summarize the vision, goals, and objectives of the proposed Project by providing general expectations for the operation of the Project over the long term. 5. OVERALL EXPERIENCE AND QUALIFICATIONS The Proposer shall provide details on the proven record of accomplishment, qualifications and experience of the key persons that will be involved in the management and operations of the theater and the key persons that will be involved in the management and operations of the Hotel or other Mixed Use component (" Team") and the key persons to be involved in the remodeling, renovation and build -out of the improvements ("Renovation Team") (collectively referred to as the "Teams"). Proposers are required to assemble the Teams with the requisite expertise, experience, financial and management capability to meet the below -mentioned threshold qualifications. As such, where applicable, these qualification requirements shall be applied to the Proposer's Teams as 20 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns a whole, in a manner that is commensurate with each members' allocation of responsibility. In a narrative form, describe the Proposer's organizational and business history and explain why the Proposer's background makes it ideal for this opportunity. Please also provide a visual representation in the form of an organizational chart. The City has identified the following factors that shall serve as threshold qualifications for this RFP process. The Proposer's Teams must meet the threshold qualifications outlined below, and include evidence of its qualifications: a) Experience: ■ Operations Team o Must have a minimum of five (5) years' experience directly managing and/or operating a theater, playhouse, or similar facility of this scope and size. o Must have a minimum of five (5) years' experience directly involved in the ownership or direct management and/or operation of a Hotel or other mixed use facility similar to that proposed. • Renovation Team o Must have evidence of a minimum of three (3) representative completed projects with similar uses and of similar size and scale providing for adaptive reuse project(s) within historic buildings, preferably buildings listed in the National Register of Historic Places o Must have a minimum of five (5) years' experience with restoration and/or renovation of theaters, playhouses, and the like; and o Must have a minimum of five (5) years' experience with renovation or development of hotel or other proposed facilities. o Renovation Team must include the following professional expertise: • Architectural: The Proposer shall have at least one (1) architect licensed and registered in the State of Florida as required by Chapter 481, Part I of the Florida Statutes, Architecture and shall have substantial experience in the design and renovation of hotels, restaurants and historic structures. • General Contracting and/or Construction Management: The Proposer shall have at a minimum one (1) General Contractor licensed in the State of Florida who shall have substantial experience in managing and performing construction of facilities of similar type and scope as the Required Uses and ancillary facilities contained in the proposal (i.e hotels, restaurants, and historic structures). • The consultant(s) to the Proposer, if any, may be one firm possessing all the required expertise or may be several individuals or firms which combined, possess all the required expertise. b) Proposer and/or its principals must have had experience with the successful financing of at least three (3) projects of similar size or greater. c) Proposer must provide resumes as well as a summary of the credentials and experience of the persons to be used to qualify the Proposer for this RFP, including each of the Proposer's principals as well as each member of the Proposer's Operation Team and Renovation Team. Credentials provided shall include information on the specific projects used to satisfy the minimum experience requirements. 21 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns d) Proposers must provide contact information for three (3) business references, and at least one (1) financial reference for the Proposer and/or each principal of Proposer, including contact names, company and/or project names and contact telephone numbers of individuals who can attest to the projects with which the individual has worked. e) Proposers shall also provide evidence of financial wherewithal or financing from a financial institution either on a reference letter or Letter of Commitment, either of which must be attached as part of Appendix 3, showing the Proposer's capacity to finance the proposed renovations and operations. The financial reference letter or Letter of Commitment must be on the financial institution's letterhead stationery. Note: Submittals that do not respond completely to all requirements may be considered non- responsive and eliminated from the process. 6. FINANCIAL FEASIBILITY & MARKET ANALYSIS a) Cash Flow Analysis Proposals shall include a detailed financial feasibility and cash flow analysis demonstrating the operational capability to financially support the Property's operations and expenses. • The financial feasibility of the Project shall be presented to enable a clear understanding of the financial inflows and outflows of the projected revenues and expenses over a projected fifteen (15) year period. The analysis should include projected profit and loss runs, including revenues, operating expenses, renovation costs, debt service, etc., and an integrated financial cash flow projection showing the phased renovation and completion schedule. • Proposers must include a fifteen (15) year pro -forma in excel spreadsheet format (i.e., in .exe format) including formulas. The pro -forma should include individual line items that support all proposed/projected revenues and expenses. Please note that, for the pro -forma and other financial projections required by this RFP, both a straight cash flow and net present cash flow must be presented. Net Present Value ("NPV") shall be determined using a five percent (5%) discount. b) Market Analysis Proposals shall include a market analysis sufficient to establish the market support for this type of facility and other proposed uses, based upon analysis of demand generators, competitive supply, market pricing, competitive position, and anticipated market share/capture. 7. FINANCIAL PLAN a) Detailed Cost Estimate Proposals shall include a description of the total estimated cost of the renovations and any construction work necessary for the Project, as proposed. The estimates shall be complete in that no cost elements are excluded, realistic in that quantities and prices used in developing the estimate reflect actual market level or best estimates of future price levels, and credible in that the estimating methodology used is consistent with applicable industry standards and practices. The total cost must also be broken down to provide the following costs in greater detail: 22 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns • Initial Development and Infrastructure Costs. Proposer shall specify the cost of all proposed initial building renovations and improvements, inclusive of infrastructure costs, which include, but are not limited to, costs associated with roads, utilities such as water, sewer and electricity, etc. The development/renovation cost estimates shall be itemized to include significant line items within the major categories of hard, soft (including pre -development fees), and financing costs, and allocated by Project component, building and phase, as applicable. • On -Going Capital and Infrastructure Costs. This section shall include all elements or components of the capital assets that require future expenditures beyond normal maintenance, or replacement at the end of their economic life that are expected to occur within the Lease Term, including for example all costs associated with ensuring resiliency of the various components of the Project. Along with each element of on -going capital costs, Proposers shall estimate the corresponding contingency allowance with the estimate for each cost element. The Successful Proposer shall be required to contribute two percent (2%) of gross revenues to a capital expenditure fund to fund on -going capital expenditures throughout the Lease Term; • Operation and Maintenance Costs. Proposers shall describe in detail all sources of operations and maintenance funds required for the ongoing operation of each component of the Project. b) Financing Plan Proposals must also include a financing plan corresponding to and consistent with the estimated total cost of the Project. Proposers shall ensure that target returns and other financing considerations are presented. The financing plan must include a description of all financing, specifying the source, amount, and type of financing (such as permanent debt, grants, or equity funds); as well as a description of the extent such funds have been committed to, and are available for, the Project. The City reserves the right to further evaluate and/or reject financing commitments when the term, the identity of the financing source or other aspect of such financing is deemed not in the best interest of the City or the Project. 8. FINANCIAL RETURN TO THE CITY The Proposer shall include a description of the financial return expected to be received by the City throughout the lease term, including a commitment to meet or exceed the rent requirements specified in this RFP. Additionally, Proposals shall detail any other applicable financial benefits to the City, such as estimated property taxes. The City expects fair market value to be achieved from the required rent, as well as any additional proposed rents providing the City with a share of the Project's financial upside, such as any proposed percentage rents providing the City with a percentage of gross revenues for each component of the development. Gross revenue shall be defined as the total of all revenues, rents, income and receipts, received by Proposer from any person whomsoever (less any refunds) of every kind derived directly or indirectly from operation of the Property, including without limitation, income from both cash and credit transactions. 9. PROJECT PLAN TO INCLUDE DESIGN AND OPERATIONAL PLAN 23 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns The Project plan shall consider all of the principles, guidelines, and requirements specified in this RFP. The Project plan shall include: (a) Narrative Description of the proposed Project plan: Proposer must include a detailed renovation plan for all components of the Project. Proposers must also specify how they plan to manage the site. Additionally, Proposers must identify how they plan to accomplish the various components required by this RFP, taking into account the various Evaluation Criteria specified above. (b) Site Program Analysis, including: • Overall site development including surrounding modifications to the Property, if any. • Description of proposed operations by category. • Number of residential and/or lodging units, if any. • Architectural features. • Landscape features • Permitting and environmental issues. • Parking solutions or agreements. (c) Conceptual renderings of overall site as well as from within the Project, illustrating: • Each of the various components (i.e., theater, hotel, ancillary space, etc.) • Context. • Building Height, if different. • Interior layout, if different. • Architectural Features. • Signage. • Any other major structural elements of the Project, which Proposer intends to modify from the current appearance of the Olympia Theater or Olympia apaitinent building. 10. DEVELOPMENT PLAN & SCHEDULE Proposer shall renovate and operate the Project at the Proposer's own risk without benefit of financial guarantees from the City, except that Proposer may sell the development rights on the Property for the greatest return permitted by the market. The City has an obligation to its residents to ensure that the Project is completed, or failing that, that the Project not be abandoned after commencement. Accordingly, the Proposer shall describe the terms and conditions it proposes to ensure prompt renovation and operation of the Project. Proposers shall include renovation schedules for the leasehold improvements which take into account the deadlines required by the City and delineates the construction timeframe contemplated for each component. The Proposal shall include both a narrative and a graphic timeline (critical path schedule) detailing all phases and tasks of the development including due diligence, planning and design, permitting, construction, and operations. The schedule must include an explanation of how the phasing of the Project, if any, was determined and a projection of total time required after the Successful Proposer obtains possession to complete renovations and commence operations. 11. OPERATIONAL PLAN The Proposer shall provide a brief narrative on the Proposer's plans for the management and operation of the proposed Project during the Lease Term, including, as applicable, a description of services to be provided, number and type of employees to be hired, hours of operation, etc. 24 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns Proposer shall also specify its marketing plan, which shall identify primary and secondary markets for the hotel, restaurant and other proposed amenities (if applicable) and a description of the strategies utilized for attracting and strengthening those markets, such as how and where the theater, hotel and ancillary facilities will be advertised, branding and themed restaurant concepts and potential co -marketing opportunities. Specific discussion shall be presented as to marketing strategies to attract international business markets and the leisure tourist market. 12. RESILIENCY AND ENVIRONMENTAL CONSIDERATIONS Summarize the proposed steps that will be taken to ensure the long-term resiliency and continued maintenance of the Property in an environmentally responsible manner 13. PUBLIC BENEFIT Provide a summary of the various benefits that will be offered to the local community, if any, including relevant program information, number of potential local jobs to be created, etc. 14. PROPOSAL ATTACHMENTS (A) RFP Checklist: Complete the RFP Checklist included as Appendix 1, confirming that all the required proposal components have been incorporated. (B) RFP Fees: Pay the applicable fees associated with this RFP, including: (i) A Proposal Security equal to Twenty Five Thousand Dollars ($25,000); and (ii) Other fees, as applicable, which will be due on dates specified throughout this RFP a. Referendum Deposit; b. Earnest Money Deposit; (C) RFP Summary Form: Complete to its entirety the RFP Proposal Summary Form attached hereto as Appendix 2. Any principal(s) included in the RFP Proposal Summary Form may not be substituted or withdrawn from participation after the Submission Date unless the City Manager specifically authorizes in writing a request for substitution. (D) Team Qualifications: Complete the Team Qualifications forms included as Appendix 4. Resumes must be provided for all members of the Operations Team and Renovation Team. Any Team members may not be substituted or withdrawn from participation after the Submission Date unless the City Manager specifically authorizes in writing a request for substitution. (E) Certifications: Complete the appropriate Certificate of Authority attached in Appendix 4. At the time of submission, the Proposer must be a business entity (i.e., Partnership, Limited Liability Company, Corporation, etc.) authorized to do business in the State of Florida, Miami -Dade County and the City of Miami under the Proposer entity's legal name. (F) Disclosure/Disclaimer: Review and complete the Proposer's Disclosure/Disclaimer attached hereto as Appendix 5. (G) Consent Forms: Review and complete the Consent Forms attached hereto as Appendix 7. (H) Non -Collusion Affidavit: Review and complete the Non -Collusion Affidavit attached hereto as Appendix 8. (I) Scrutinized Companies Affidavit: Review and complete the Scrutinized Companies Affidavit attached hereto as Appendix 9. 25 REQUEST FOR PROPOSALS OLYMPIA THEATER AND TOWER RFP Ns (J) Additional Information: Proposer may provide any additional information to describe the Proposer's proposed Project or capability to implement the Project. B. DEADLINE FOR RECEIPT OF INFORMATION/CLARIFICATION Pursuant to the Cone of Silence, any request for additional information or clarification must be received in writing no later than on . Interested individuals may e-mail their requests to the attention of the Procurement Contracting Officer listed in Section I above. C. RECEIPT OF RESPONSES Proposers must submit Proposals through BidSync no later than the date and time indicated within the RFP, in order to be considered. Faxed documents are not acceptable. Emailed submissions are not acceptable. Hardcopy submissions are not acceptable. Proposals must be timely submitted through BidSync, or the Proposal will be disqualified. Untimely or misdelivered submittals will not be considered. NO EXCEPTIONS. 26 H E1 SEN BOTTLE A R C H I T F C T 5 APPENDIX A PROPERTY INFORMATION Olympia Theater and Apartment Building Condition Assessment March 31, 2022 SURVEYOR'S NOTE: ELEVATION LOCATIONS REFLEC7ED ON BUILDING DETAIL SHEET POINT LABEL I ELEVATION A 11 98 B 12.77 c 12.14 D 12.59 E 1249 F 12.36 G 1205 H 1210E I 1219 J 11.9E k 12.06 1210 M 41.93 N 1168 0 O R T u V w Y 2 AA 88 Cc DO EE FF GG MN 11 JJ 707 U. MM NN 00 PP Q0 RR 18 rr UU VV VWV 7D1 YY B1 82 1196 12.0E 1230 1T32 15 53 1209 7z2T 12 /9 1246 11 63 1190 11,84 1181 11 82 11,514 11.75 77,77 1/85 11 73 1117 11.90 1229 12 21 1203 1222 12.05 1211 11,17 /1.20 8.19 14.17 14,22 1N29 14,27 14 24 14:3 74.25 12 P6 6 ZB 426 NS Access ,MAWT AO €avAf.R [S Iwokru7Y 107 - L OR Oa EN 111 TA K0C8 N1N Rog IM 7ttR M7 O. 5 8 EAST FLAG,LER ST 761TMML E Acm.OPRB 9L81L01N0 /ICW iil or7 ROCA LW t a 2x NO BEDEWS SIM1 SW 801N[A' +5 7{:,T7T�T7% EAST r"+.�a 50.17'(R) f,:// 5. YAV2 axw „801870 ,r N. I' 1 B' I. i. rayt'T r" T A, 1 T50.0D'{R1(M1 • =ilfif'. / FFf. /LL4"i- -8S Akafi �T'1 8nr ii r iW.iA7 r T �U V \.� N Kv,F \. .I 7. r amour FUME d S,t"A :tlaja'I Hu N ti �.7 al 1a 4, 50.0• ,vru NAY e9 J CERTIFIED TO: OLYMPIA THEATER THIS DOCUMENT IS NEITHER FULL NOR COMPLETE WITHOUT SHEETS 1 AND 2 LEGEND ;�61 310100140r AVEAMOUE BLVD, BOIREVARO BM 024 87MAM 025 UBE8986 0YBUR CB. G17GTBArP4 OS DOWNISELAaCRIRLOTt 7E CNODBEMRRIB 024 P4 CLORDOQ7AACE CON CORMD1 Cr COURT a comae a ma IL CLEAR • C010r27E 00 Ca CLEwour ES ELEGROC 14 ELEV. C,EVAY7 N acre ok:34•34,42Nvoys EAR, 1311YAF77® SCE/OMr rs N FMNI iO07 LOCATION SKETCH NOT TO SCALE SHEET 1 OF 2 1' 1 LEGAL DESCRIPTION: LOT 1, LOT 2 LESS THE WEST 2 INCHES OF THE NORTH 65 00 FEET, 7HE SOWN 55 00 FEET OF LOT 3, THE NORTH 45 00 FEET OF LOTS 18, 19 AND 20 BLOCK 121 NORTH, CI TY OF MIAMI, ACCORDING TO THE PLAT THEREOF AS RECORDED IN PLAT BOOK 8, PAGE 41, OF THE PUBLIC RECORDS OF MIAM1-DADE COUNTY, FLORIDA SURVEYORSNOTES: I) NOT VAUD UM 033 SIGNATURE IS EMBOSSED 414171 17CREWS FERED LAM) SURVEYORS SEAL. 2) LEGAL DESCR7PR3N PRO NOEGDY OR E175 3) PROPERRES SHOWN7¢REON 77710E NorABSTRAOreD FOR EASEMEN75 OR 071E 3 RECORDED ENCUMORANCES NOT SHOWN ON THE PROPERTY FLAT OF REGI0RD 4 MEASUREMENTS 70 WOOD FENCES ARE TO OUTSIDE OF I8'000. 9 UNDERGROUND UTILITIES, F07100 ARONS, OR DRIER 7MPR0VEM870 8 IF NW. 7WRFNOTLOGI7ED I9 E1EVAT10NS, IF SNOWY ARE BASED ON NATIONAL GEODETIC VERTICAL DA II/AI 1929 7) FENCE OWNERSHIP NOTDETETNOAE0 UNLESS OTEEANASE NOTED. 6) MEASUREMENTS TO WIRE FENCES ARE TO CENTER OF 411RE 9) WALL MEAS Wt0MEN1S ARE TO'FROM FACE OF WALL f 0) DRAWING DISTANCE BETWEEN WALLS ANTYDR FENCES ANO 719008R7Y L INES MAYBE E7C600ER4TEOFOR CLARITY. 1 () FL 0077 ZONE INFORMA77ON WCSDERIVED FROM FEDERAL EMERGENCY MANAGEMENT AGENCY FLOOD INFt7RAMA 11ON RATE MAPS 10 BEARING'S 7F ANY SHOWY ARE 8,15E0 ON ASSIMIED PLAT MERIDIAN AT SOUTH RIGHT OF WAY c' EAST FLAGLERS MEET. EAST PJL ar89777k4Yr toy R7LG4T8W 0CW714C% VALVE IP. 90'4 rR. 9.07BA P2k3I34LJ NT r1P. fPLIND*ON PIPE FAR AAARs7ONRa7 L ir M 180248 180NTFoLF Ls LANC7S1A77GYOR M 1ttb awn AGWD 114170N4L G9IDE7C 4FR71041 COMM AOta NOTmO7R7g9.E NO 8[YAER AR5 NOT1088,6 aRB 0474AL RECORDaxK ONR GM41101E11TYLt'1E aUL 0VERNDIBWIRY LM85 PC FOWTOPCAMYAIIIE P.CG FORTIFGD16O7lm GB041R8'E MP. PE 044NEIVUXPITROL POW FC6 R7otaa0utAMIACIwEY129 PEW I17CY112 0NALMR1TYORAA04W9104 710 1KrVERIYLrE P.PR F074070161604144467 P.00 JCYYTO azawke ntradE /T RAG Tr#TOFRATRgCURVARME woe PER 4M547" RIDIDLDAZY'OWPENT R.I. 7LWTO6TBMMBI0r R RAONC O RECORD RE. RimIELPIATIOV RW NCiNOtWAY SAN BAMTA71' HJP PET leillre SIR 12TVIONROO ST. STILT OGIAIr T.BM • T713,PORNYBFAERMIRK TEL T130,N7YE TTP /Y/7•.LL uE. wah461517 W11 MOM VALVE W.Y. *870117611 W.tlr. NOGG fRYl1YPC7CE SYMBOLS .-. T111'Af7E OVD/Jt 40LRBRYLM73 NYt£ FB7CE r ROOOABUOE 79PaE CCVMMRR - wA7107 G8 9m pnamOORA rrIGAE ATA711 '-04 PRONa� G4ALY E7>E1N117W 4 4A7FAVK1£ 906 AMMrAEL4V17tE X 3AE1AX ME 116997OfE UPWIND MIRE D ME CICR4BEMLLIS1,78AV FLOOD ZONE:X MAP & PANEL= 12088C0314 COMMUNITY NO.: 127850 SUFFIX L DATE OF FIRM: 09-11-2009 PROPERTY OF OLYMPIA 7HEA7ER 174 EAST FLAGLER STREET MIAMI, FLORIDA 33131 BASE ELEV.= N/A B.M. # CITY OF MIAMI ELEV. = 11.879 = 11.619 NGVD1929 IPK NAIL AND WASHER IN FRONT OF THE GUZMAN THEATER? NOT VALID 1,1 MOW' THE SIGMA /OWAND The ORIGINAL. RAISE0 SEAL OF FLORIOB UCENSED SURVEYOR ANO MAPPER A BOUNDARY SURVEY I r6REBYCEARFY78AT 1M55URYEYGaNFORA » 70 RE MINIMUM rC}166VALs1'ANT607ti OFIANO 51FVEIII0GIN 71'*S7)L7EOF FLORl94, A&0U11.10A31 101 Rolaa5)47 A`LORIOA A040/7STRAT7VE02014,tS ADt:FTEDBr THE DEPAR77NENTa' AGRA:U.7 6E AM71XVIStYFBR SEIWvN7ES EWAT709F P77JFESSTONAL EL9VEYORS ANDMAPP.FRS IN SFPTEA18ER, 1961 AS A 8261881 PUROW WT 70 CHAPTER -MR? DF RE FLO7LOG STAJV7E5, AT4(S 7NUE:WD CORRECT TO R, BESTOF V 11.1304L12:0EAN06EU6F i ARANCJSCOF FIVARCO FLORIDA PROFESSIONAL SIINVEYO9 AND MAPPER RETW,E/RANON NO 4767. PROFESSIONAL. SURVEYING AND MAPPING LANNES & GARCIA, INC, LB* 2098 FRANCISCO F FAJARDO PSM #4767 (QUALIFIER) 385 ALHAMBRA CIRCLE- SUITE C, CORAL GABLES, FLORIDA 33134 PH (305) 666-7909 FAX (305) 5593002 . IE1ADATE'02-04-2074 SCALE f•=30' DRAWN BY- M PIO DWG No,:255570 R j HEISENBOTTLE TELEPHONE:ARCHITECTS .7799 FAX:' osasez,s OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 LOCATION MAP March 31, 2022 A-2 Ri HEISENBOTTLE l APPENDIX A-3 PROPERTY PHOTOS Figure 1. Olympia Theater and Office Building Circa 1926 Page 11 R HEISENBOTTL_E A R [ C H T F C T 5 Figure 2. Proscenium Arch and Hand Painted Fire Curtain Page 12 HEISENBOTTLE A R C H I T F C T S Figure 3. Auditorium Seating and Balcony Page 1 3 HEISENBOTTLE IN AR C H ITF CTS Figure 4. Flagler Street Staircase and Mezzanine Page 14 R HEISENBOTTLE Figure 5. Flagler Street Staircase Page 1 5 R HEISENBOTTLE A R C FI [ T F C T S Figure 6. View of Orchestra Left, Balcony Front, and Organ Loft Page 16 R HEISENBOTTLE A R C H T F C T 5 Figure 7. View of Orchestra Level, Balcony Front, and Gusman Box Seats Page 17 R H EISEN E3OTTLE A R C H I T F C T 5 Figure 8. Decorative and Historic Paint and Architectural Accent Lighting Page 18 R H EISEN BOTTLE A R C H I T F C T 5 Figure 9. Wurlitzer Organ Page 19 HEISENE3OTTLE HITFCTS Figure 10. Detail of Decorative Historic Paint and Statuary Page 110 R H EISEN BOTTLE A R 5 C H I T F C T Figure 11. Gusman Box Seating Area Page 111 Themes - [L- c3 0 FLA ' -R-ST d1 SW 1ST ST CP NwP.M sT 1C 'RAAdly�y_.s1y - RAW �`vr SW NO ST — -�-� wti RD"T CI Tesee-O E FLAGL ER ST CS - RAMP z z LJJ NE 2ND ST NE 151 5 co of SE 1ST ST SE 2Nl] ST SE 3R3 ST &SCAYNE WAY =MIZIIIELP CS 7 o' Search Legend Layers Primary Zoning - Miami 21 ® TINATURAL ❑ T3 SUB -URBAN ❑ T4 GENERAL URBAN ❑ T5 URBAN CENTER ❑ T6-8 URBAN CENTER ❑ T6-12 URBAN CORE ❑ T6-24 URBAN CORE ❑ T6-36 URBAN CORE T6-48 URBAN CORE ▪ TG-60 URBAN CORE ■❑ T6-80 URBAN CORE D1 WORK PLACE D2INDUSTRIAL ❑ D3 MARINE ❑ CS CIVIC SPACEIPARKS ❑ CI CIVIC INSTITUTIONAL ❑ CI -HD HEALTH DISTRICT R J HEISENBOTTLE ARCHITECTS 2199 PONCE DE LEON BLVD., SUITE .0 COPAL GAMES, FL 3313,1 TELEPHONE: 305/41.799 FAX: 3054116.9275 FLORIM4 REGISTRATION NUMBER: AP.0010865 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 MIAMI 21 - ZONING MAP March 31, 2022 A-4 Legend Property Boundaries h FEMA Flood Zones FEMAFloodZone laA ■ AE •AH I D D VE X X (SHADED) 1 ,i1111i __ MEMO 1I111i !ME !!111I1E HH111112 N1111" RIME 1111111. ri 11111e 11111 niai w Hr1B, ,11 TAM 111111 lls .‘.) 7_ u } d H } Iur g111* phimitTo 1111111 1M a Mum r, F I1111lli :I�1i`-N1 1 FT En sr .111-46 r R HEISENBOTTLE ARCHITECTS FLORIDA 05 GABLES,291.221. „RATION HUMBER: AR1saz„ OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 FEMA FLOOD ZONE MAP March 31, 2022 A-5 m E F t AGI.ER ST Search Legend Layers Results MI ye, .,um runt �,n r ;1 Miami River - 400 Units/Acre Future Land Use Conservation Public Parks and Recreation.. Commercial Recreation' Marine Facilities` Single Fa mdy - Residential Duplex - Residential Low Density Multifamily Residential Medium Density Multifamily Residential High Density Multifamily Residential Low Density Restricted Commercial Medium Density Restricted' Co mmercia I Restricted Ca mmercia I [ • Central Business District 1 General Commercial Maint Inctiti dinnal Pehfir R J HEISENBOTTLE ARCHITECTS FLORIDA 05 GABLES, F x o„RATION IAAIBER:AR�saz„ OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 FUTURE LAND USE MAP March 31, 2022 A-6 OLYMPIA BUILDING 174 East Flagler Street PRELIMINARY TRANSFER DEVELOPMENT RIGHTS (TDR) CALCULATIONS PRELIMINARY TRANSFERABLE DEVELOPMENT DENSITY (TDD) CALCULATIONS R.J. HEISENBOTTLE ARCHITECTS 2199 Ponce de Leon Boulevard Suite 400 Coral Gables, Florida 33134 Date: March 30, 2022 Jurisdiction: City of Miami CURRENT CODE Miami 21 CURRENT ZONING Zoning District: T6-80-0 EXISTING AREAS LOT AREA (Square Feet - Acres): BUILDING FLOOR AREA (Square Feet): 21,477 88,180 0.49 Floor Lot TDR CALCULATIONS Ratio (FLR) Lot Area FLRxLotArea Building Floor Area Allowable Area minus Building Floor Area Multiplier Transferable Development Rights Area DESCRIPTION 24 21,477 515,448 88,180 427,268 2.25 961,353 PROPOSED DENSITY PROPOSED DENSITY (Hotel rooms): 77 38 Living units (*) (*) = Each Living unit is equivalent to 2 Hotel rooms TDD CALCULATIONS Lot Area (Acres) Density Living units per acre (**) Site Density (Living units) Proposed density (Living units) _ Density minus proposed Density. Transferable Development Density DESCRIPTION 0.49 1,000 490 38 452 452 (**) = Density increase for sites inside the CBD SUMMARY TRANSFERABLE DEVELOPMENT RIGHTS: 961,353 Square Feet TRANSFERABLE DEVELOPMENT DENSITY: 452 Living Units RJHEISENBOTTLE A R C H I T E C T S APPENDIX C ADDITIONAL INFORMATION Olympia Theater and Apartment Building Condition Assessment March 31, 2022 RJHEISENBOTTLE A R C H I T E C T S APPENDIX C EXI TIN CONDITION DRA IN Olympia Theater and Apartment Building Condition Assessment March 31, 2022 Mayor Francis Suarez Commission: D1 Commissioner Alex Diaz de la Portilla Chairman - D2 Commissioner Ken Russell D3 Commissioner Joe Carollo D4 Commissioner Manolo Reyes D5 Commissioner Jeffrey Watson City Manager Arthur Noriega RiHEISENBOTTLE A R C H I T E C T s 2199 PONCE DE LEON BLVD., SUITE400 CORAL GABLES, FL 33136 TELEPHONE:305/4467799 FAX: 305/4469275 FLORIDA REGISTRATION NUMBER: AR 0010865 OLYMPIA THEATER EXISTING CONDITIONS DRAWINGS City of Miami 174 E Flagler Street Miami, FL 33131 RJHA PROJECT # 21-3510 SHEET INDEX ARCHRECTURE G0.00 A1.01 A1.02 A1.03 A1.04 A1.05 A1.06 A1.07 A1.08 A1.09 A1.10 A1.11 A1.12 A1.13 A2.01 A2.02 A2.03 A2.04 A2.05 COVER SHEET EXISTING CONDITIONS BASEMENT FLOOR PLAN EXISTING CONDITIONS ORCHESTRA LEVEL FLOOR PLAN EXISTING CONDITIONS MEZZANINE LEVEL FLOOR PLAN EXISTING CONDITIONS 1ST BALCONY LEVEL FLOOR PLAN EXISTING CONDITIONS 2ND BALCONY LEVEL FLOOR PLAN EXISTING CONDITIONS ATTIC FLOOR PLAN EXISTING CONDITIONS THEATER ROOF FLOOR PLAN EXISTING CONDITIONS APARTMENT ROOF PLAN EXISTING CONDITIONS APARTMENT THIRD FLOOR PLAN EXISTING CONDITIONS APARTMENT FOURTH FLOOR PLAN EXISTING CONDITIONS APARTMENT FIFTH FLOOR PLAN EXISTING CONDITIONS APARTMENT SIXTH FLOOR PLAN EXISTING CONDITIONS APARTMENT TYPICAL FLOOR PLAN 7-10 EXISTING CONDITIONS SOUTH EAST SECOND STREET ELEVATION EXISTING CONDITIONS FLAGLER STREET ELEVATION EXISTING CONDITIONS SOUTH THEATER ELEVATION EXISTING CONDITIONS NORTH THEATER ELEVATION EXISTING CONDITIONS APARTMENT BUILDING ALLEY ELEVATIONS rffr� LOCATION MAP PROPERTY UNE-- INENCAVATEO ELEV PR FLOOR PROPERTY UNEI UNEXCAVATEO ROOM LECEND B-01 GENERATOR ROOM B-02 STAIR NO. 2 B-03 ELECTRICAL CLOSET B-04 BELOW STAGE STORAGE B-05 INSTRUMENT STORAGE B-06 MECHANICAL ROOM B-07 STAIR NO. 3 PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE ARCHITECTS 2199 PONCE DE LEON BLVD.. SUITE 100 COPAL GABLES, FL 33130 TELEPHONE 305011,7799 FAX: 305014,0275 FLORIDA REGISTRATION NUMBER AR CO10065 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 BASEMENT FLOOR PLAN SCALE: 1/8" = A1.01 ggiaZklitlifflarAg NORTHWEST SECOND AVENUE DOSIING TICKET BOOTH W W W J a J IL ROOM LEGEND D 101 CORRIDOR 102 STAIR NO. 1 103 BATHROOM 104 OFFICE 105 STAGE ENTRY 106 DIMMER ROOM 107 EXIT CORRIDOR 108 JANITOR'S CLOSET 109 FOYER 110 AUDITORIUM 111 EXIT LOBBY 112 JANITOR'S CLOSET 113 STAIR NO. 7 114 LOBBY 115 VESTIBULE 116 HANDICAPPED BATHROOM 117 STAIR NO. 5 118 EXIT CORRIDOR 119 STAIR NO. 4 120 STAIR NO. 3 121 QUICK CHANGE ROOM 122 PROPERTY ROOM 123 STAGE 124 STORAGE 125 ARE PUMP/EMERGENCY POWER 126 RETAIL 127 RETAIL 128 RETAIL 129 RETAIL 130 RETAIL 131 RETAIL PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORRV FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHTECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFRTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHTECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATIOR R J HEISENBOTTLE PRCHITEcTS CORAL GABLES FL 33130 TELEPHONE 305011,7799 FAX: 305014,9275 FLORIDA REGISTRATION NUMBER AR C010065 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 ORCHESTRA LEVEL FLOOR PLAN SCALE: 1/8" = 1'-0" 1i A1.02 ROOM LEGEND 201 STAIR Na 1 202 DRESSING ROOM N0. 1 203 BATHROOM 204 CORRIDOR 205 BATHROOM 206 DRESSING ROOM N0. 2 207 BATHROOM 208 ALCOVE 209 DRESSING ROOM NO. 3 210 ORGAN LOFT 211 FIRE ESCAPE 212 FIRE ESCAPE 213 EXIT FOYER (LEFT) 214 VOMITORY 215 STAIR Na 8 (UPPER) 216 STAIR NO. 8 (LOWER) 217 LOUNGE 218 RECEPTION 219 EAST LOUNGE 220 MEZZANINE LOUNGE 221 STORAGE 222 MEN'S LOUNGE 223 VOMITORY 224 STORAGE 225 STAIR N0. 7 (UPPER) 228 STAIR N0. 7 (LOWER) 227 MEN'S TOILET 228 WOMENS LOUNGE 229 STAIR N0. 6 (UPPER) 230 STAIR Na 5 231 EXIT FOYER (RIGHT) 232 STAIR N0. 8 (LOWER) 233 STORAGE 234 WOMEN'S TOILET 235 MENS CHORUS TOILET 236 TELEPHONE/ELECRICOL 237 MENS CHORUS DRESSING ROOM 238 TOILET 239 TOILET 240 DRESSING ROOM NO. 7 241 DRESSING ROOM N0. 8 242 CORRIDOR 243 DRESSING ROOM N0. 4 244 DRESSING ROOM NO. 5 245 TOILET 248 TOILET 247 WOMEN'S CHORUS SHOWER 248 WOMEN'S CHORUS TOILET 249 ALCOVE 250 WOMEN'S CHORUS DRESSING ROOM 251 MECHNICAL EQUIPMENT 252 CORRIDOR 253 DRESSING ROOM NO. 8 254 DRESSING ROOM NO. 9 255 CORRIDOR 256 STAIR Na 4 257 STAIR Na 3 258 LAUNDRY ROOM 259 UPPER STAGE 260 JANITORS CLOSET 261 TOILET 262 TOILET PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES ANG SPACES THAT POSSESS LIMITEG HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION. r R J HEISENBOTTLE PRCHITEcTS CORAL GABLES. FL 33130 TELEPHONE 305011,7799 FAX: 3050146-N75 FLORIDA REGISTRATION N1MBER:AR C010065 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 MEZZANINE LEVEL FLOOR PLAN SCALE: 1/8. = 1-0' my A1.03 ROOM LEGEND 301 UPPER LANDING 302 STAIR NO. 1 303 CREW ROOM 304 CLOSET 305 BATHROOM 306 CLOSET 307 DRESSING ROOM 308 FIRE ESCAPE 309 LIGHTING PLATFORM (LEFT) 310 ANTI PROSCENIUM 311 TORMENTOR (LEFT) 312 FIRE ESCAPE 313 STAIR NO. 8 (LOVER) 314 STAIR NO. 8 (UPPER) 315 STORAGE 316 TUNNEL 317 STORAGE 318 STAIR NO. 7 (UPPER) 319 STAIR NO. 7 (LOVER) 320 TORMENTOR (RIGHT) 321 LIGHTING PLATFORM (RIGHT) 322 FIRE ESCAPE 323 STORAGE PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R HEISENBOTTLE ARCHITECTS COPAL GABLES FL 33130 TELEPHONE 305011,7799 FAX: 305014,B275 FLORIDA REGISTRATION NUMBER AR C010365 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 1ST BALCONY FLOOR PLAN SCALE: 1 /W = 1',W 1i A1.04 CALLER AND NAPS FIE OUSE KF61NG SUN 10' I BF/VI ABOVE AIR HAMLIN° UNITS AND CONRROLO ROOM LEGEND 401 PHU ROOM 402 A/C PLENUM 403 ARE ESCAPE 404 STAR N0. 8 405 PROJECTION ROOM 408 VOMITORY 407 STAR N0. 7 408 AUDITORIUM 408 ANTI PROSCENIUM UPPER LEVEL 410 STAGE GRID 411 ROOF 412 FIRE ESCAPE 501 CHILLER AND PUMP ROOM PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE I: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE PRCHITEcTS CORAL GABLES. FL 33130 TELEPHONE 305011,7799 FAX: 305014,0275 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 2ND BALCONY FLOOR PLAN SCALE: 1 /8. = 1'-8 A1.05 ROOF HATCH ROOF HATCH EIOSONG RO COSTING 84562. S/A OUCT TO REMNN EIOSIING CEMESSR — IYP. UNE OF TRU EXISTING TRUSS ABOVE — T2P. COSRNG A/C/ DUCT ROOM LEGEND A01 FRONT OF HOUSE UGHTING COVE PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R HEISENBOTTLE ARCHITECTS OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 ATTIC FLOOR PLAN SCALE: 1/8. = 1-0' do. 1i A1.06 E%ISIING WILL�..� LADDER PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3:10ENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION. R J HEISENBOTTLE CORAL GABLES, FL 331. TELEPHONE: 30..7799 FAX: 305.15-8275 FLORIDA REGISTRATION NUMBER AR 0310865 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 THEATER ROOF PLAN SCALE: 1/8. = 1-0. A1.07 `IXISIING RD /-714EATER ROOF BELOW -COMM G FIT �DOSIING RD D6sta c Ira _r RSTNG RD FIRST FLOOR ELEVATOR O SHAFTS AND WATER TANK SECOND FLOOR ELEVATOR MACHINE ROOM 03 r adsfirzVIE ;MI AMIN air. �— PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE ARCHITEcTS 2199 N;30ELEPHE.99FP.„M6-szTs FLORID OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT ROOF PLAN SCALE: 1/8. = 1-0' 1i A1.08 ROOM LECEND 300-309 APARTMENT UNI1S 309 GUSMAN THEATER STORAGE 310 TRASH ROOM 311 MECH./ELEC. ROOM 312 CORRIDOR PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANMNG SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REQUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE ARCHITECTS CORAL GABLES. FL 33134 IS I. ION NUMBER:AR 03100. OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT THIRD FLOOR PLAN SCALE: 1 /4" = 1'-2 \II A1.09 �1111111 111111111 it i°. Y&' 1-.Cfl �i'F'a' _c..rznu et. •ram +41. 1:rr_1_x1r11.: i.W2C41 N S` \�\lam l\�1�ti won \� no ON." 111 S:.a --- ='It'... _ .yr = .ra..4 r.•7 a`A:B ROOM LECEND 400-410 APARTMENT UNITS 411 TRASH ROOK 412 LAUNDRY FACILITY 413 CORRIDOR PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANMNG SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE ARCHITECTS CORAL GABLES. FL 33134 IS I. ION NUMBER:AR 03100. OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT FOURTH FLOOR PLAN SCALE: 1 /4. = 1-0' \II A1.10 0 E49F.`cK ...P_•'_L:W pR A/L�tA.. ROOM LECEND 500-510 APARTMENT UNITS 511 TRASH ROOM 512 ELEC./MECH. ROOM 513 CORRIDOR PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE CORAL GABL6. FL TELEPHONE: 3051446,99 FAX: 30SI9-468275 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT FIFTH FLOOR PLAN SCALE: 1 /4. = •-0• \II A1.11 ROOM LECEND 600-609 APARTMENT UNITS 610 TRASH ROOM 611 LAUNDRY FACILRIFS 612 CORRIDOR PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE PRCHITEcTS CORAL GABLES. FL 3,1134 TELEPHONE 305.6,99 FAX: 305/41.275 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT SIXTH FLOOR PLAN SCALE: 1 /4" = 1'41 \II A1.12 ROOM LECEND 700-1009 APARTMENT UNITS 710-1010 TRASH ROOM 711-1011 LAUNDRY FACILIOFS 712-1012 CORRIDOR PRESERVATION LEGEND PRESERVATION ZONE PRESERVATION ZONE 2 PRESERVATION ZONE 3 PRESERVATION RECOMMENDATIONS RJHA RECOMMENDS TO PRESERVE AND RESTORE SIGNIFICANT ARCHITECTURAL FEATURES AND SPACES BASED ON A RANKING SYSTEM AS FOLLOWS: ZONE 1: IDENTIFIES CHARACTER -DEFINING BUILDING FEATURES AND SPACES THAT ARE OF THE HIGHEST HISTORICAL AND ARCHITECTURAL SIGNIFICANCE AND THEREFORE OF THE HIGHEST PRIORITY FOR PRESERVATION. EVERY EFFORT SHOULD BE MADE TO PRESERVE AND RESTORE THESE CHARACTER -DEFINING FEATURES AND SPACES. ZONE 2: IDENTIFIES FEATURES AND SPACES THAT POSSESS LESS HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE ALREADY BEEN ALTERED FROM THEIR ORIGINAL APPEARANCE. THEIR PRESERVATION OR RESTORATION SHOULD BE EVALUATED RELATIVE TO OTHER REOUIREMENTS FOR RENOVATION AND RETROFITTING OF THE BUILDING TO ACCOMMODATE FUTURE USES AND TENANTS. ZONE 3: IDENTIFIES FEATURES AND SPACES THAT POSSESS LIMITED HISTORICAL OR ARCHITECTURAL SIGNIFICANCE OR WHICH HAVE BEEN SO ALTERED AS TO RENDER THEM UNFEASIBLE FOR PRESERVATION OR RESTORATION R J HEISENBOTTLE ARCHITECTS CORAL GABLES. FL 33130 TELEPHONE 305011,7799 FAX: 305014,0275 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT TYPICAL FLOOR PLAN 7-10 SCALE: 1 /4. = \II A1.13 R HEISENBOTTLE T1n.octvtlssYrw SATEim ccwa wean 1t ma. MERC a }bualla s a eosracn ,1MMRGif1110. RYA. AR MOM OLYMPIA CENTER FOR THE PERFORMING ARTS 1-31 I:A57 FlAt:1.[ I:Sf PITT. MIAMI, Ft 33111 EXISTING CONDITIONS AlartA SI J022 SOUTI I EAST SECOND STREET ELEVATION 5011. I,.. - Po. A2.01 Irg Sr. El El n El S EBB 8 El El F E uov Ri HEISENBOTTLE 2199 PONCE DE LEON BLVD., SUITE 400 LORAL GABLES, FL 22134 TELEPHONE: BOSPIS-2299 FAX: 2054146.2225 PLUMP. REGISTRATION N UNDER: PP 0010966 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 FLAGLER STREET ELEVATION SCALE: 1/9" = 1,0" A2.02 TAPS> A.222 �F 4T4Y;+9 Y41= �aW Ifl3 rrEl F -j TE- rcuwJ tan* F _ ON pCakn .set77Z. ;1 •I■ O 1. 1Af -II E3 Ft BIN DNS r •I1 rose t....r,.,.,.. ...... 4146.1,1T. ♦,l. 40 p•••7 Fir MVO F11.11..1.1.1 11 771, Farr, Pleat n6Lulo naY RJHEISENBOTTLE ARCHITECTS 2199 PONCE DE LEON BLVD., SUITE 400 COPAL GABLES, FL 33134 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 SOUTH THEATER ELEVATION SCALE 3/16. = 1'-0" A2.03 R J HEISENBOTTLE ARCHITECTS 2199 PONCE DE LEON BLVD., SUITE 400 COPAL GABLES, FL 33134 TELEPHONE: 30544.799 FAX: 305/116.4275 FLORM REGISTRATION NUMBER, PR 0010. OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 NORTH THEATER ELEVATION SCALE 3/16 = 1'-0" A2.04 R J HEISENBOTTLE ARCHITECTS 2199 PONCE DE LEON BLVD., SUITE 400 COPAL GABLES, FL 11134 TELEPHONE: 30544.799 FAX: 305/116.4275 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 EXISTING CONDITIONS March 31, 2022 APARTMENT BUILDING ALLEY ELEVATIONS SCALE: 1/8' = A2.05 RJHEISENBOTTLE A R C H I T E C T S APPENDIX C ADAPTIVE USE 0 TI E OTEL CONCEPT PLAN Olympia Theater and Apartment Building Condition Assessment March 31, 2022 Mayor Francis Suarez Commission: D1 Commissioner Alex Diaz de la Portilla Chairman - D2 Commissioner Ken Russell D3 Commissioner Joe Carollo D4 Commissioner Manolo Reyes D5 Commissioner Jeffrey Watson City Manager Arthur Noriega RJHEISENBOTTLE AN�RTE�TS 2199 PONCE DE LEON BLVD., SUITE 400 CORAL GABLES, FL 33136 TELEPHONE: 305/446-7799 FAX: 305/446-9275 FLORIDA REGISTRATION NUMBER: AR 0010865 OLYMPIA THEATER ADAPTIVE USE BOUTIQUE HOTEL CONCEPT PLANS City of Miami 174 E Flagler Street Miami, FL 33131 .174 RJHA PROJECT # 21-3510 SHEET INDEX ARCHFTECTURE O0.00 COVER SHEET A1.14 PROPOSED ORCHESTRA LEVEL FLOOR PLAN A1.15 PROPOSED MEZZANINE LEVEL FLOOR PLAN A1.16 PROPOSED 1ST BALCONY LEVEL FLOOR PLAN A1.17 PROPOSED 2ND BALCONY LEVEL FLOOR PLAN A1.16 PROPOSED ATTIC FLOOR PLAN A1.19 PROPOSED THEATER ROOF FLOOR PLAN A1.20 PROPOSED APARTMENT ROOF PLAN A1.21 PROPOSED APARTMENT THIRD FLOOR PLAN A1.22 PROPOSED APARTMENT FOURTH FLOOR PLAN A1.23 PROPOSED APARTMENT FIFTH FLOOR PLAN A1.24 PROPOSED APARTMENT SIXTH FLOOR PLAN A1.25 PROPOSED APARTMENT TYPICAL FLOOR PLAN 7-10 A1.26 PROPOSED APARTMENT ROOF PLAN LOCATION MAP y [DENOTES UNE OF INNER / ORCHESTRA PR _-- LLE CF B:LC1ilY SERVICE PROPERTY LINE NORTHWEST SECOND AVENUE EOSTIN 121 ALLEY D THEATER AND HOTEL VALET DROP-OFF EKISRNG TICKET BOOTH ROOM LEGEND 101 CORRIDOR 102 STAIR NO. 1 103 BATHROOM 104 OFFICE 105 STAGE ENTRY 106 DIMMER ROOM 107 EXIT CORRIDOR 108 JANITOR'S CLOSET 109 THEATER LOBBY 110 AUDITORIUM 111 EXIT LOBBY 112 JANITOR'S CLOSET 113 STAIR NO. 7 114 LOBBY 115 VESTIBULE 116 HANDICAPPED BATHROOM 117 STAIR NO. 5 118 EXIT CORRIDOR 119 STAIR NO. 4 120 STAIR NO. 3 121 QUICK CHANGE ROOM 122 PROPERTY ROOM 123 STAGE 124 STORAGE 125 FIRE PUMP/EMERGENCY POWER 126 CATERING KITCHEN 127 JAZZ CLUB 128 HOTEL LOBBY 129 SPEAKEASY ENTRANCE 130 LAUNDROMAT BEAT COUNT SUMMARY ORCHESTRA LEVEL MEZZANINE LEVEL 1ST BALCONY LEVEL 2ND BALCONY LEVEL - 733 SEATS - 171 SEATS - 391 SEATS - 264 SEATS TOTAL SEATS - 1,558 SEATS R J HEISENBOTTLE PRCHITEcTS COPAL GABLES FL 33130 TELEPHONE 305011,7799 FAX: 305014,9275 FLORIDA REGISTRATION NUMBER AR C010065 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 ORCHESTRA LEVEL FLOOR PLAN SCALE: 1 /8' = 1'-0' Ni A1.14 L • I I ROOM LEOEND 201 STAIR NO. 1 202 DRESSING ROOM NO. 1 203 BATHROOM 204 CORRIDOR 205 BATHROOM 206 DRESSING ROOM NO. 2 207 BATHROOM 208 ALCOVE 209 DRESSING ROOM NO. 3 210 ORGAN LOFT 211 FIRE ESCAPE 212 FIRE ESCAPE 213 arr FOYER (LEFT) 214 VOMRORY 215 STAIR NO. 8 (UPPER) 216 STAIR N0. 8 (LOWER) 217 LOUNGE 218 RECEPDON 219 EAST LOUNGE 220 ME2TANINE LOUNGE 221 STORAGE 222 MEN'S LOUNGE 223 VOMRORY 224 STORAGE 225 STAIR N0. 7 (UPPER) 228 STAIR NO. 7 (LOWER) 227 MEN'S TOILET 228 WOMEN'S LOUNGE 229 STAIR N0. 6 (UPPER) 230 STAIR NO. 5 231 EXIT FOYER (RIGHT) 232 STAIR NO. 8 (LOWER) 233 STORAGE 234 WOMEN'S TOILET 235 MEN'S CHORUS TOILET 238 TELEPHONE/ELECRICOL 237 MEN'S CHORUS DRESSING ROOM 230 TOILET 239 TOILET 240 DRESSING ROOM NO. 7 241 DRESSING ROOM NO. 8 242 CORRIDOR 243 DRESSING ROOM NO. 4 244 DRESSING ROOM NO. 5 245 TOILET 246 TOILET 247 WOMEN'S CHORUS SHOWER 248 WOMEN'S CHORUS TOILET 249 ALCOVE 250 WOMEN'S CHORUS DRESSING ROOM 251 MECHANICAL EQUIPMENT 252 CORRIDOR 253 DRESSING ROOM NO. 8 254 CORRIDOR 255 STAIR NO. 4 258 STAIR NO. 3 257 LAUNDRY ROOM 258 UPPER STAGE 259 JANITOR'S CLOSET SEAT COUNT SUMMARY ORCHESTRA LEVEL MEII/NINE LEVEL 1ST BALCONY LEVEL 2ND BALCONY LEVEL - 733 SEATS - 171 SEATS - 391 SEATS - 284 SEATS TOTAL SEATS - 1,558 SEATS r R J HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 30514.8275 FLORIDA REGISTRATION NUMBER:Ali 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 MEZZANINE LEVEL FLOOR PLAN SCALE: 1/8. = 1'-0' my A1.15 ROOM LEGEND 301 UPPER LANDING 302 STAIR NO. 1 303 CREW ROOM 304 CLOSET 305 BATHROOM 306 CLOSET 307 DRESSING ROOM 308 FIRE ESCAPE 309 LIGHTING PLATFORM (LEFT) 310 ANTI PROSCENIUM 311 TORMENTOR (LEFT) 312 FIRE ESCAPE 313 STAIR NO. 8 (LOWER) 314 STAIR NO. 8 (UPPER) 315 STORAGE 316 TUNNEL 317 STORAGE 318 STAIR NO. 7 (UPPER) 319 STAIR NO. 7 (LOWER) 320 TORMENTOR (RIGHT) 321 LIGHTING PLATFORM (RIGHT) 322 FIRE ESCAPE 323 STORAGE BEAT COUNT SUMMARY ORCHESTRA LEVEL M122ANINE LEVEL 1ST BALCONY LEVEL 2ND BALCONY LEVEL — 733 SEATS — 171 SEATS — 391 SEATS — 264 SEATS TOTAL SEATS — 1,558 SEATS R HEISENBOTTLE ARCHITECTS CORAL GABLES, FL 331. TELEPHONE 30S/4.7799 FAX: 30514.8275 FLORIDA REGISTRATION NUMBER:All 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 1ST BALCONY FLOOR PLAN SCALE: 1 /8" = 1'-0' 1i A1.16 ROOM LEGEND 401 PHU ROOM 402 A/C PLENUM 403 FIRE ESCAPE 404 STAIR N0. 8 405 PROJECTION ROOM 406 VOMITORY 407 STAIR N0. 7 408 AUDITORIUM 409 ANTI PROSCENIUM UPPER LEVEL 410 STAGE GRID 411 ROOF 412 FIRE ESCAPE 501 CHILLER AND PUMP ROOM BEAT COUNreUMMARY ORCHESTRA LEVEL ME22ANINE LEVEL 1ST BALCONY LEVEL 2ND BALCONY LEVEL — 733 SEATS — 171 SEATS — 391 SEATS — 264 SEATS TOTAL SEATS — 1,558 SEATS _CNIUFA N10 PUMPS CGNCREIE HOUSE KEEPING SlI8 -IV IEON ABOVE —AIR BANDUNG • UNITS AND CONR1013 CHILLER AND PUMP ROOM O R HEISENBOTTLE CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 2ND BALCONY FLOOR PLAN SCALE: 1/8. = 1'-8• my A1.17 ROOF WATCH Eg511NG RI) MMHG 041162' S/A DUCT TO RERAN qn ERS11NG RO �� MR °DOLED - CHILLER CENTZ - TYP. LINE OF TRUSS E76S1114G 1RUSS ABOVE - TW. COSTING WC/ DUCT M > 1 kitDULT � f%S G CA71Wlt T 1 1 tov. _,r 1 ff.... DEM CROSS x _ �•�•--• ElEC. OMER e_ F .. I v r - I .. .. - OPEN M BELOW '---A/C IAAR%CIOC LOWER ROOF F— LOWER ROOF ROOM LEGEND M1 FRONT CF HOUSE LIGHTING COVE R J HEISENBOTTLE ARCHITECTS TELEPHONE 3054.16-77£19 FAX: 3051416-9275 FLORIDA REGISTRATION NIMBE11,110010065 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 ATTIC FLOOR PLAN SCALE: 1 /8. = A1.18 EXISTING W4LJ . LADDER CAGUNG TOWER 48N8 R/A DUCT AIL SAGE SNCNE YEM (TYP.) 1/1 `EXISTING RD -EXISTING RD RAPE_ RAPE EASIING RD EXISTING RD EXISTING WALL LAMER SLOPE SLAPE EASIING RD ,-EXISING Im Q H 1 SIX 80� C iik VEY �I R1a J R J HEISENBOTTLE PRCHITEcTS 2199 PONCE DE LEON BLVD.. SUITE 400 COPAL GABLES, FL 331. TELEPHONE 30.146.7799 FAX: 30519168275 FLORIDA REGISTRATION NUMBER AR 0310865 OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 THEATER ROOF PLAN SCALE: 1 /8. = 1'-0. 1i A1.19 ROOF BELOW EXISTING WALL WODER —COOLING TOWER 45446 R/A DUCT 1.51262 SMOKE YOB .j - E0ISONG RD ROOM LEGEND 1100 KITCHEN 1101 SPEAKEASY BAR & RESTAURANT 1102 PHOTO & DI 8001N 1103 CINEMA 1104 ROOF DECK ONES 1105 MINI —GOLF 1106 WOMEN'S BATHROOM 1107 MEN'S BATHROOM 1108 GENERATOR ROOM 1109 A/C ROOM MAXIMUM OCCUPANCY ',AEA SOFT — N0 OF OCCUPANT OCCUPANTS LOAD FACTOR 3,713 SOFT _ 240 OCCUPANTS R HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT ROOF PLAN SCALE: 1 /8" = 1-0' 1i A1.20 HOTEL ROOMS HOTEL MANAGER OFFCE CONFERENCE ROOM STAFF OFFICE STAFF OFFICE RESTROGM LOCKER ROOM RESTROCM STAFF LOCKER ROOM R J HEISENBOTTLE ARCHITEcTS COPAL GABLES, FL 33134 TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 0310BOS OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT THIRD FLOOR PLAN SCALE: 1 /4" = 1'41 A1.21 R J HEISENBOTTLE ARCHITEcTS COPAL GABLES, FL 33134 TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 0310BOS OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT FOURTH FLOOR PLAN SCALE: 1 /4" = 1'41 A1.22 R J HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT FIFTH FLOOR PLAN SCALE: 1 /4" = 1'41 All A1.23 R J HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT SIXTH FLOOR PLAN SCALE: 1 /4" = All A1.24 R J HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305/4.7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT TYPICAL FLOOR PLAN 7-10 SCALE: 1 /4" = 1'-0' A1.25 0000000000 ROOM LEGEND 1100 KITCHEN 1101 SPEAKEASY BAR & RESTAURANT 1102 PHOTO & DJ 8001H 1103 CINEMA 1104 ROOF DECK GANES 1105 MINI —GOLF 1106 WOMEN'S BATHROOM 1107 MEN'S BATHROOM 1108 GENERATOR ROOM 1109 A/C ROOM MAXIMUM OCCUPANCY AREA SOFT — NO OF OCCUPANT OCCUPANTS LOAD FACTOR 3,713 SOFT _ 248 15 OCCUPANTS R J HEISENBOTTLE ARCHITEcTS CORAL GABLES, FL 331. TELEPHONE 305.16-7799 FAX: 3051415-827S FLORIDA REGISTRATION NUMBER:AR 031006S OLYMPIA CENTER FOR THE PERFORMING ARTS 174 EAST FLAGLER STREET, MIAMI, FL 33131 PROPOSED CONDITIONS March 31, 2022 APARTMENT ROOF PLAN SCALE: 1 /4" = 1'41 A1.26 RJHEISENBOTTLE A R C H I T E C T S APPENDIX C FEDERAL TAX INCENTI E Olympia Theater and Apartment Building Condition Assessment March 31, 2022 PLEASE NOTE The Historic Preservation Tax Incentives brochure has not been revised to reflect any changes that may be necessary related to Public Law No: 115-97 (December 22, 2017). Public Law No: 115-97 amends the Internal Revenue Code to reduce tax rates and modify policies, credits, and deductions for individuals and businesses. Section 13402 modifies the 20% Historic Rehabilitation Tax Credit and provides certain transition rules. These and other changes to the Internal Revenue Code may affect a taxpayer's ability to use the 20% tax credit. The law also repeals the10% credit for rehabilitating non -historic buildings. The text of Public Law No: 115-97 is available at www.congress.gov. Applicants requesting historic preservation certifications by the National Park Service, as well as others interested in the use of these tax credits, are strongly advised to consult an accountant, tax attorney, or other professional tax adviser, legal counsel, or the Internal Revenue Service regarding the changes to the Internal Revenue Code related to Public Law No: 115-97. Historic Preservation Tax Incentives National Park Service U.S. Department of the Interior olp Technical Preservation Services This booklet describes the Federal Historic Preservation Tax Incentives in general terms only. Every effort has been made to present current information as of the date given below. However, the Internal Revenue Code is complex and changes frequently. Furthermore, the provisions of the tax code regarding at -risk rules, passive activity limitation, and alternative minimum tax can affect a taxpayer's ability to use these tax credits. Readers are strongly advised to consult an accountant, tax attorney, or other professional tax advisor, legal counsel, or the Internal Revenue Service for help in determining whether these incentives apply to their own situations. For more detailed information, including copies of application forms, regulations, and other program information, contact one of the offices listed on pages 26-29. Department of the Interior regulations governing the procedures for obtaining historic preservation certifications are more fully explained in Title 36 of the Code of Federal Regulations, Part 67. The Internal Revenue Service regulations governing the tax credits for rehabilitation are contained in Treasury Regulation Section 1.48-12. These sets of regulations take precedence in the event of any inconsistency with this booklet. Technical Preservation Services National Park Service 2012 Cover: German Bank, Dubuque, Iowa (1901). After rehabilitation for continued commercial and residential use. Courtesy State Historical Society of Iowa. Photograph: John Zeller. Quick Reference Preservation Tax Incentives 2 What Is a Tax Credit? 3 20% Rehabilitation Tax Credit 4 Rehabilitation Tax Credits: Who Does What? 14 10% Rehabilitation Tax Credit 16 The 10% or 20% Credit: Which One Applies? ,__. 17 Other Tax Provisions Affecting Use of Preservation Tax Incentives 17 Rehabilitations Involving Governments and Other Tax -Exempt Entities 21 Other Tax Incentives for Historic Preservation 21 The Secretary of the Interior's Standards for Evaluating Significance Within Registered Historic Districts 23 The Secretary of the Interior's Standards for Rehabilitation 24 For More Information National Park Service, Internal Revenue Service and State Historic Preservation Offices 26 • Preservation Tax Incentives Historic buildings are tangible links with the past. They help give a community a sense of identity, stability and orientation. The Federal government encourages the preservation of historic buildings through various means. One of these is the program of Federal tax incentives to support the rehabilitation of historic and older buildings. The Federal Historic Preservation Tax Incentives program is one of the Federal government's most successful and cost-effective community revitalization programs. The National Park Service administers the program with the Internal Revenue Service in partnership with State Historic Preservation Offices. The tax incentives promote the rehabilitation of historic structures of every period, size, style and type. They are instrumental in preserving the historic places that give cities, towns and rural areas their special character. The tax incentives for preservation attract private investment to the historic cores of cities and towns. They also generate jobs, enhance property values, and augment revenues for State and local governments through increased property, business and income taxes. The Preservation Tax Incentives also help create moderate and low-income housing in historic buildings. Through this program, abandoned or underused schools, warehouses, factories, churches, retail stores, apartments, hotels, houses, and offices throughout the country have been restored to life in a manner that maintains their historic character. Current tax incentives for preservation, established by the Tax Reform Act of 1986 (PL 99-514; Internal Revenue Code Section 47 [formerly Section 48(g)]) include: a 20% tax credit for the certified rehabilitation of certified historic structures. a 10% tax credit for the rehabilitation of non - historic, non-residential buildings built before 1936. From time to time, Congress has increased these credits for limited periods for the rehabilitation of buildings located in areas affected by natural disasters. For more information, see the instructions on IRS Form 3468, Investment Credit, or contact your State Historic Preservation Office. In all cases the rehabilitation must be a substantial one and must involve a depreciable building. (These terms will be explained later.) What Is a Tax Credit? A tax credit differs from an income tax deduction. An income tax deduction lowers the amount of income subject to taxation. A tax credit, however, lowers the amount of tax owed. In general, a dollar of tax credit reduces the amount of income tax owed by one dollar. The 20% rehabilitation tax credit equals 20% of the amount spent in a certified rehabilitation of a certified historic structure. » The 10% rehabilitation tax credit equals 10% of the amount spent to rehabilitate a non -historic building built before 1936. Armstrong Cork Company Plant, Pittsburgh, Pennsylvania (1901-1913). After rehabilitation for retail and housing. Photograph: Charles Uhl. 4 20% Rehabilitation Tax Credit The Federal historic preservation tax incentives program (the 20% credit) is jointly administered by the U.S. Department of the Interior and the Department of the Treasury. The National Park Service (NPS) acts on behalf of the Secretary of the Interior, in partnership with the State Historic Preservation Officer (SHPO) in each State. The Internal Revenue Service (IRS) acts on behalf of the Secretary of the Treasury. Certification requests (requests for approval for a taxpayer to receive these benefits) are made to the NPS through the appropriate SHPO. Comments by the SHPO on certification requests are fully considered by the NPS. However, approval of projects undertaken for the 20% tax credit is conveyed only in writing by duly authorized officials of the National Park Service. For a description of the roles of the NPS, the IRS and the SHPO, see "Tax Credits: Who Does What?" on pages 14 -15. The 20% rehabilitation tax credit applies to any project that the Secretary of the Interior designates a certified rehabilitation of a certified historic structure. The 20% credit is available for properties rehabilitated for commercial, industrial, agricultural, or rental residential purposes, but it is not available for properties used exclusively as the owner's private residence. What is a "certified historic structure?" A certified historic structure is a building that is listed individually in the National Register of Historic Places —OR— a building that is located in a registered historic district and certified by the National Park Service as contributing to the historic significance of that district. The "structure" must be a building —not a bridge, ship, railroad car, or dam. (A registered historic district is any district listed in the National Register of Historic Places. Nanny's Building, Phoenix, Arizona (1947). After rehabilitation of this high -fashion clothing store for restaurant and other commercial use. Photograph: Ryden Architects, Inc. • A State or local historic district may also qualify as a registered historic district if the district and the enabling statute are certified by the Secretary of the Interior.) Obtaining Certified Historic Structure Status Owners of buildings within historic districts must complete Part 1 of the Historic Preservation Certification Application —Evaluation of Significance. The owner submits this application to the SHPO. The SHPO reviews the application and forwards it to the NPS with a recommendation for approving or denying the request. The NPS then determines whether the building contributes to the historic district. If so, the building then becomes a certified historic structure. The NPS bases its decision on the Secretary of the Interior's "Standards for Evaluating Significance within Registered Historic Districts" (see page 23). Buildings individually listed in the National Register of Historic Places are already certified historic structures. Owners of these buildings need not complete the Part 1 application (unless the listed property has more than one building). Property owners unsure if their building is listed in the National Register or if it is located in a National Register or certified State or local historic district should contact their SHPO. • What if my building is not yet listed in the National Register? Owners of buildings that are not yet listed individually in the National Register of Historic Places or located in districts that are not yet registered historic districts may use the Historic Preservation Certification Application, Part 1, to request a preliminary determination of significance from the National Park Service. Such a determination may also be obtained for a building located in a registered historic district but that is outside the period or area of significance of the district. A preliminary determination of significance allows NPS to review Part 2 of the application describing the proposed rehabilitation. Preliminary determinations, however, are not binding. They become final only when the building or the historic district is listed in the National Register or when the district documentation is amended to include additional periods or areas of significance. It is the owner's responsibility to obtain such listing through the State Historic Preservation Office in a timely manner. What is a "certified rehabilitation?" The National Park Service must approve, or "certify," all rehabilitation projects seeking the 20% rehabilitation tax credit. A certified rehabilitation is a rehabilitation of a certified historic structure that is approved by the NPS as being consistent with the historic character of the property and, where applicable, the district in which it is located. The NPS assumes that some alteration of the historic building will occur to provide for an efficient use. However, the project must not damage, destroy, or cover materials or features, whether interior or exterior, that help define the building's historic character. Application Process Owners seeking certification of rehabilitation work must complete Part 2 of the Historic Preservation Certification Application —Description of Rehabilitation. Long-term lessees may also apply if their remaining lease period is at least 27.5 years for residential property or 39 years for nonresidential property. The owner submits the application to the SHPO. The SHPO provides technical assistance and literature on appropriate rehabilitation treatments, advises owners on their applications, makes site visits when possible, and forwards the application to the NPS, with a recommendation. The NPS reviews the rehabilitation project for conformance with the "Secretary of the Interior's Standards for Rehabilitation," and issues a certification decision. The entire project is reviewed, including related demolition and new construction, and is certified, or approved, only if the overall rehabilitation project meets the Standards. These Standards appear on pages 24-25. Both the NPS and the IRS strongly encourage owners to apply before they start work. 58 B Street, Virginia City, Nevada (1875). Rehabilitated as a bed and breakfast. CourtesyChris Eichin. After the rehabilitation work is completed, the owner submits Part 3 of the Historic Preservation Certification Application —Request for Certification of Completed Work to the SHPO. The SHPO forwards the application to the NPS, with a recommendation as to certification. The NPS then evaluates the completed project against the work proposed in the Part 2—Description of Rehabilitation. Only completed projects that meet the Standards for Rehabilitation are approved as "certified rehabilitations" for purposes of the 20% rehabilitation tax credit. After Carleton Place {historic name: Simmons Manufacturing Company), St. Paul, Minnesota (1909). Before and after rehabilitation for residential use. Courtesy Hess, Roise and Company. Processing Fees The NPS charges a fee for reviewing applications. Fees are charged for the review of proposed work (Part 2) and for review of completed projects (Part 3). The fees are based on the rehabilitation costs. Payment should not be sent until requested by NPS. The NPS will not issue a certification decision until payment has been received. See the NPS website on page 26 for the fee schedule. Hollywood Bungalow Courts, Los Angeles, California (1921-1925). Rehabilitated as housing for special -needs and low-income residents. Photograph: NPS Files. IRS Requirements To be eligible for the 20% rehabilitation tax credit, a project must also meet basic IRS requirements: The building must be depreciable. That is, it must be used in a trade or business or held for the production of income. It may be used for offices, for commercial, industrial or agricultural enterprises, or for rental housing. It may not serve exclusively as the owner's private residence. The rehabilitation must be substantial. That is, during a 24-month period selected by the taxpayer, rehabilitation expenditures must exceed the greater of $5,000 or the adjusted basis of the building and its structural components. The adjusted basis is generally the purchase price, minus the cost of land, plus improvements already made, minus depreciation already taken. Once the substantial rehabilitation test is met, the credit may be claimed for all qualified 10 expenditures incurred before the measuring period, during the measuring period and after the measuring period through the end of the taxable year that the building is placed in service. Phased rehabilitations —that is, rehabilitations expected to be completed in two or more distinct stages of development —must also meet the "substantial rehabilitation test." However, for phased rehabilitations, the measuring period is 60 months rather than 24 months. This phase rule is available only if: (1) a set of architectural plans and specifications outlines and describes all rehabilitation phases; (2) the plans are completed before the physical rehabilitation work begins, and (3) it can reasonably be expected that all phases will be completed. The property must be placed in service (that is, returned to use). The rehabilitation tax credit is generally allowed in the taxable year the rehabilitated property is placed in service. » The building must be a certified historic structure when placed in service, with the following exception: If the building or the historic district is not listed in the National Register, the owner must have requested that the SHPO nominate the building or the district to the National Register before the building is placed in service. If the building is in a historic district that is listed or may be listed in the National Register, the owner must submit Part 1 of the application before the building is placed in service. Qualified rehabilitation expenditures include costs of the work on the historic building, as well as architectural and engineering fees, site survey fees, legal expenses, development fees, and other construction -related costs, if such costs are added to the property basis and are reasonable and related to the services performed. They do not include acquisition or furnishing costs, new additions that expand the building, new building construction, or parking lots, sidewalks, landscaping, or other related facilities. 111 MI a•IIIM>1■r11111 {:111 114 NW Main Street, Rocky Mount, North Carolina (1928). Photograph: William Ferguson. Getting your project approved, or "certified" Tens of thousands of projects have been approved for the historic preservation tax credit. Observing the following points will make approval of your project easier: Apply as soon as possible preferably before beginning work. Consult with the SHPO as soon as you can. Read carefully the program application, regulations, and any other information the SHPO supplies. Submit your application early in the project planning. Wait until the project is approved in writing by the NPS before beginning work. Work undertaken prior to approval by the NPS may jeopardize certification. In the case of properties not yet designated certified historic structures, apply before the work is completed and the building is placed in service. Photograph the building inside and outside —before and after the project. "Before" photographs are especially important. Without them, it may be impossible for the NPS to approve a project. Read and follow the "Secretary of the Interior's Standards for Rehabilitation" and the "Guidelines for Rehabilitating Historic Buildings." If you are unsure how they apply to your building, consult with the SHPO or the NPS. » Once you have applied, alert the SHPO and the NPS to any changes in the project. Claiming the 20% Rehabilitation Tax Credit Generally, the tax credit is claimed on IRS form 3468 for the tax year in which the rehabilitated building is placed in service. For phased projects, the tax credit may be claimed before completion of the entire project provided that the substantial rehabilitation test has been met. If a building remains in service throughout the rehabilitation, then the credit may be claimed when the substantial rehabilitation test has been met. In general, unused tax credit can be "carried back" one year and "carried forward" 20 years. The IRS requires that the NPS certification of completed work (Application Part 3) be filed with the tax return claiming the tax credit. If final certification has not yet been received when the taxpayer files the tax return claiming the credit, a copy of the first page of the Historic Preservation Certification Application —Part 2 must be filed with the tax return, with proof that the building is a certified historic structure or that such status has been requested. The copy of the application filed must show evidence that it has been received by either the SHPO or the NPS (date -stamped receipt or other notice is sufficient). If the taxpayer then fails to receive final certification within 30 months after claiming the credit, the taxpayer must agree to extend the period of assessment. If the NPS denies certification to a rehabilitation project, the credit will be disallowed. Recapture of the Credit The owner must hold the building for five full years after completing the rehabilitation, or pay back the credit. If the owner disposes of the building within a year after it is placed in service, 100% of the credit is recaptured. For properties held between one and five years, the tax credit recapture amount is reduced by 20% per year. The NPS or the SHPO may inspect a rehabilitated property at any time during the five-year period. The NPS may revoke certification if work was not done as described in the Historic Preservation Certification Application, or if unapproved alterations were made for up to five years after certification of the rehabilitation. The NPS will notify the IRS of such revocations. Prizery/R.J. Reynolds Tobacco Warehouse, South Boston, Virginia (1900). Rehabilitated for commercial use. Photographs: Ian Bradshaw. 14 Depreciation Rehabilitated property is depreciated using the straight- line method over 27.5 years for residential property and over 39 years for nonresidential property. The depreciable basis of the rehabilitated building must be reduced by the full amount of the tax credit claimed. Rehabilitation Tax Credits: Who Does What? The Federal historic preservation tax incentives program is a partnership among the National Park Service (NPS), the State Historic Preservation Officer (SHPO), and the Internal Revenue Service (IRS). Each plays an important role. SHPO » Serves as first point of contact for property owners. Provides application forms, regulations, and other program information. Maintains complete records of the State's buildings and districts listed in the National Register of Historic Places, as well as State and local districts that may qualify as registered historic districts. Assists anyone wishing to list a building or a district in the National Register of Historic Places. Provides technical assistance and literature on appropriate rehabilitation treatments. Advises owners on their applications and makes site visits on occasion to assist owners. Makes certification recommendations to the NPS. NPS Reviews all applications for conformance to the Secretary of the Interior's Standards for Rehabilitation. IRS Issues all certification decisions (approvals or denials) in writing. Transmits copies of all decisions to the IRS. Develops and publishes program regulations, the Secretary of the Interior's Standards for Rehabilitation, the Historic Preservation Certification Application, and information on rehabilitation treatments. Publishes regulations governing which rehabilitation expenses qualify, the time periods for incurring expenses, the tax consequences of certification decisions by NPS, and all other procedural and legal matters concerning both the 20% and the 10% rehabilitation tax credits. Answers public inquiries concerning legal and financial aspects of the Historic Preservation Tax Incentives, and publishes the audit guide, Market Segment Specialization Program: Rehabilitation Tax Credit, to assist owners. » Insures that only parties eligible for the rehabilitation tax credits utilize them. Odd Fellows Building, Raleigh, North Carolina (c. 1880). Rehabilitated for continued commercial use. Courtesy Empire Properties. in 10% Rehabilitation Tax Credit The 10% rehabilitation tax credit is available for the rehabilitation of non -historic buildings placed in service before 1936. As with the 20% rehabilitation tax credit, the 10% credit applies only to buildings —not to ships, bridges or other structures. The rehabilitation must be substantial, exceeding either $5,000 or the adjusted basis of the property, whichever is greater. And the property must be depreciable. The 10% credit applies only to buildings rehabilitated for non-residential uses. Rental housing would thus not qualify. Hotels, however, would qualify. They are considered to be in commercial use, not residential. A building that was moved after 1935 is ineligible for the 10% rehabilitation credit. (A moved certified historic structure, however, can still be eligible for the 20% credit.) Furthermore, projects undertaken for the 10% credit must meet a specific physical test for retention of external walls and internal structural framework: at least 50% of the building's external walls existing at the time the rehabilitation began must remain in place as external walls at the work's conclusion, and at least 75% of the building's existing external walls must remain in place as either external or internal walls, and » at least 75% of the building's internal structural framework must remain in place. Claiming the 10% Rehabilitation Tax Credit The tax credit must be claimed on IRS form 3468 for the tax year in which the rehabilitated building is placed in service. There is no formal review process for rehabilitations of non -historic buildings. m The 10% or 20% Credit: Which One Applies? The 10% rehabilitation tax credit applies only to non - historic buildings first placed in service before 1936 and rehabilitated for non-residential uses. The 20% rehabilitation tax credit applies only to certified historic structures, and may include buildings built after 1936. The two credits are mutually exclusive. Buildings listed in the National Register of Historic Places are not eligible for the 10% credit. Buildings located in National Register listed historic districts or certified State or local historic districts are presumed to be historic and are therefore not eligible for the 10% credit. In general, owners of buildings in these historic districts may claim the 10% credit only if they file Part 1 of the Historic Preservation Certification Application with the National Park Service before the physical work begins and receive a determination that the building does not contribute to the district and is not a certified historic structure. Other Tax Provisions Affecting Use of Preservation Tax Incentives A number of provisions in the Internal Revenue Code affect the way in which real estate investments are treated generally. These provisions include the "at -risk" rules, the passive activity limitation, and the alternative minimum tax. What these provisions mean, in practice, is that many taxpayers may not be able to use tax credits earned in a certified rehabilitation project. A brief discussion of these matters follows. Applicants should seek professional advice concerning the personal financial implications of these provisions. At -Risk Rules Under Internal Revenue Code Section 465, a taxpayer may deduct losses and obtain credits from a real estate investment only to the extent that the taxpayer is "at - risk" for the investment. The amount that a taxpayer is "at -risk" is generally the sum of cash or property contributions to the project plus any borrowed money for which the taxpayer is personally liable, including certain borrowed amounts secured by the property used in the project. In addition, in the case of the activity of holding real property, the amount "at -risk" includes qualified non -recourse financing borrowed from certain financial institutions or government entities. Passive Activity Limitation The passive activity limitation provides that losses and credits from "passive" income sources, such as real estate m John Harvey House, Detroit, Michigan (1875). (opposite) Before rehabilitation; (above) After rehabilitation as a bed and breakfast. Courtesy: Marilyn Nash-Yazbeck. Photograph: Steven C. Flum, Inc. limited partnerships, cannot be used to offset tax liability from "active" sources such as salaries. This passive activity limitation does not apply to: Most regular corporations. Real estate professionals who materially participate in a real property trade or business and who satisfy eligibility requirements regarding the proportion and amount of time spent in such businesses. For other taxpayers, two exceptions apply: a general exception and a specific exception for certified rehabilitations. 20 General Passive Loss Rules Taxpayers with incomes less than $100,000 (generally, adjusted gross income with certain modifications) may take up to 825,000 in losses annually from rental properties. This 825,000 annual limit on losses is reduced for individuals with incomes between $100,000 and $150,000 and eliminated for individuals with incomes over $150,000. Passive Credit Exemption Individuals, including limited partners, with modified adjusted gross incomes of less than $200,000 (and, subject to phase out, up to $250,000) investing in a rehabilitation credit project may use the tax credit to offset the tax owed on up to 825,000 of income. Thus, a taxpayer in the 33% tax bracket could use $8,250 of tax credits per year (33% x 825,000 = $8,250). This 825,000 amount is first reduced by losses allowed under the general "passive loss" rule above for taxpayers with incomes less than $150,000. Alternative Minimum Tax For purposes of the rehabilitation tax credit, the alternative minimum tax does not apply to qualified rehabilitation expenditures "properly taken into account for periods after December 31, 2007." However, for qualified rehabilitation expenditures taken into account for periods before January 1, 2008, taxpayers who are not required to pay tax under the regular tax system may still be liable for tax under the alternative minimum tax laws. Alternative minimum taxable income is computed from regular taxable income with certain adjustments and the addition of all appropriate tax preference items. Nonrefundable credits, such as the rehabilitation tax credit, may not be used to reduce the alternative minimum tax. If a taxpayer cannot use the tax credit because of the alternative minimum tax, the credit can be carried back or forward. m Rehabilitations Involving Governments and Other Tax -Exempt Entities Property used by governmental bodies, nonprofit organizations, or other tax-exempt entities is not eligible for the rehabilitation tax credit if the tax-exempt entity enters into a disqualified lease (as the lessee) for more than 50% of the property. A disqualified lease occurs when: Part or all of the property was financed directly or indirectly by an obligation in which the interest is tax-exempt under Internal Revenue Code Section 103(a) and such entity (or related entity) participated in such financing; or, Under the lease there is a fixed or determinable price for purchase or an option to buy which involves such entity (or related entity); or, The lease term is in excess of 20 years; or, The lease occurs after a sale or lease of the property and the lessee used the property before the sale or lease. Other Tax Incentives for Historic Preservation Other Federal and State tax incentives exist for historic preservation. They may be combined with the rehabilitation tax credit. Charitable Contributions for Historic Preservation Purposes Internal Revenue Code Section 170(h) and Department of the Treasury Regulation Section 1.170A-14 provide for income and estate tax deductions for charitable contributions of partial interests in historic property (principally easements). Generally, the IRS considers that a donation of a qualified real property interest to preserve a historically important land area or a m certified historic structure meets the test of a charitable contribution for conservation purposes. For purposes of the charitable contribution provisions only, a certified historic structure need not be depreciable to qualify, and may include the land area on which it is located. A facade easement on a building in a registered historic district must preserve the entire exterior of the building (including its front, sides, rear, and height) and must prohibit any change to the exterior of the building that is inconsistent with its historic character. The easement donor must enter into a written agreement with the organization receiving the easement contribution, and must provide additional substantiation requirements. If the deduction claimed is over $10,000, the taxpayer must pay a $500 filing fee. For additional information, see IRS publication 526. State Tax Incentives A number of States offer tax incentives for historic preservation. They include tax credits for rehabilitation, tax deductions for easement donations, and property tax abatements or moratoriums. The SHPO will have information on current State programs. Requirements for State incentives may differ from those outlined here. Tax Credit for Low -Income Housing The Tax Reform Act of 1986 (IRC Section 42) also established a tax credit for the acquisition and rehabilitation, or new construction of low-income housing. The credit is approximately 9% per year for 10 years for projects not receiving certain Federal subsidies and approximately4% for 10 years for projects subsidized by tax-exempt bonds or below market Federal loans. The units must be rent restricted and occupied by individuals with incomes below the area median gross income. The law sets a 15-year compliance period. Credits are allocated by State housing credit agencies. The tax credit for low-income housing can be combined with the tax credit for the rehabilitation of certified historic structures. es The Secretary of the Interior's Standards for Evaluating Significance Within Registered Historic Districts The following Standards govern whether buildings within a historic district contribute to the significance of the district. Owners of buildings that meet these Standards may apply for the 20% rehabilitation tax credit. Buildings within historic districts that meet these Standards cannot qualify for the 10% credit. 1. A building contributing to the historic significance of a district is one which by location, design, setting, materials, workmanship, feeling and association adds to the district's sense of time and place and historical development. 2. A building not contributing to the historic significance of a district is one which does not add to the district's sense of time and place and historical development; or one where the location, design, setting, materials, workmanship, feeling and association have been so altered or have so deteriorated that the overall integrity of the building has been irretrievably lost. 3. Ordinarily buildings that have been built within the past 50 years shall not be considered to contribute to the significance of a district unless a strong justification concerning their historical or architectural merit is given or the historical attributes of the district are considered to be less than 50 years old. 24 The Secretary of the Interior's Standards for Rehabilitation Rehabilitation projects must meet the following Standards, as interpreted by the National Park Service, to qualify as "certified rehabilitations" eligible for the 20% rehabilitation tax credit. The Standards are applied to projects in a reasonable manner, taking into consideration economic and technical feasibility. The Standards (36 CFR Part 67) apply to historic buildings of all periods, styles, types, materials, and sizes. They apply to both the exterior and the interior of historic buildings. The Standards also encompass related landscape features and the building's site and environment as well as attached, adjacent, or related new construction. 1. A property shall be used for its historic purpose or be placed in a new use that requires minimal change to the defining characteristics of the building and its site and environment. 2. The historic character of a property shall be retained and preserved. The removal of historic materials or alteration of features and spaces that characterize a property shall be avoided. 3. Each property shall be recognized as a physical record of its time, place, and use. Changes that create a false sense of historical development, such as adding conjectural features or architectural elements from other buildings, shall not be undertaken. 4. Most properties change over time; those changes that have acquired historic significance in their own right shall be retained and preserved. 5. Distinctive features, finishes, and construction techniques or examples of craftsmanship that characterize a historic property shall be preserved. 6. Deteriorated historic features shall be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature shall match the old in design, color, texture, and other visual qualities and, where possible, materials. Replacement of missing features shall be substantiated by documentary, physical, or pictorial evidence. 7. Chemical or physical treatments, such as sandblasting, that cause damage to historic materials shall not be used. The surface cleaning of structures, if appropriate, shall be undertaken using the gentlest means possible. 8. Significant archeological resources affected by a project shall be protected and preserved. If such resources must be disturbed, mitigation measures shall be undertaken. 9. New additions, exterior alterations, or related new construction shall not destroy historic materials that characterize the property. The new work shall be differentiated from the old and shall be compatible with the massing, size, scale, and architectural features to protect the historic integrity of the property and its environment. 10. New additions and adjacent or related new construction shall be undertaken in such a manner that if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired. Van Allen and Son Department Store, Clinton, Iowa (1913- 1915). Courtesy Community Housing Initiatives, Inc. m For More Information For more information on tax incentives for historic preservation, contact the NPS, the IRS, or one of the SHPOs listed below. Available information includes: NPS publications on appropriate methods to preserve historic buildings. These include Guidelines for Rehabilitating Historic Buildings, Preservation Briefs, and many others. The Historic Preservation CertificationApplication (a 3-part form: Part 1—Evaluation of Significance; Part 2—Description of Rehabilitation; Part 3—Request for Certification of Completed Work). » Department of the Interior, National Park Service, regulations on "Historic Preservation Certifications." [36 CFR Part 67]. Department of the Treasury, Internal Revenue Service, regulations on "Investment Tax Credit for Qualified Rehabilitation Expenditures." [Treasury Regulation Section 1.48-12]. Market Segment Specialization Program: Rehabilitation Tax Credit (available only from the IRS). National Park Service Preservation Tax Incentives Technical Preservation Services National Park Service 1849 C Street, NW Washington, DC 20240 tel: 202-513-7270 email: nps_tps@nps.gov main web: wwwnps.gov/tps tax web: wwwnps.gov/tps/tax-incentives.htm Internal Revenue Service web: wwwnps.gov/tps/tax-incentives/before-apply/irs. htm m Additional IRS website: http://www.irs.gov/Businesses/ Small -Businesses- &-S elf-Employed/Rehabilitation-Tax- Credit---Real-Estate-Tax-Tips State Historic Preservation Offices Contact information for the State Historic Preservation Offices can be found at: www.ncshpo.org PLEASE NOTE The Historic Preservation Tax Incentives brochure has not been revised to reflect any changes that may be necessary related to Public Law No: 115-97 (December 22, 2017). Public Law No: 115-97 amends the Internal Revenue Code to reduce tax rates and modify policies, credits, and deductions for individuals and businesses. Section 13402 modifies the 20% Historic Rehabilitation Tax Credit and provides certain transition rules. These and other changes to the Internal Revenue Code may affect a taxpayer's ability to use the 20% tax credit. The law also repeals the10% credit for rehabilitating non -historic buildings. The text of Public Law No: 115-97 is available at www.congress.gov. Applicants requesting historic preservation certifications by the National Park Service, as well as others interested in the use of these tax credits, are strongly advised to consult an accountant, tax attorney, or other professional tax adviser, legal counsel, or the Internal Revenue Service regarding the changes to the Internal Revenue Code related to Public Law No: 115-97. H E1 SEN BOTTLE A R C H I T F C T 5 APPENDIX C-4 SECRETARY OF THE INTERIOR'S STANDARDS AND GUIDELINES Olympia Theater and Apartment Building Condition Assessment March 31, 2022 THE SECRETARY OF THE INTERIOR'S STANDARDS FOR THE TREATMENT OF HISTORIC PROPERTIES WITH GUIDELINES FOR PRESERVING, REHABILITATING, RESTORING & RECONSTRUCTING HISTORIC BUILDINGS mama U.S. Department of the Interior " National Park Service Technical Preservation Services Under the National Historic Preservation Act (NHPA), the Secretary of the Interior is responsible for establishing professional standards and for providing guidance on the preservation of the nation's historic properties. The Secretary of the Interior's Standards for the Treatment of Historic Properties apply to all grants-in-aid projects assisted through the Historic Preservation Fund (authorized by the NHPA) and are intended to be applied to a wide variety of resource types, including buildings, sites, structures, objects, and districts. The Standards address four treatments: preservation, rehabilitation, restoration, and reconstruction. The treatment Standards, developed in 1992, were codified as 36 CFR Part 68 in the July 12, 1995, Federal Register (Vol. 6o, No. 133). They replaced the 1978 and 1983 versions of 36 CFR Part 68, entitled The Secretary of the Interior's Standards for Historic Preservation Projects. The revised Guidelines herein replace the Guidelines for Preserving, Rehabilitating, Restoring, and Reconstructing Historic Buildings, published in 1995 to accompany the treatment Standards. The Secretary of the Interior's Standards for the Treatment of Historic Properties are regulatory only for projects receiving Historic Preservation Fund grant assistance and other federally -assisted projects. Otherwise, these Guidelines are intended to provide general guidance for work on any historic building. Another regulation, 36 CFR Part 67, focuses on "certified historic structures" as defined by the Internal Revenue Service Code of 1986. The Standards for Rehabilitation cited in 36 CFR Part 67 should always be used when property owners are seeking certification for federal tax benefits. THE SECRETARY OF THE INTERIOR'S STANDARDS FOR THE TREATMENT OF HISTORIC PROPERTIES WITH GUIDELINES FOR PRESERVING, REHABILITATING, RESTORING & RECONSTRUCTING HISTORIC BUILDINGS Revised by Anne E. Grimmer from The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring & Reconstructing Historic Buildings Kay D. Weeks and Anne E. Grimmer (1995) U.S. Department of the Interior National Park Service Technical Preservation Services Washington, D.C. 2017 CONTENTS IV PHOTO CREDITS VI ACKNOWLEDGEMENTS VII PREFACE 2 INTRODUCTION Using the Standards and Guidelines for a Preservation, Rehabilitation, Restoration, or Reconstruction Project Choosing an Appropriate Treatment for the Historic Building Resilience to Natural Hazards Sustainability New Exterior Additions to Historic Buildings and Related New Construction 27 STANDARDS FOR PRESERVATION & GUIDELINES FOR PRESERVING HISTORIC BUILDINGS 29 INTRODUCTION 4 HISTORICAL OVERVIEW Building Materials 31 BUILDING MATERIALS Masonry • Wood • Metals 31 Masonry 37 Wood Building Features and Systems 41 Metals Roofs • Windows • Entrances and Porches • Storefronts • Curtain Walls • Structural Systems • Mechanical Systems 44 BUILDING FEATURES AND SYSTEMS 44 Roofs Interior Spaces, Features, and Finishes 46 Windows Building Site 49 Entrances and Porches 51 Storefronts Setting (District/Neighborhood) 53 Curtain Walls 55 Structural Systems Code -Required Work: 58 Mechanical Systems Accessibility • Life Safety 60 INTERIOR SPACES, FEATURES, AND FINISHES 63 BUILDING SITE 66 SETTING (DISTRICT/NEIGHBORHOOD) 69 CODE -REQUIRED WORK 69 Accessibility 71 Life Safety 72 RESILIENCE TO NATURAL HAZARDS 74 SUSTAINABILITY 75 STANDARDS FOR REHABILITATION & GUIDELINES FOR REHABILITATING HISTORIC BUILDINGS 77 INTRODUCTION 80 BUILDING MATERIALS 80 Masonry 88 Wood 93 Metals 98 BUILDING FEATURES AND SYSTEMS 98 Roofs 102 Windows 110 Entrances and Porches 113 Storefronts 117 Curtain Walls 121 Structural Systems 125 Mechanical Systems 128 INTERIOR SPACES, FEATURES, AND FINISHES 137 BUILDING SITE 143 SETTING (DISTRICT/NEIGHBORHOOD) 147 CODE -REQUIRED WORK 147 Accessibility 150 Life Safety 153 RESILIENCE TO NATURAL HAZARDS 155 SUSTAINABILITY 156 NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION 163 STANDARDS FOR RESTORATION & GUIDELINES FOR RESTORING HISTORIC BUILDINGS 165 INTRODUCTION Contents Restoration (cont.) 168 MATERIALS 168 Masonry 176 Wood 180 Metals 184 BUILDING FEATURES AND SYSTEMS 184 187 190 193 196 199 202 Roofs Windows Entrances and Porches Storefronts Curtain Walls Structural Systems Mechanical Systems 204 INTERIOR SPACES, FEATURES, AND FINISHES 209 BUILDING SITE 214 SETTING (DISTRICT/NEIGHBORHOOD) 218 CODE -REQUIRED WORK 218 Accessibility 220 Life Safety 222 RESILIENCE TO NATURAL HAZARDS 224 SUSTAINABILITY 225 STANDARDS FOR RECONSTRUCTION & GUIDELINES FOR RECONSTRUCTING HISTORIC BUILDINGS 227 INTRODUCTION 230 OVERVIEW 232 BUILDING EXTERIOR 234 BUILDING INTERIOR 236 BUILDING SITE 238 BUILDING SETTING (DISTRICT/NEIGHBORHOOD) PHOTO CREDITS Front Cover: Spooner Hall, University of Kansas, Lawrence, KS, Henry van Brunt,1894. HISTORICAL OVERVIEW Masonry. Detail, decorative sandstone door surround. Wood. Detail, Pope-Leighey House, Alexandria, VA, Frank Lloyd Wright, 1940. Photo: Courtesy National Trust for Historic Preservation, Paul Burk, photographer. Metals. Detail, Dunbar Molasses Factory, New Orleans, LA, c.1920. Glass. Detail, St. John's Abbey, Collegeville, MN, Marcel Breuer,1958-61. IV Paint and Other Coatings. Interior detail, Mabel Tainter Memorial Theater, Menomonie, WI, Harvey Ellis,1889. Photo: Miller Dunwiddie Architecture. Composite Materials. Composite siding, Private Residence, Washington, DC, William Lescaze,1940. Simulative Materials. Detail, wood used to simulate cut stone. Roofs. Asphalt roof shingles on a 1920s-era house. Windows. Paired wood windows with stained glass lunette on a Romanesque revival -style rowhouse. Entrances and Porches. Decorative stone entrance with etched - glass revolving door on early-20th century office building. Storefronts. Ellicott City, MD. Curtain Walls. Simms Building, Albuquerque, NM, Flatow & Moore, 1954. Photo: Harvey M. Kaplan. Structural Systems. Boiler Maker Shops, Navy Yard Annex, Washington, DC,1919. Mechanical Systems. Historic Radiator. Spaces, Features, and Finishes. Interior, Saenger Theater, New Orleans, LA, Emile Weil, 1927. Photo: Courtesy Saenger Theater. Site. Vineyard, Charles Krug Winery, St. Helena, CA. Photo: Rocco Ceselin. Inset: Redwood Cellar,1872, Charles Krug Winery. Photo: Rien van Rijthoven. Setting. Late-l9th-century residential historic district. Accessibility. Gradual slope added to sidewalk and paving for accessibility. Schmidt Brewery, St. Paul, MN, late 19th-early 20th century. Life Safety. Code -required, supplemental stair railing. Resilience to Natural Hazards. Farnsworth House, Plano, IL, Mies van der Rohe,1951. Photo: Courtesy Farnsworth, A Site of the National Trust for Historic Preservation. Sustainability. Traditional sustainable features include deep porches and window shutters in southern architecture. New Additions and Related New Construction. Private Residence, Washington, DC, Cunningham/Quill Architects. Photo: © Maxwell MacKenzie. CHAPTER HEADS Preservation. Old Santa Fe Trail Building (National Park Service Intermountain Regional Office), Santa Fe, NM. This adobe building was designed by John Gaw Meem in the Spanish -Pueblo Revival style, and constructed for the National Park Service through the auspices of the Civilian Conservation Corps (CCC) and the Works Project Administration (WPA) in 1939. Photo: MRWM Landscape Architects. Rehabilitation. The Arcade, Providence, RI,1828. Photo: Northeast Collaborative Architects, Ben Jacobson, photographer. Restoration. Montpelier, Montpelier Station, VA. National Trust for Historic Preservation, Administered by The Montpelier Foundation. Photo: Courtesy The Montpelier Foundation. Reconstruction. The Cathedral of Saint Michael the Archangel, Sitka, AK, built early 1840s, reconstructed 1961. Photo: Barek at Wikimedia Commons. Photographs not individually credited are from National Park Service files. V ACKNOWLEDGEMENTS This edition of The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring and Reconstructing Historic Buildings has been produced in part to ensure that the National Park Service continues to fulfill its responsibility to promote the preservation of the historic buildings that are part of the nation's cultural heritage. This has been a collaborative effort undertaken by the office of Technical Preservation Services (TPS) in the National Park Service, with the assistance of other National Park Service programs, State Historic Preservation Offices (SHPO), the Advisory Council on Historic Preservation, Federal Agency Historic Preservation Officers, the National Trust for Historic Preservation, and others. The comments and suggestions provided by these agencies and organizations, together with important contributions from the TPS professional staff, have been invaluable in the development of this revised and updated guidance on preserving, rehabilitating, restoring, and reconstructing historic buildings that accompany The Secretary of the Interior's Standards for the Treatment of Historic Properties. VI PREFACE The year 2o16 was significant as the Centennial of the National Park Service, which was established as a new bureau within the Department of the Interior by the Organic Act on August 25,1916. As directed in this legislation, the National Park Service has served for one hundred years as steward of the "Federal areas known as national parks, monuments and reservations...to conserve the scen- ery and the natural and historic objects and the wild life therein and to...leave them unimpaired for the enjoyment of future generations." The year 2016 also marked the 5oth anniversary of the passage of the National Historic Preservation Act on October i5,1966. The Act increased the scope and responsibilities of the National Park Service with regard to the preservation of cultural resources. The National Historic Preservation Act charges the National Park Service (through authority delegated by the Secretary of the Interior) to establish and administer a national historic preservation program and to develop and promulgate standards and guidelines for the treatment of historic properties. The Secretary of the Interior's Standards for Historic Preservation Projects were first issued in 1978. In 1979 they were published with Guidelines for Applying the Standards and reprinted in 1985. The Standards were revised in 1992, when they were retitled The Secre- tary of the Interior's Standards for the Treatment of Historic Properties. The Standards were codified in the Federal Register in 1995, the same year that they were published with guidelines as The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving, Rehabilitating, Restoring and Reconstructing Historic Buildings. These Standards and Guidelines provide a critical part of the framework of the national preservation program. They are widely used at the federal, state, and local levels to guide work on historic buildings, and they also have been adopted by Certified Local Governments and historic preservation commissions across the nation. In 2oio the National Park Service issued A Call to Action: Preparing for a Second Century of Stewardship and Engagement, a plan to chart a path for its next ioo years. This plan identified a number of actions with the goal to "preserve America's special places in the next century," which included updating National Park Service policies and guidance. The project to update The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving Rehabilitating, Restoring and Reconstructing Historic Build- ings was undertaken as part of this broader effort. Since these Guidelines were first published in 1995, a greater number of buildings and building types, telling a broader range of stories that are part of the nation's heritage, have been recognized as "historic" VI I and eligible for listing in the National Register of Historic Places. These guidelines have been updated and expanded to address the treatment of these buildings constructed with newer materials and systems from the mid- and late-aoth century. The updated Guidelines have the same organization as the prior version, beginning with an introduction and a historical overview, followed by chapters that focus on each of the four treatments: preservation, rehabilitation, restoration, and reconstruction. The historical overview has been expanded; not only has the informa- tion on historic materials, systems, features, and special issues that comprised the previous edition been more fully developed, but new entries have been added on glass, paint and other coatings, compos- ite materials, imitative materials, and curtain walls. In each of the four chapters, the "Recommended" and "Not Rec- ommended" treatments have been updated and revised through- out to ensure that they continue to promote the best practices in preservation. The section on exterior additions to historic build- ings in the Rehabilitation Guidelines has been broadened also to address related new construction on a building site. A section on code -required work is now included in all of the chapters. "Energy Efficiency" has been eliminated, since it is more fully covered by the guidance provided on sustainability in The Secretary of the Interior's Standards for Rehabilitation and Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings (published in aoii), which has general applicability to all the treatments and is incorporated here by reference. Sections on "Resilience to Natural Hazards" have been added, but these topics will be more fully addressed in separate documents and web features. Finally, the updated Guidelines feature all new, and many more, illustrations in color. Herewith Technical Preservation Services issues the National Park Service Centennial edition of The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preserving; Rehabilitating, Restoring and Reconstructing Historic Buildings, updated and revised in recognition of the 5oth anniversary of the National Historic Preservation Act, to ensure that the preservation guidance for historic buildings provided by the National Park Service contin- ues to be meaningful and relevant in the list century. Technical Preservation Services National Park Service VIII Technical Preservation Services National Park Service The office of Technical Preservation Services (TPS) in the Cultural Resources directorate of the National Park Service is responsible for developing and promulgating preservation standards and guidance specifically as it relates to historic buildings. TPS has produced an extensive amount of technical, educational, and policy guidance on the maintenance and preservation of historic buildings. TPS developed the original and current versions of The Secretary of the Interior's Standards for the Treatment of Historic Properties with Guidelines for Preservin& Rehabilitating, Restoring and Reconstructing Historic Buildings. The many technical publications and web features on preserving historic buildings prepared by TPS are well known, especially the Preservation Briefs and the Preservation Tech Notes series. It is not feasible to include a complete list here of all the materials available from TPS because of the sheer volume of information. Materials developed by TPS are available in printed form and/or online from the TPS website at https://www.nps.gov/ tps (or search for Technical Preservation Services at https://www. nps.gov). TPS also administers the Federal Historic Preservation Tax Incentives Program, which encourages private sector investment in the rehabilitation and reuse of historic buildings. IX INTRODUCTION Using the Standards and Guidelines for Preservation, Rehabilitation, Restoration, and Reconstruction Projects The Secretary of the Interior's Standards for the Treatment of His- toric Properties address four treatments: preservation, rehabilitation, restoration, and reconstruction. As stated in the regulations (36 CFR Part 68) promulgating the Standards, "one set of standards ...will apply to a property undergoing treatment, depending upon the prop- erty's significance, existing physical condition, the extent of docu- mentation available, and interpretive goals, when applicable. The Standards will be applied taking into consideration the economic and technical feasibility of each project." These Standards apply not only to historic buildings but also to a wide variety of historic resource types eligible to be listed in the National Register of Historic Places. This includes buildings, sites, structures, objects, and districts. Guidelines, however, are developed to help apply the Standards to a specific type of historic resource. Thus, in addition to these Guide- lines for Preserving, Rehabilitating, Restoring and Reconstructing Historic Buildings, there are also guidelines for cultural landscapes, historic lighthouses, historic vessels, historic furnished interiors, and historic covered bridges. The purpose of The Secretary of the Interior's Standards for the Treat- ment of Historic Properties and Guidelines for Preserving Rehabilitating, Restoring and Reconstructing Historic Buildings is to provide guidance to historic building owners and building managers, preservation consultants, architects, contractors, and project reviewers prior to beginning work. It is always recommended that preservation profes- sionals be consulted early in any project. The Guidelines are intended as an aid to assist in applying the Stan- dards to all types of historic buildings. They are not meant to give case -specific advice or address exceptions or unusual conditions. They address both exterior and interior work on historic build- ings. Those approaches to work treatments and techniques that are consistent with The Secretary of the Interior's Standards for the Treatment of Historic Properties are listed in the "Recommended" column on the left; those which are inconsistent with the Standards are listed in the "Not Recommended" column on the right. There are four sections, each focusing on one of the four treatment Standards: Preservation, Rehabilitation, Restoration, and Recon- struction. Each section includes one set of Standards with accom- panying Guidelines that are to be used throughout the course of a project. Preservation is defined as the act or process of applying measures neces- sary to sustain the existing form, integrity, and materials of an historic property. Work, including preliminary measures to protect and stabilize the property, generally focuses upon the ongoing maintenance and repair of historic materials and features rather than extensive replacement and new construction. The limited and sensitive upgrading of mechanical, elec- trical, and plumbing systems and other code -required work to make prop- erties functional is appropriate within a preservation project. However, new exterior additions are not within the scope of this treatment. The Standards for Preservation require retention of the greatest amount of historic fabric along with the building's historic form. Rehabilitation is defined as the act or process of making possible a com- patible use for a property through repair, alterations, and additions while preserving those portions or features which convey its historical, cultural, or architectural values. The Rehabilitation Standards acknowledge the need to alter or add to a historic building to meet continuing or new uses while retaining the building's historic character. 2 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. The limited and sensitive upgrading of mechanical, electrical, and plumb- ing systems and other code -required work to make properties functional is appropriate within a restoration project. The Restoration Standards allow for the depiction of a building at a particular time in its history by preserving materials, features, finishes, and spaces from its period of significance and removing those from other periods. 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. The Reconstruction Standards establish a limited framework for recreat- ing a vanished or non -surviving building with new materials, primar- ily for interpretive purposes. The Guidelines are introduced with a brief overview of the pri- mary materials used in historic buildings; the exterior and interior architectural features and systems; the building's site and setting; code -compliance requirements regarding accessibility and life -safety resilience to natural hazards; sustainability; and new additions and related new construction. This overview establishes the format of the Guidelines that follow. Choosing an Appropriate Treatment for the Historic Building The Guidelines are intended to promote responsible preservation practices that help protect the nation's irreplaceable cultural resources. For example, they cannot, in and of themselves, be used to make essential decisions about which features of the historic building should be saved and which can be changed. But, once a treatment is selected, the Standards and Guidelines provide a consistent philosophical approach to the work. Choosing the most appropriate treatment for a building requires careful decision making about a building's historical significance, as well as taking into account a number of other considerations: Level of Significance. National Historic Landmarks, designated for their "exceptional significance in American history," and other properties important for their interpretive value may be candidates for Preservation or Restoration. Rehabilitation, however, is the most commonly used treatment for the majority of historic buildings Reconstruction has the most limited application because so few resources that are no longer extant can be documented to the degree necessary to accurately recreate the property in a manner that con- veys its appearance at a particular point in history. Physical condition. Preservation may be appropriate if distinctive materials, features, and spaces are essentially intact and convey the building's historical significance. If the building requires more extensive repair and replacement, or if alterations or a new addition are necessary for a new use, then Rehabilitation is probably the most appropriate treatment. Proposed use. Many historic buildings can be adapted for a new use or updated for a continuing use without seriously impacting their historic character. However, it may be very difficult or impossible to convert some special -use properties for new uses without major alterations, resulting in loss of historic character and even integrity. Code and other regulations. Regardless of the treatment, regula- tory requirements must be addressed. But without a sensitive design approach such work may damage a building's historic materials and negatively impact its character. Therefore, because the ultimate use of the building determines what requirements will have to be met, some potential uses of a historic building may not be appropriate if the necessary modifications would not preserve the building's historic character. This includes adaptations to address natural hazards as well as sustainability. 3 HISTORICAL OVERVIEW Masonry Stone is one of the more lasting masonry building materials and has been used throughout the history of American building construc- tion. Stones most commonly used in historic buildings in the U.S. are quarried stone, including sandstone, limestone, marble, granite, slate, basalt, and coral stone, and gathered stone, such as fieldstone, river rock, and boulders. Types of stone differ considerably in hardness, durability, and other qualities. Building stones were usually laid with mortar, but sometimes they were laid without mortar using a dry -stack method of construction. Brick varies in size and permanence. Before 187o, brick clays were pressed into molds and were often unevenly fired. The quality of historic brick depended on the type of clay available and the brick - making technique; by the 187os, with the perfection of an extrusion process, bricks became more uniform and durable. Architec- tural terra cotta is also a kiln -fired clay prod- uct popular from the late 19th century until the 193os. Its use became more widespread with the development of steel -frame, high- rise office buildings in the early aoth century. Glazed ceramic architectural siding was also used as cladding in high-rise buildings some- what later. Adobe, which consists of sun-dried earthen bricks, was one of the earliest build- ing materials used in the U.S., primarily in the Southwest where it is still popular. Mortar is used to bond together masonry units. Historic mortar was generally quite soft, consisting primarily of lime and sand with other additives. Portland cement, which creates a more rigid mortar, was first manu- factured in the U.S. in the early 187os, but it was not in common use throughout the country until the early aoth century. Thus, mortar used in buildings from around 1873 until the 193os ranged from a tra- ditional lime -cement mix to a variety of sand and Portland cement combinations. After this time, most mortar mixes were based on Portland cement. Like historic mortar, earlystucco was also heav- ily lime based, increasing in hardness with the addition of Portland cement in the late 19th century. Concrete has a long history. It is composed of sand, crushed stone, or gravel bound together with lime and, sometimes, natural hydraulic cements. As a construction material concrete is used in a variety of forms, including blocks or units, poured or cast -in -place, and precast panels. Cast stone and other manufactured products began to be used around the 186os as substitutes for natural stone. There are also cementitious materials specific to certain regions, such as tabby, which includes crushed shells and is found primarily in coastal areas in the southeastern part of the country. In the aoth century, rein- forced concrete was developed and has since become one of the most commonly used materials in modern building construction. While masonry is one of the most durable historic building mate- rials, it is also very susceptible to damage by exposure, improper maintenance or repairs, abrasive cleaning, or the application of non - permeable coatings. 4 Wood Wood is one of the most essential materials used in American build- ings of every period and style. Its many and varied attributes make it suitable for multiple uses, including structural members, siding, roofing, interior finishes, and decorative features. Many of the first structures in the earliest settlements were built with logs, which were readily available, did not require much finishing, and could be quickly erected with basic tools. Water -powered sawmills cut logs into timbers and boards, but detailed ornamental features were generally crafted on site using hand tools until after the Civil War. Mechanized production increased the efficiency of cutting logs into timbers, boards, and more intricate components, and the structural and decorative poten- tial of wood's use in building construction expanded. With more efficient production came lower costs, but also the standardization of ready-made moldings and assemblies for windows, doors, and decorative features. Initially, wood was primarily sourced locally, but improved transportation systems made a greater variety of wood species more accessible all over the country. With broader availabil- ity, a particular wood could be selected for its suitability in a specific application; however, local species were used most often. The extensive use of wood in buildings can be attributed to its many properties that include strength in both tension and compression; ease with which it can be cut and shaped; capability to be connected using a variety of fasteners and adhesives; ability to be painted or varnished; and resistance to wear and weather. All of these charac- teristics, and some more than others, vary according to the species of wood. Although many types and species of wood used historically are no longer available, wood selection and construction practices have always capitalized on its attributes and compensated for it is weaknesses. Their resistance to decay made white oak and cedar common choices for roofing shingles, while oak and maple were frequently chosen for flooring because of their hardness. Pine and yellow poplar have often been used for siding and trim because of their straight grain and ease of milling, but they must be painted to protect them from decay. Plywood is an engineered product formed by laminating thin sheets of wood together; it was introduced to the U.S. building industry in the early zoth century. Because plywood has greater structural potential than wood, and as a sheet can be installed more efficiently, it soon replaced boards as sheathing before being replaced itself by less -expensive particle board for many applications. By applying surface veneers and adhesives, plywood can also be used as siding or for fine interior finishes on paneling or cabinetry. Glued lami- nated timber (glulam), first manufactured in the 193os, is another engineered wood material. It is an important material in mid-zoth- century buildings and often used for massive arches and trusses in sports arenas and similar large, open, column -free spaces. Many historic buildings have wood structural systems and features, such as stairs or columns. The majority of both practical and decora- tive features, particularly on the interior, are made of wood, such as flooring and paneling. 5 Metals Metal features —including steps, porches, railings, balconies, and entire facades; cornices, siding, cladding, roofs, roof cresting, and storefronts; and doors, window sash, entablatures, and hardware — are often highly decorative as well as practical and are important in defining the overall character of historic American buildings. Metals commonly used in historic buildings include lead, tinplate, terneplate, zinc, copper, bronze, brass, iron, steel, aluminum, stainless steel, and a variety of other alloys. Historic metal building compo- nents were often designed by highly -skilled artisans. By the late 1.9th century, many of these components were prefabricated and available from catalogues in standardized sizes and designs. Wrought iron is the form in which iron was first used in America. In the beginning, most wrought -iron architectural elements were small, such as nails, tie rods, straps, and hardware. Wrought -iron features 6 gradually increased in size to include balconies, railings, porches, steps, and fencing. It was not used for structural components until around the mid 19th century, when manufacturing equipment became more sophisticated. Cast iron was initially imported from England. Although there were some iron -casting works established before the Revolution, by the early 19th century production had expanded to make a variety of cast-iron features. Structural cast- iron columns were first used in the 182os, and cast-iron building fronts and decorative structural and ornamental features followed soon after. Cast and wrought iron are often used on the interior of historic buildings as both structural and decorative features, such as columns, staircases, railings, and light fixtures. Steel, which is an alloy of iron and usually carbon, increased in popularity as manufacturing processes and production improved in the mid-19th century. Structural steel played an important role in the development of high-rise buildings and the skyscraper. Lead was first used in historic buildings for roofing. Tinplate or terneplate, which was made by applying a lead and tin coating to sheet metal or steel, became a common roofing material after it was first produced in the 182os. (Pure tin was rarely used as a building material because it is so soft.) The application of a zinc coating on sheet metal createdgalvanized iron, which was used for roofing and decorative roofing features, such as steeples and roof cresting, as well as other ornamental architectural features, such as door and window hood molds, lintels, and oriel and bay windows. Prefabri- cated Quonset huts constructed of corrugated galvanized steel began to be manufactured during World War II for the military on the battlefield for housing, storage, and other uses. Entire pressed -metal and galvanized -iron storefronts and individual decorative features were manufactured to simulate wood, stone, or cast iron from the latter part of the 19th century into the early years of the aoth century. Copper roofs were installed on many public buildings from the 179os through the first quarter of the 19th cen- tury. Copper continues to be used, often for porch roofs as well as gutters, downspouts, and flashing. Bronze and brass are both alloys of copper. Bronze, which weathers well, appears as entrance doors and historic storefronts. Brass, usually polished, is used for deco- rative interior features, such as grilles and elevator doors. Nickel, when employed as a building component, is in the form of an alloy, usually nickel Aver, Monet, or some stainless steel. In comparison to other construction metals, stainless steel is quite new, essentially only coming into use in the 192os when it became a favorite material for Art Deco -style buildings. Aluminum —lightweight and corrosion -resistant —was not utilized much in buildings because it was so expensive until the 192os, when expanded production reduced its cost Aluminum siding, which was advertised as maintenance free, became a popular siding material for single-family residences after it was introduced in the late 193os. Some of the uses of aluminum include roofing and roofing features, such as gutters, downspouts, and flashing, as well as windows and storefront surrounds. Porcelain enamel, or vitreous enamel, is composed of a thin coating of glass fused to cast-iron or steel sheets, panels, tiles, or shingles. Although developed in the late 19th century, it was not commonly used in buildings until the late 192os and 193os for Art Deco and Art Moderne storefronts. Lustron houses, constructed of prefabricated, enameled steel panels and intended for mass production, were introduced in the late 194os in anticipation of the need for housing after the war. These houses were promoted for their low mainte- nance, in part because the walls, ceilings, and other interior surfaces were also enameled steel panels and easily washable. 7 Glass For centuries, only blown cylinder and crown glass in small pieces was available and it was expensive. Thus, the glass in early windows in American buildings consisted of small panes which gradually increased in size over the years. With the invention of cast plate glass in 1848, large plates of glass could be manufactured which were strong and inexpensive. Plate glass was first used in the early 185os as the primary exterior material (with a cast-iron framework) for such structures as international exhibition buildings, worlds' fair pavilions, and greenhouses and conservatories. In the early aoth century, architects began using glass curtain walls in Art Moderne- style architecture and, most notably, the International Style. Tempered glass is a hardened or toughened glass which began to be used in building construction around 194o. By the middle of the aoth century, glass as a cladding system became synonymous with curtain wall systems. In addition to clear glass —flat or sometimes curved —there is also stained glass, tinted, patterned, textured, etched, frosted, leaded, painted, colored opaque glass and spandrel glass, prism glass, deco- rative Val de Verre glass (colored art glass), ceramic frit (pigmented glass enamel fused to a glass surface), and glass block. Many of these types of glass can be found in windows, transoms, doors and entrances, and storefront display windows, whereas some of them — especially opaque, pigmented structural glass with trade names such as Vitrolite, Carrara Glass, and Sani Onyx —are more likely to appear as exterior cladding on Art Deco -style or Art Moderne storefronts. Spandrel glass was first introduced on mid-aoth-century buildings, particularly in storefront and curtain wall systems. Glass was also used historically in skylights and monitors; in theater, hotel, and apartment building marquees and canopies; and as a component of lightning rods and weathervanes, address plates, and signage. Glass features on the interior of historic buildings include transoms, windows, privacy screens, office dividers, wall partitions for bor- rowed light in office corridors, teller windows in banks, ticket win- dows in train stations and movie theaters, doorknobs, light fixtures, mirrored wall inlay, and also, beginning in the latter part of the aoth century, wall mosaics. Pigmented structural glass can be found in bathrooms and some kitchens because of its sanitary qualities. Low-e (low emissivity) glass, which is primarily used in windows to minimize solar gain, was developed in the last quarter of the aoth century. Impact -resistant glass is another more -recently developed type of glass designed to withstand hurricane -force wind and which can also be installed as a blast -resistant security feature. 8 Paint and Other Coatings Paints and paint -like coatings have been used on historic buildings in America as protective coatings and for decorative treatments. What is commonly considered to be paint is a liquid consisting of a pigment which makes it opaque and colors it, a binder or base to hold it together, and sometimes a vehicle to carry the pigment. Many historic paints contained lead in the form of lead white, included as a "concealing" pigment that provided opacity, although zinc oxide was also used as an alternative. Lead increased durability and prevented mold and mildew. Titanium dioxide was sometimes used as a substitute for lead in the early zoth century, but lead continued to be an ingredient in most paints until it was banned as a hazardous substance in the U.S. in 1978. Traditional paints had an oil base, usually linseed, and the earliest paint colors were, for the most part, derived from natural pigments. Like today, both glossy and flat (or matte -finish) paints were used historically on the exterior and the interior of a building. After 1875, factory -made paints were readily available. Masonry and wood stains are tradi- tional coatings which also consist of a pigment, a solvent, and little, if any, binder. They have a flat finish and are transparent rather than opaque so that the substrate is still visible. Other historic paints, such as whitewash, are water based and have a flat finish. In addition to water, whitewash is composed of hydrated (slaked) lime, salt, and various other materials and some- times includes a natural pigment. Whitewash was used on interior plaster, in cellars, and on wood structural components, but not on wood doors, windows, or trim because its flat finish easily rubs off. Whitewash was also used on the exterior of brick or stone build- ings, wood fences, and farm outbuildings as a protective coating. Often it was reapplied on an annual basis when it got dirty or if it wore off due to exposure to the weather. Calcimine (or kalsomine) and distemper paints were also water based and included natural glues, gelatin, gums, and whiting to which colored pigments could be added. They were used only on the interior and usually on plaster surfaces. Casein is a milk -based paint composed of hydrated lime, pigment, often oil, and a variety of additives to increase its durability. It was used on both the exterior and the interior of buildings. The interiors of historic buildings can exhibit a multitude of deco- rative painted treatments. Marbleized and grained finishes were applied to wood, stone, and plaster to give them the appearance of more exotic and costly materials. Other interior painted treat- ments, such as murals and stencils, are purely decorative. Tempera and gouache are traditional water -based paints used almost exclu- sively for decorative painting. Experimentation that began early in the zoth century resulted in the development of acrylic water -based paint, commonly known as latex paint. Oil-based/alkyd paint continues to be used in the aist century and is still preferred for certain applications. Latex paint tends to be more popular not only because it is water -based (making clean up easy during and after painting), but it also has fewer toxic vapors and, like solvent -based oil/alkyd paints, is very durable. Varnish, which is used primarily on interior wood features but also on exterior entrance doors, is another traditional coating. Unlike paint, varnish is transparent, composed of a resin, a drying oil, and a solvent. It has a glossy finish, which dulls over time. 9 Composite Materials: Plastic, Resin, and Vinyl; Fiber -Reinforced Cement Siding; Fiberboard; and Floor Coverings Plastic is a malleable material composed of synthetic or natural organic materials made from various organic polymers, such as polyethylene and polyvinyl chloride (PVC), which can be poured into molds or rolled in sheets. It is generally agreed that the term plastic was introduced into popular usage in 1907 to describe the first fully synthetic plastic. Improved plastics were available in America by World War I. Production soared during World War II because plastics were needed to make up for the shortage of other materials. In mass production by the 195os, the industry continued to expand with the development of increasingly more sophisticated plastics. Vinyl siding came on the market in the late 195os, and its use, primarily in residential construction, increased as the product improved over the years. Coating canvas awnings with vinyl helped to extend their lifespan, evolving, even- tually, into awnings manufactured solely of vinyl. Plastic signs on the exterior of historic commercial buildings changed and radically expanded the role of signage as advertising as well as being impor- tant design features themselves. Plastic was used sometimes for decorative trim on storefronts. Vinyl -coated wallpaper was used as early as the 192os and is still selected for restaurants, commercial spaces, and hospitals because it is durable and washable. Other plastic materials became popular in the 195os in the form of plastic - laminate sheeting and wall tiles. Fiber -reinforced plastic (FRP), is made of a polymer matrix mixed with fiber, usually fiberglass, to add strength; it is noted for its ability to be molded in thin shells. FRP is sometimes used as a substitute material to recreate missing or deteriorated architectural features in historic buildings. Acrylic plastic is a transparent synthetic plastic, generally identified by one of its trade names—Plexiglass or Lucite — which was patented in the 195os as an alternative to glass. Foamed polystyrene, better known as Styrofoam, was first used in the mid- 195os as building insulation. Fiber -Reinforced Cement Siding is a composite material made of sand, cement, and cellulose fibers. It was developed in the latter part of the aoth century as a less -hazardous replacement for asbestos cement siding, which preceded it, and was used for siding and roof- ing shingles from the early aoth century to the 197os. Fiber -rein- forced cement siding is frequently installed in the form of horizontal boards or vertical panels as exterior siding. Fiber -reinforced cement is used on both residential and commercial buildings. Fiberboard is a composite hardboard material made from pressure - molded wood fibers. It had early precedents in the late 18th century, but was first manufactured in large quantities in the 19aos, with its use expanding in the 193os and 4os. Fiberboard (or wallboard, as it is commonly known) was marketed by various companies, such as Masonite. It was used as sheathing for roofing and siding on the exterior, for insulation, and for interior walls. The first composite floor covering was Linoleum, made from oxi- dized linseed oil and ground cork or wood flour. Its manufacture in the U.S. began in the late 19th century, about the same time syn- thetic rubber f floor tile was also introduced. Asphalt floor tiles were first used in the 192os and remained popular into the 195os. Plastic/ vinyl replaced asphalt as a binder in floor tiles in the late 19aos, in part because plastic, unlike asphalt, could be made in lighter colors and a greater variety of colors. Semi -flexible vinyl flooring, manu- factured in the form of tiles or rolled sheets, was developed by the 193os. After the war, it became more affordable and frequently was chosen for both residential and commercial interiors. 10 Imitative Materials Imitative building materials are generally common and readily avail- able materials used to simulate a more expensive material. They have a long history in American building construction. Wood, cut and planed and sometimes coated with a sand paint, has been used since the 18th century to replicate cut blocks of stone and quoins on the exterior of a building. Stucco, applied over any kind of construc- tion (from log to rubble masonry) and scored to resemble stone, could make even a log house look elegant. Cast iron and pressed metal, whether as a complete facade, a storefront, or an individual feature such as a window hood, cornice, or decorative pilaster, were also used on the exterior of buildings to replicate stone. Not only architectural terra cotta, but cast stone served as a substitute for stone. Metal and concrete roofing tiles were used as less -costly alter- natives to clay roofing tiles. In the zoth century, the use of exterior imitative materials expanded as new products were developed. Asphalt roll siding that resembled brick could be applied to a wood building, and asbestos composite shingles were produced to replace not only wood shingle siding, but also slate roofing shingles. Aluminum siding has been used as a replacement for wood siding, followed by vinyl siding, pressed wood siding, and, more recently, composite orfiber-cement siding. Manu- factured faux slate roofing became popular because it costs less than slate and is lighter weight. Over the years, imitative materials have increased in variety as synthetic materials continue to be intro- duced, including a substitute, an exterior insulation and finish system (EIFS), for another imitative material —stucco. Imitative materials are also used to recreate missing or deteriorated architectural fea- tures in historic buildings. On the interior, imitative materials, such as scored plaster, were his- torically applied to walls to give the appearance of stone. Painted or marbleized finishes on plaster or wood could further simulate stone, and decorative graining could transform the surface of a common wood into a more exotic species. Scagliola, which is often applied to brick columns, is a very old technique that uses a plaster -like com- posite material to simulate marble. Lincrusta, an embossed wall covering, was developed in the late 19th century to simulate pressed metal. Embossed wall coverings continue to be produced in the zist century. Concrete, vinyl, and other manufactured flooring materials are designed in many patterns and colors to replicate brick, stone, clay tile, and wood. 11 Roofs The roof —with its form; features such as cresting, dormers, cupo- las, and chimneys; and the size, color, and patterning of the roofing material —is an important design element of many historic buildings. In addition, a weathertight roof is essential to the long-term preser- vation of the entire structure. Historic roofing reflects availability of materials, levels of construction technology, climate, and cost. Throughout all periods of American history, with only minor excep- tion, wood has been used for roofing; despite the early use of many other materials, wood shingles remained the most common roofing material throughout much of the 19th century. Initially the species of wood used would have been specific to a region, but the quality and design of a building were usually the prime determinants in the way wood was used, ranging from wide, lapped boards to small, uniform, geometrically -shaped shingles. Clay tile was used at least in a limited way in the first settlements on the East coast and it was manufactured in America by the mid 17th century. The Spanish influence in the use of clay roof- ing tiles is apparent in buildings in the south, southwest, and western parts of the country. Slate was also an early roofing material, but it was imported until the end of the 18th century when the first slate quarry opened. Both slate and tile roofs provided fire protection, especially important in urban areas. The use of slate expanded quickly in the second half of the 19th century with the development of the railroads, and it remained a preferred roofing material until the middle of the zoth century. Lead and copper were the first metals used for roofing, later joined by zinc and iron in the beginning of the 19th century. Lead was used in the mid 19th century for flashing and sometimes for the roofs of bay windows, domed, or steeply -pitched sections of a larger roof, and steeples. Copper has continued in use for roofing, gutters, downspouts, and flashing. Painted iron was initially used in large sheets, but it was replaced with smaller sheets of iron plated with tin or terne—a lead -tin mix — which were a more successful roofing material. As plated iron and, later, steel became widely available, their light weight, fire resistance, and low cost made them the ideal alternative to wood shingles. Galvanized metal —base steel coated with an alloy of zinc —gained widespread popularity in the zoth century. Galvanizing not only protects metal from rusting, but it also adds strength; corrugated sheet metal, when galvanized, became the preferred metal roofing material because it reduced the need for sheathing. Galvanized steel also could be stamped into sheets simulating shingles and clay tiles. In the late 19th century, concrete roofing tiles began to be produced as a substitute for clay tiles. At about the same time, composition roofing (built-up or roll roofing) was developed. This is a layered assembly of felt sheets and coal tar or asphalt, topped with gravel that is suitable for waterproofing flat and low -sloped roofs. Shortly after the start of the zoth century, asbestos fiber cement and asphalt shingles came into use as less -expensive alternatives to slate. Later in the zoth century, sheets of modified bitumen and synthetic rubber provided more options for a flat roof. By the end of the zoth century, liquid and vinyl membranes were also installed on flat roofs, and synthetic recycled materials were used increasingly for both new and replacement roofs. 12 Windows Technology and prevailing architectural styles shaped the history of windows in America. The earliest windows were essentially medi- eval in their form. Small panes of glass, usually diamond -shaped and held together with lead, were set in a hinged casement sash of wood or iron. By the beginning of the 18th century, the glass had increased in size and had become rectangular, with putty holding it in place. Wood muntins replaced lead cames between the panes, and two sashes were placed in a frame where the lower one could slide vertically. Such simple windows remained common in utilitarian buildings well into the zoth century. With the introduction of iron pulleys, the sash could be hung from cords connected to counter- weights, which resulted in single -hung windows, or double hung when both sashes were counterbalanced. Sash increased in depth as it evolved, providing additional strength that allowed narrower muntins. As the production of glass (blown initially as a disk and later as a cylinder) improved, larger pieces of glass became more affordable, resulting in fewer panes of glass in a window. A sash that would have had twelve panes of glass in the 18th century often had only two by the mid 19th century. After about 1850, with the advent of mass-produced millwork, standard profiles and sizes of windows were established with a wide variety of designs and glazing configurations that could be purchased from catalogues. The Chicago window, which featured a large fixed pane of glass in the center with a narrow, double -hung, operable sash window on either side of it, was introduced in the last decades of the 19th century as a feature of the Chicago School -style of architecture. The picture window, popular in ranch -style houses in the mid zoth century, evolved from this. Steel was employed beginning at the end of the 19th century to build fire-resistant windows in tight urban environments. These hollow -core windows were frequently galvanized. Windows with solid, rolled steel sections were first produced in the first decade of the zoth century in many forms, ranging from casements (espe- cially popular in domestic construction) to large, multi -pane units that provided whole walls of natural light in industrial and warehouse buildings. Oper- able vents in these large windows pivoted on simple pins. Their relatively small panes and the fact that they were puttied in from the interior made the inevitable breakage easy and inexpensive to repair. Rolled steel was also used for double -hung windows, which were common in high-rise buildings in the 19zos and beyond. Aluminum windows were developed in the 193os and, by the 197os, rivaled wood in popularity, particularly in commercial and institutional buildings. They were produced in a variety of styles and functionality, including casement, hopper, awning, and double -hung sash. Metal -clad (initially copper) wood windows appeared early in the zoth century but were not common until the later part of the century, when enameled aluminum cladding replaced copper. Although used primarily as replacements in older buildings, vinyl windows were developed in the latter part of the zoth century and marketed as inexpensive and thermally efficient. Modern windows are also made of fiberglass and polymer -based composites. Storm windows were used historically and are still used to help regulate interior temperatures. Limited commercial use of thermal - pane or insulated glass in windows began in the 193os, but it was not readily available until about 195o. Tempered glass also came into use about this time. Since then, work has continued to improve its efficiency and to reduce the effect of ultra -violet rays with tinted and low-e (low emissivity) glass. Impact -resistant glass is not new, but its use in windows continues to expand to meet modern hurricane code requirements as well as protection and security requirements. 13 Entrances and Porches Entrances and porches are often the focus of historic American buildings. With their functional and decorative features (such as doors, steps, balustrades, columns, pilasters, and entablatures), they can be extremely important in defining the historic character of a building. In many cases, porches were also energy -saving features and remain so today, shading southern and western elevations. Usu- ally, entrances and porches were integral components of a historic building's design; for example, porches on Greek Revival houses, with pediments and Doric or Ionic columns, echoed the architec- tural elements and features of the building itself. Center, single -bay porches or arcaded porches are evident in Italianate-style buildings of the 186os. Doors of Renaissance Revival -style buildings frequently featured entablatures or pediments. Porches characterized by lathe - turned porch posts, railings, and balusters were especially prominent and decorative features of Eastlake, Queen Anne, and Stick -style houses. Deep porches on bungalows and Craftsman -style houses of the early zoth century feature tapered posts, exposed posts and beams, rafter tails, and low-pitched roofs with wide overhangs. Late 19th- and early zoth-century high-rise buildings are often distinguished by highly -ornamented entrances, some with revolving doors, which were introduced around the turn of the zoth century. Some commercial structures in the early- to mid-zoth century have recessed entrances with colorful terrazzo flooring. Entrances to Art Deco -style residential and commercial buildings often feature stylized glass and stainless -steel doors with geometric designs. Entrances on modernist buildings may have simple glazing and, frequently, projecting concrete or metal canopies. Porches can have regional variations, not only in style, but also in nomenclature. For instance, in Hawaii, lanai is used to describe a type of porch which might be known as a veranda in some parts of the South, a piazza in Charleston, or a gallery in New Orleans. 14 Storefronts The storefront is often the most prominent feature of a historic commercial building, playing a crucial role in a store's advertising and merchandising strategy. The earliest storefronts in America, dating from the late 18th and early 19th centuries, had small, residential -style windows with limited display space. A few fea- tured oriel windows or glass vitrine cases (sometimes added later) that projected out from the facade. Early storefront systems were frequently wood. In the 19th century, storefront display windows progressively increased in size as plate glass became available in larger units. This reflected the fact that cast-iron columns and lintels were thinner, allowing larger sheets of glazing that became available at about the same time. In some regions, storefronts and the entire building facade were constructed entirely of cast iron, later followed by galvanized metal, copper, bronze, and aluminum. Historic storefront systems have many different configurations: they may have multiple entrance doors (including one to access an upstairs apartment if one exists); they may be symmetrical or asym- metrical; and entrances may be flush or recessed from the shop's windows. Transoms, sometimes with prism glass, are often a com- ponent of storefronts. In the 19th century, awnings added another feature to the storefront. Permanent metal canopies attached to the facade or supported by free-standing posts or columns, as well as retractable canvas awnings, provided shelter for customers and merchandise alike. As the zoth century progressed, new storefront designs were introduced, some with deeply recessed entrances with expanded display cases or "floating display islands." In the 19zos, 193os, and later, structural pigmented glass such as Carrara Glass, Vitrolite, and Sani Onyx; aluminum and stainless steel; porcelain enamel; glass block; neon signs; and other new materials were introduced in Art Deco -style and Art Moderne storefronts. Modular storefront systems were introduced after World War II. Storefronts are typically altered more than any other building fea- ture to reflect the latest architectural styles and appear up-to-date to attract customers. Older storefronts were often remodeled with a new design and materials by installing pigmented structural glass, for instance, and other zoth-century materials. These altered store- fronts may have acquired significance in their own right and, in this case, should be retained. 15 Curtain Walls Curtain wall construction was originally based on a steel framework. Today, most curtain wall construction utilizes an extruded alumi- num framework, which became popular in the 193os in the U.S. and came into its own after World War II. A curtain wall is not a struc- tural system and, although it is self supporting, does not carry the weight of the building. Rather, it is an exterior wall hung or attached to the structural system. Curtain wall construction most frequently employs glass, metal panels, thin stone veneer, and other cladding materials, although louvers and vents, like glass panels, can also be set into the metal framework. Newer curtain wall systems may incorporate rain screens and glass fiber reinforced concrete panels (GFRC). Because curtain wall construction uses relatively light- weight and less expensive materials, it reduces building costs, which, in part, explains its popularity. There are essentially two types of curtain wall systems: stick systems and unitized or modular systems. A stick system is a framing system composed of long metal pieces (sticks) put together individually using vertical pieces (mullions) between floors and horizontal pieces between the vertical members. The framing members may some- times be assembled in a factory, but the installation and glazing is done on site. A unitized or modular curtain wall system consists of ready -to -hang, pre -assembled modules which already include glazing or other panel infill. These modular units are usually one story in height and approximately five- to six -feet wide. Both types of curtain walls are attached to floor slabs or columns with field -drilled bolts in mated, adjustable anchor brackets. Glass panels in curtain wall systems can be fixed or operable and can include spandrel glass, clear, or tinted glass. Stone veneer panels may be slate, granite, marble, travertine, or limestone. Metal panels can be aluminum plate, stainless steel, copper, or other non -corrosive types of metal. Other materials used in curtain wall systems include composite panels (such as honeycomb composite panels, consisting of two thin sheets of aluminum bonded to a thin plastic layer or rigid insulation in the middle); architectural terra cotta; glazed ceramic tile; and fiber -reinforced plastic (FRP). 16 Structural Systems Numerous types of structural systems have been employed in the construction of buildings throughout American history. Some systems and building methods overlapped, and many remained in use for years. These systems —listed according to the period when they were first introduced —include but are not limited to: wood frame construction (17th century), load -bearing masonry construction (18th century), balloon - frame construction (19th century), brick cavity -wall construction (19th century), heavy -timber post and beam industrial construction (19th century), fireproof iron construction (19th century), heavy masonry and steel construction (19th century), skeletal steel construction (19th century), light frame and veneer brick construction (aoth century), and cast -in - place concrete, concrete block, and slab and post construction (aoth century). Exposed iron and steel structural systems are character defining in many utilitarian and industrial structures of the late igth and early aoth centuries that have large open interior spaces, such as train sheds and armories. Exposed wood structural systems became an important interior decorative element during the Arts and Crafts period and in Craftsman -style bungalows in the early aoth century. Exposed cast -concrete structural systems and system components define the character of many industrial interiors and, later, other interior spaces in aoth-century buildings. If features of the historic structural system are exposed (such as load -bearing brick walls, cast-iron columns, roof trusses, posts and beams,vigas, and outriggers, or masonry foundation walls), they are likely to be important in defining the building's overall historic character. A concealed structural system, although not character defining, may still be significant as an example of historic building technology. 17 Mechanical Systems Mechanical, lighting, and plumbing systems improved significantly with the onset of the Industrial Revolution. The 19th-century inter- est in hygiene, personal comfort, and reducing the spread of disease resulted in the development of central heating, piped water, piped gas, and networks of underground cast-iron sewers in urban areas. The mass production of cast-iron radiators made central heating affordable to many. By the turn of the zoth century, it was common for heating, lighting, and plumbing to be an integral part of most buildings. The increasing availability of electricity as the zoth century pro- gressed had a tremendous effect on the development of mechanical systems and opened up a new age of technology. Electric lighting brightened the interiors of all types of buildings, as well as build- ing exteriors, their sites, and settings. Electricity not only improved heating systems, but in the 192os it also brought central air con- ditioning to movie theaters and auditoriums, where it was first installed. By the middle of the zoth century, forced -air systems provided both heat and cooling in many buildings. In the late zoth century, as HVAC systems increased in efficiency, they decreased in size, with smaller components, such as split ductless systems with wall -mounted air handlers, cassette ceiling -mounted diffusers, or high -velocity mini duct systems. These systems can be especially useful for retrofitting historic buildings because they are small and unobtrusive. Heat pumps, another late-zoth century invention, can help to supplement existing HVAC systems. Replacing hydraulic elevators, which were invented in the mid-19th century, with electric elevators in the early decades of the zoth century resulted in a boom in the construction of taller high-rise buildings and skyscrapers. Escalators, also invented in the mid 19th century, became more and more common as the zoth century advanced. By the latter part of the century, moving walkways helped facilitate travelers' passage from one place to another in transporta- tion centers, such as airports. The visible decorative features that remain of historic mechanical systems (such as grilles, lighting fixtures, elevator doors, and escala- tors) themselves may contribute to the overall historic character of the building and should be retained when feasible. Reusing an exist- ing, functioning system and upgrading it as needed, should always be considered when feasible. However, because a mechanical system needs to work efficiently, most historic or older systems will likely need to be replaced to meet modern requirements. 18 INTERIOR SPACES, FEATURES, AND FINISHES Spaces The earliest buildings in America were very basic and likely to have only one or, perhaps, two rooms. As communities became more established and prosperous, buildings —houses in particular — increased in size, and construction became more elaborate and sophisticated, reflecting the wealth and tastes of individual owners. Larger buildings inevitably included multiple rooms designed to accommodate a variety of purposes. Thus, the interior floor plan, the arrangement and sequence of spaces, and built-in features and applied finishes are individually and collectively important in defining the historic character of the building. With the exception of most historic utilitarian buildings, manufacturing and industrial buildings, garages, and maintenance facilities, interiors are typi- cally composed of a series of primary and secondary spaces. This succession of spaces is applicable to many historic buildings, from courthouses to cathedrals to cottages and commercial structures. Primary spaces, including entrance halls, lobbies, double parlors, living rooms, corridors, and assembly spaces, are defined not only by their function, but also by their location, features, finishes, size, and proportion. Secondary spaces in historic interiors are generally more functional than decorative and, depending on the building's use, may include kitchens, bathrooms, utility rooms, attics, basements, mail rooms, rear hallways, and most office spaces. Although these spaces were important to how the building functioned historically, they are generally less significant than primary spaces and, thus, are usually the most appropriate places to make changes which maybe neces- sary in a historic building, such as those required to meet code or to install mechanical equipment. The traditional sequence of interior spaces in late 1.9th- through earlyaoth-century high-rise build- ings went from public areas (such as the lobby) on the first floor 19 and corridors on upper floors to the private spaces behind them (i.e., offices, apartments, or hotel rooms). This hierarchy of spaces continues to define the historic character of many high-rise build- ings. However, in commercial structures built on speculation with open floor plans, the upper floors, especially, are likely to have been reconfigured many times. In some cases, these interiors may have little historic character but, in others, the spaces and their appear- ance may have acquired significance because of a specific tenant, use (such as a boardroom or executive office), or an event. Features and Finishes Historic character -defining features and finishes can range from very elaborate to very simple and plain, or from formal to utilitarian. The interior features that are important to a particular building gener- ally reflect its original or historic use. Thus, the interior features and finishes of industrial and factory buildings are basic and practical, with exposed structural systems; wood, brick, or concrete walls and floors; large windows or monitors with clerestory windows to provide natural light; and minimal or no door and window sur- rounds. Commercial, office, hotel, and high-rise apartment build- ings have public spaces that often include highly -decorated lobbies, elevator lobbies with marble flooring, wood or marble wainscoting in the upper corridors and, particularly in office buildings, offices separated from hallways by heavy doors with glass transoms and glass wall partitions for borrowed light. The repetitive pattern itself of the corridors on the upper floors in these multi -story buildings is also often significant in defining their historic character. Individual historic residential structures frequently have painted plaster walls and ceilings, door and window trim, fireplaces with mantels, wood flooring, and a staircase if the house has more than one story. Some mid -to late-zoth-century houses that are less traditional in design have simpler and less -ornamented interiors. Building Site The building site consists of a historic building or buildings, struc- tures, and associated landscape features and their relationship within a designed or legally -defined parcel of land. A site may be significant in its own right or because of its association with the historic building or buildings. 20 Setting (District/Neighborhood) The setting is the larger area or environment in which a historic building is located. It may be an urban, suburban, or rural neighborhood or a natural landscape in which buildings have been constructed. The relationship of buildings to each other, setbacks, fence patterns, views, driveways and walkways, and street trees and other landscaping together establish the character of a district or neighborhood. 21 Special Requirements: Code -Required Work Sensitive solutions to meeting code requirements are an important part of protecting the historic character of the building. Thus, work that must be done to meet accessibility and life -safety requirements must always be assessed for its potential impact on the historic building. Accessibility It is often necessary to make modifications to a historic building to make it compliant with accessibility code requirements. Federal rules, regulations, and standards provide guidance on how to make historic buildings accessible. Work must be carefully planned and undertaken in a manner that results in minimal or no loss of historic exterior and interior character -defining spaces, features, or finishes. The goal should be to provide the highest level of access with the least impact to the historic building. 22 Life Safety When undertaking work on historic buildings, it is also necessary to consider the impact that meeting life -safety codes (public health, occupational health, life safety, electrical, seismic, structural, and building codes) will have on both exterior and interior spaces, fea- tures, and finishes. Historic building materials that are hazardous, such as lead paint and asbestos, will require abatement or encap- sulation. Some newer life -safety codes are more flexible and allow greater leniency for historic buildings when making them code com- pliant. It is also possible that there may be an alternative approach to meeting codes that will be less damaging to the historic building. Coordinating with code officials early in project planning will help ensure that code requirements can be met in a historic building without negatively impacting its character. 23 Resilience to Natural Hazards The potential future impacts of natural hazards on a historic building should be carefully evaluated and considered. If foreseeable loss, damage, or destruction to the building or its features can be rea- sonably anticipated, treatments should be undertaken to avoid or minimize the impacts and to ensure the continued preservation of the building and its historic character. In some other instances, the effects may be minimal or more gradual and the impacts unknown or not anticipated to affect the property until sometime in the future. In all instances, a building should be maintained in good condition and monitored regularly, and historic documentation should be prepared as a record of the building and to help guide future treatments. Some impacts of natural hazards may be particularly sudden and destructive to a historic building (such as riverine flash flooding, coastal storm surge, an earthquake, or a tornado) and may require adaptive treatments that are more invasive. When a treatment is proposed for a building that addresses such potential impacts and will affect the building's historic character, other feasible alternatives that would require less change should always be considered first. In some instances, a certain degree of impact on a building's historic character may be necessary to ensure its retention and continued preservation. In other instances, a proposed treatment may have too great an impact to preserve the historic character of the building. A historic building may have existing characteristics or features that help to address or minimize the impacts of natural hazards. Some historic buildings may have been altered previously or be in regions where it has been traditional to adapt buildings frequently subject to damage from natural hazards, such as flooding. All these factors should be taken into consideration when planning preventive treatments. The goal should always be to minimize the impacts to the building's historic character to the great- est extent possible in adapting the building to be more resilient. 24 Sustainability Before implementing any energy improvements to enhance the sustainability of a historic building, the existing energy -efficient characteristics of the building should be evaluated. Historic build- ing construction methods and materials often maximized natural sources of heating, lighting, and ventilation to respond to local climatic conditions. The key to a successful project is to identify and understand any lost original and existing energy -efficient aspects of the historic building, as well as to identify and understand its char- acter -defining features to ensure they are taken into account. The most sustainable building may be one that already exists. Thus, good preservation practice is very often synonymous with sustainability. There are numerous treatments —traditional as well as new techno- logical innovations —that may be used to upgrade a historic building to help it operate more efficiently while retaining its character. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustain - ability for Rehabilitating Historic Buildings. Although specifically devel- oped for the treatment Rehabilitation, the Sustainability Guidelines can be used to help guide the other treatments. 25 New Exterior Additions and Related New Construction A new exterior addition to a historic building should be considered in a rehabilitation project only after determining that requirements for a new or continuing use cannot be successfully met by alter- ing non -significant interior spaces. If the existing building cannot accommodate such requirements in this way, then an exterior addi- tion or, in some instances, separate new construction on a site may be acceptable alternatives. A new addition must preserve the building's historic character, form, significant materials, and features. It must be compatible with the massing, size, scale, and design of the historic building while dif- ferentiated from the historic building. It should also be designed and constructed so that the essential form and integrity of the historic building would remain if the addition were to be removed in the future. There is no formula or prescription for designing a compat- ible new addition or related new construction on a site, nor is there generally only one possible design approach that will meet the Standards. New additions and related new construction that meet the Stan- dards can be any architectural style —traditional, contemporary, or a simplified version of the historic building. However, there must be a balance between differentiation and compatibility to maintain the historic character and the identity of the building being enlarged. New additions and related new construction that are either identical to the historic building or in extreme con- trast to it are not compatible. Placing an addition on the rear or on another second- ary elevation helps to ensure that it will be subordinate to the historic building. New construction should be appropriately scaled and located far enough away from the historic building to main- tain its character and that of the site and setting. In urban or other built-up areas, new construction that appears as infill within the existing pat- tern of development can also preserve the historic char- acter of the building, its site, and setting. 26 PRESERVATION STANDARDS FOR PRESERVATION & GUIDELINES FOR PRESERVING HISTORIC BUILDINGS Preservation Preservation is defined as the act or process of applying measures neces- sary to sustain the existing form, integrity, and materials of an historic property. Work, including preliminary measures to protect and stabilize the property, generally focuses upon the ongoing maintenance and repair of historic materials and features rather than extensive replacement and new construction. New exterior additions are not within the scope of this treatment; however, the limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code -required work to make properties functional is appropriate within a preservation project. 27 PRESERVATION Standards for Preservation 1. A property will be used as it was historically, or be given a new use that maximizes the retention of distinctive materials, features, spaces and spatial relationships. Where a treatment and use have not been identified, a property will be protected and, if necessary, stabilized until additional work may be undertaken. 2. The historic character of a property will be retained and preserved. The replacement of intact or repairable historic materials or alteration of features, spaces and spatial rela- tionships that characterize a property will be avoided. 3. Each property will be recognized as a physical record of its time, place and use. Work needed to stabilize, consolidate and conserve existing historic materials and features will be physically and visually compatible, identifiable upon close inspection and properly documented for future research. 4. Changes to a property that have acquired historic significance in their own right will be retained and preserved. Distinctive materials, features, finishes and construction techniques or examples of craftsmanship that characterize a property will be preserved. 6. The existing condition of historic features will be evaluated to determine the appropriate level of intervention needed. Where the severity of deterioration requires repair or lim- ited replacement of a distinctive feature, the new material will match the old in composi- tion, design, color and texture. 7. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used. 8. Archeological resources will be protected and preserved in place. If such resources must be disturbed, mitigation measures will be undertaken. 5. 28 PRESERVATION GUIDELINES FOR PRESERVING HISTORIC BUILDINGS INTRODUCTION Preservation is the appropriate treatment when the objective of the project is to retain the building as it currently exists. This means that not only the original historic materials and features will be pre- served, but also later changes and additions to the original building. The expressed goal of the Standards for Preservation and Guide- lines for Preserving Historic Buildings is retention of the build- ing's existing form, features, and materials. This may be as simple as maintaining existing materials and features or may involve more extensive repair. Protection, maintenance, and repair are empha- sized while replacement is minimized. Identify, Retain, and Preserve Historic Materials and Features The guidance for the treatment Preservation begins with recom- mendations to identify the form and detailing of those architectural materials and features that are important in defining the building's historic character and which must be retained to preserve that char- acter. Therefore, guidance on identifying, retaining and preserving character -defining features is always given first. Stabilize Deteriorated Historic Materials and Features as a Preliminary Measure Deteriorated portions of a historic building may need to be pro- tected through preliminary stabilization measures until additional work can be undertaken. Stabilizing may begin with temporary structural reinforcement and progress to weatherization or correct- ing unsafe conditions. Although it may not be necessary in every preservation project, stabilization is nonetheless an integral part of the treatment Preservation; it is equally applicable to the other treatments if circumstances warrant. Protect and Maintain Historic Materials and Features After identifying those materials and features that are important and must be retained in the process of Preservation work, then protecting and maintaining them are addressed. Protection generally involves the least degree of intervention and is preparatory to other work. Protection includes the maintenance of historic materials and features as well as ensuring that the property is protected before and during preservation work. Repair (Stabilize, Consolidate, and Conserve) Historic Materials and Features Next, when the physical condition of character -defining materials and features warrants additional work, repairing by stabilizing, consolidat- ing, and conserving is recommended. The intent of Preservation is to retain existing materials and features while introducing as little new material as possible. Consequently, guidance for repairing a historic material, such as masonry, begins with the least degree of interven- tion possible, such as strengthening materials through consolidation, when necessary, or repointing with mortar of an appropriate strength. Repairing masonry, as well as wood and metal features, may include patching, splicing, or other treatments using recognized preservation methods. All work should be physically and visually compatible. INTRODUCTION 29 PRESERVATION Limited Replacement in Kind of Extensively Deteriorated Portions of Historic Features The greatest level of intervention in this treatment is the limited replacement in kind of extensively deteriorated or missing compo- nents of features when there are surviving prototypes or when the original features can be substantiated by documentary and physical evidence. The replacement material must match the old, both physi- cally and visually (e.g., wood with wood). Thus, with the exception of hidden structural reinforcement, such as steel rods, substitute materials are not appropriate in the treatment Preservation. If prominent features are missing, such as an interior staircase or an exterior cornice, then a Rehabilitation or Restoration treatment may be more appropriate. Code -Required Work: Accessibility and Life Safety These sections of the Preservation guidance address work that must be done to meet accessibility and life -safety requirements. This work may be an important aspect of preservation projects, and it, too, must be assessed for its potential negative impact on the build- ing's character. For this reason, particular care must be taken not to obscure, damage, or destroy character -defining materials or features in the process of undertaking work to meet code requirements. Resilience to Natural Hazards Resilience to natural hazards should be addressed as part of a Preser- vation project. A historic building may have existing characteristics or features that help to address or minimize the impacts of natural hazards. These should always be used to best advantage when plan- ning new adaptive treatments so as to have the least impact on the historic character of the building, its site, and setting. Sustainability Sustainability should be addressed as part of a Preservation project. Good preservation practice is often synonymous with sustainability. Existing energy -efficient features should be retained and repaired. New sustainability treatments should generally be limited to updat- ing existing features and systems so as to have the least impact on the historic character of the building. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. Although specifi- cally developed for the treatment Rehabilitation, the Sustainability Guidelines can be used to help guide the other treatments. Preservation as a Treatment. When the property's distinctive materi- als, features, and spaces are essentially intact and thus convey the historic significance without extensive repair or replacement; when depiction at a particular period of time is not appropriate; and when a continuing or new use does not require additions or extensive alterations, Preservation may be considered as a treatment. Prior to undertaking work, a documen- tation plan for Preservation should be developed. 30 INTRODUCTION PRESERVATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving masonry features that are important in defining the overall historic character of the build- ing (such as walls, brackets, railings, cornices, window and door surrounds, steps, and columns) and decorative ornament and other details, such as tooling and bonding patterns, coatings, and color. Altering masonry features which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing historic masonry features instead of repairing or replacing only the deteriorated masonry. Applying paint or other coatings (such as stucco) to masonry that has been historically unpainted or uncoated. Removing paint from historically -painted masonry. Stabilizing deteriorated or damaged masonry as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize deteriorated or damaged masonry until additional work is undertaken, thereby allowing further damage to occur to the historic building Protecting and maintaining masonry by ensuring that historic drainage features and systems that divert rainwater from masonry surfaces (such as roof overhangs, gutters, and downspouts) are intact and functioning properly. Failing to identify and treat the causes of masonry deterioration, such as leaking roofs and gutters or rising damp. Cleaning masonry only when necessary to halt deterioration or remove heavy soiling. ' Cleaning masonry surfaces when they are not heavily soiled to create a "like -new" appearance, thereby needlessly introducing chemicals or moisture into historic materials. Carrying out masonry cleaning tests when it has been determined that cleaning is appropriate. Test areas should be examined to ensure that no damage has resulted and, ideally, monitored over a sufficient period of time to allow long-range effects to be predicted. Cleaning masonry surfaces without testing or without sufficient time for the testing results to be evaluated. [1] A test patch should always be done before using a chemical cleaner to ensure that it will not damage historic masonry, as in this instance, terra cotta. MASONRY 31 PRESERVATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Cleaning soiled masonry surfaces with the gentlest method pos- sible, such as using low-pressure water and detergent and natural bristle or other soft -bristle brushes. Cleaning or removing paint from masonry surfaces using most abrasive methods (including sandblasting, other media blasting, or high-pressure water) which can damage the surface of the masonry and mortar joints. Using a cleaning or paint -removal method that involves water or liquid chemical solutions when there is any possibility of freezing temperatures. Cleaning with chemical products that will damage some types of masonry (such as using acid on limestone or marble), or failing to neutralize or rinse off chemical cleaners from masonry surfaces. Using biodegradable or environmentally -safe cleaning or paint - removal products. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using coatings that encapsulate lead paint, when possible, where the paint is not required to be removed to meet environmental regulations. Allowing only trained conservators to use abrasive or laser -clean- ing methods, when necessary, to clean hard -to -reach, highly - carved, or detailed decorative stone features. 32 MASONRY PRESERVATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Removing damaged or deteriorated paint only to the next sound layer using the gentlest method possible (e.g., hand scraping) prior to repainting. Removing paint that is firmly adhered to masonry surfaces. Applying compatible paint coating systems to historically -painted masonry following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting masonry features. Repainting historically -painted masonry features with colors that are appropriate to the building and district. Using paint colors on historically -painted masonry features that are not appropriate to the building or district. Protecting adjacent materials when working on masonry features. Failing to protect adjacent materials when working on masonry features. Evaluating the overall condition of the masonry to determine whether more than protection and maintenance, such as repairs to masonry features, will be necessary. Failing to undertake adequate measures to ensure the protection of masonry features. Repairing masonry by patching, splicing, consolidating, or otherwise reinforcing the masonry using recognized preservation methods. Removing masonry that could be stabilized, repaired, and con - served, or using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to historic materials. Repairing masonry walls and other masonry features by repoint- ing the mortar joints where there is evidence of deterioration, such as disintegrating mortar, cracks in mortar joints, loose bricks, or damaged plaster on the interior. Removing non -deteriorated mortar from sound joints and then repointing the entire building to achieve a more uniform appear - ance. Removing deteriorated lime mortar carefully by hand raking the joints to avoid damaging the masonry. [2] Not Recommended: The use of inappropriate Portland cement mortar to repoint these soft 19th-century bricks has caused some of them to spall. Photo: Courtesy Nebraska State Historic Preservation Office. MASONRY 33 PRESERVATION RECOMMENDED NOT RECOMMENDED Using power tools only on horizontal joints on brick masonry in conjunction with hand chiseling to remove hard mortar that is deteriorated or that is a non -historic material which is causing damage to the masonry units. Mechanical tools should be used only by skilled masons in limited circumstances and generally not on short, vertical joints in brick masonry. Allowing unskilled workers to use masonry saws or mechanical tools to remove deteriorated mortar from joints prior to repointing. Duplicating historic mortar joints in strength, composition, color, and texture when repointing is necessary. In some cases, a lime- based mortar may also be considered when repointing Portland cement mortar because it is more flexible. Repointing masonry units with mortar of high Portland cement con - tent (unless it is the content of the historic mortar). Duplicating historic mortar joints in width and joint profile when repointing is necessary. Using "surface grouting" or a "scrub" coating technique, such as a "sack rub" or "mortar washing," to repoint exterior masonry units instead of traditional repointing methods. Changing the width or joint profile when repointing. Repairing stucco by removing the damaged material and patch- ing with new stucco that duplicates the old in strength, composi- tion, color, and texture. Removing sound stucco or repairing with new stucco that is differ- ent in composition from the historic stucco. Patching stucco or concrete without removing the source of deterio- ration. Replacing deteriorated stucco with synthetic stucco, an exterior insulation and finish system (EIFS), or other non-traditional materials. Using mud plaster or a compatible lime -plaster adobe render, when appropriate, to repair adobe. Applying cement stucco, unless it already exists, to adobe. Sealing joints in concrete with appropriate flexible sealants and backer rods, when necessary. Repointing masonry units (other than concrete) with a synthetic caulking compound instead of mortar. 34 MASONRY PRESERVATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Cutting damaged concrete back to remove the source of deterio- Patching damaged concrete without first removing the source of ration, such as corrosion on metal reinforcement bars. The new patch must be applied carefully so that it will bond satisfactorily with, and match, the historic concrete. deterioration. Using a non -corrosive, stainless -steel anchoring system when replacing damaged stone, concrete, or terra-cotta units that have failed. [3] Not Recommended: Cracks in the stucco have not been repaired, thereby allowing ferns to grow in the moist substrate which will cause further damage to the masonry. MASONRY 35 PRESERVATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Applying non -historic surface treatments, such as water-repellent coatings, to masonry only after repointing and only if masonry repairs have failed to arrest water penetration problems. Applying waterproof, water-repellent, or non -original historical coat- ings (such as stucco) to masonry as a substitute for repointing and masonry repairs. Applying permeable, anti -graffiti coatings to masonry when Applying water-repellent or anti -graffiti coatings that change the appropriate. appearance of the masonry or that may trap moisture if the coating is not sufficiently permeable. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Replacing in kind extensively deteriorated or missing components of masonry features when there are surviving prototypes, such as terra-cotta brackets or stone balusters, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire masonry feature, such as a column or stairway, when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic masonry feature. 36 MASONRY PRESERVATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving wood features that are important in defining the overall historic character of the building (such as siding, cornices, brackets, window and door surrounds, and steps) and their paints, finishes, and colors. Altering wood features which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing historic wood features instead of repairing or replacing only the deteriorated wood. Changing the type of finish, coating, or historic color of wood fea- tures [4] Hand scraping to remove peeling paint from wood siding in preparation for repainting is an important part of regularly -scheduled maintenance. WOOD 37 PRESERVATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Stabilizing deteriorated or damaged wood as a preliminary mea- sure, when necessary, prior to undertaking preservation work. Failing to stabilize deteriorated or damaged wood until additional work is undertaken, thereby allowing further damage to occur to the historic building. Protecting and maintaining wood features by ensuring that his- toric drainage features that divert rainwater from wood surfaces (such as roof overhangs, gutters, and downspouts) are intact and functioning properly. Finding and eliminating sources of moisture that may damage wood features, such as clogged gutters and downspouts, leaky roofs, or moisture -retaining soil that touches wood around the foundation. Failing to identify and treat the causes of wood deterioration, such as faulty flashing, leaking gutters, cracks and holes in siding, dete- riorated caulking in joints and seams, plant material growing too close to wood surfaces, or insect or fungal infestation. Finding and eliminating sources of moisture that may damage wood features, such as clogged gutters and downspouts, leaky roofs, or moisture -retaining soil that touches wood around the foundation. Applying chemical preservatives or paint to wood features that are subject to weathering, such as exposed beam ends, outriggers, or rafter tails. Using chemical preservatives (such as creosote) which, unless they were used historically, can change the appearance of wood features. [5] Rotted wood shingles have been replaced in kind with matching wood shingles. 38 WOOD PRESERVATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Implementing an integrated pest management plan to identify appropriate preventive measures to guard against insect damage, such as installing termite guards, fumigating, and treating with chemicals. Retaining coatings (such as paint) that protect the wood from moisture and ultraviolet light. Paint removal should be considered only when there is paint surface deterioration and as part of an overall maintenance program which involves repainting or applying other appropriate coatings Stripping paint or other coatings from wood features without recoating. Removing damaged or deteriorated paint to the next sound layer using the gentlest method possible (e.g., hand scraping and hand sanding) prior to repainting. Using potentially -damaging paint -removal methods on wood sur- faces, such as open -flame torches, orbital sanders, abrasive meth - ods (including sandblasting, other media blasting, or high-pressure water), or caustic paint -removers. Removing paint that is firmly adhered to wood surfaces. Using chemical strippers primarily to supplement other methods such as hand scraping, hand sanding, and thermal devices. Failing to neutralize the wood thoroughly after using chemical paint removers so that new paint may not adhere. Removing paint from detachable wood features by soaking them in a caustic solution which can roughen the surface, split the wood, or result in staining from residual acid leaching out through the wood. Using biodegradable or environmentally -safe cleaning or paint - removal products. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using a thermal device to remove paint from wood features without first checking for and removing any flammable debris behind them. Using thermal devices (such as infrared heaters) carefully to remove paint when it is so deteriorated that total removal is nec- essary prior to repainting. Using thermal devices without limiting the amount of time the wood feature is exposed to heat. WOOD 39 PRESERVATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Using coatings that encapsulate lead paint, when possible, where the paint is not required to be removed to meet environmental regulations. Applying compatible paint coating systems to historically -painted wood following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting wood features. Repainting historically -painted wood features with colors that are appropriate to the building or district. Using paint colors on historically -painted wood features that are not appropriate to the building or district. Protecting adjacent materials when working on wood features. Failing to protect adjacent materials when working on wood fea- tures. Evaluating the overall condition of the wood to determine whether more than protection and maintenance, such as repairs to wood features, will be necessary. Failing to undertake adequate measures to ensure the protection of wood features. Repairing wood by patching, splicing, consolidating, or otherwise reinforcing the wood using recognized preservation methods. Removing wood that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to historic materia Is. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind (i.e., with wood, but not necessarily the same species) extensively deteriorated or missing components of wood features when there are surviving prototypes, such as brackets, molding, or sections of siding, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish Replacing an entire wood feature, such as a column or stairway, when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic wood feature. 40 WOOD PRESERVATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving metal features that are important in defining the overall historic character of the build- ing (such as columns, capitals, pilasters, spandrel panels, or stairways) and their paint, finishes, and colors. The type of metal should be identified prior to work because each metal has its own properties and may require a different treatment. Altering metal features which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing historic metal features instead of repairing or replacing only the deteriorated metal. Changing the type of finish, coating, or historic color of metal features. Stabilizing deteriorated or damaged metal as a preliminary mea- sure, when necessary, prior to undertaking preservation work. Failing to stabilize deteriorated or damaged metals until additional work is undertaken, thereby allowing further damage to occur to the historic building. Protecting and maintaining metals from corrosion by providing proper drainage so that water does not stand on flat, horizontal surfaces or accumulate in curved decorative features. Failing to identify and treat the causes of corrosion, such as mois- ture from leaking roofs or gutters. Placing incompatible metals together without providing an appro- priate separation material. Such incompatibility can result in galvanic corrosion of the less noble metal (e.g., copper will corrode cast iron, steel, tin, and aluminum). Cleaning metals, when necessary, to remove corrosion prior to repainting or applying other appropriate protective coatings. Failing to reapply coating systems after cleaning metals that require protection from corrosion. Removing the patina from historic metals. The patina may be a protective layer on some metals (such as bronze or copper) as well as a distinctive finish. Identifying the particular type of metal prior to any cleaning procedure and then testing to ensure that the gentlest cleaning method possible is selected; or, alternatively, determining that cleaning is inappropriate for the particular metal. Using cleaning methods which alter or damage the historic color, texture, and finish of the metal, or cleaning when it is inappropriate for the particular metal. METALS 41 PRESERVATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Using non -corrosive chemical methods to clean soft metals (such as lead, tinplate, terneplate, copper, and zinc) whose finishes can be easily damaged by abrasive methods. Cleaning soft metals (such as lead, tinplate, terneplate, copper, and zinc) with abrasive methods (including sandblasting, other media blasting, or high-pressure water) which will damage the surface of the metal. Using the least abrasive cleaning method for hard metals (such as cast iron, wrought iron, and steel) to remove paint buildup and corrosion. If hand scraping and wire brushing have proven inef- fective, low-pressure abrasive methods may be used as long as they do not damage the surface. Using high-pressure abrasive techniques (including sandblasting, other media blasting, or high-pressure water) without first trying gentler cleaning methods prior to cleaning cast iron, wrought iron, or steel. Applying appropriate paint or other coating systems to histori- cally-coated metals after cleaning to protect them from corrosion. Applying paint or other coatings to metals (such as copper, bronze or stainless steel) if they were not coated historically. Repainting historically -painted metal features with colors that are appropriate to the building and district. Using paint colors on historically -painted metal features that are not appropriate to the building or district. Applying an appropriate protective coating (such as lacquer or wax) to a metal feature that was historically unpainted, such as a bronze door, which is subject to heavy use. [6] A standing -seam sheet metal roof, like the one on the turret of this late 19th century row house, must be kept painted to ensure its preservation. 42 METALS PRESERVATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Protecting adjacent materials when working on metal features. Failing to protect adjacent materials when working on metal fea- tures. Evaluating the overall condition of metals to determine whether more than protection and maintenance, such as repairs to metal features, will be necessary. Failing to undertake adequate measures to ensure the protection of metal features. Repairing, stabilizing, and reinforcing metal by using recognized preservation methods Removing metals that could be stabilized, repaired, and conserved, or using improper repair techniques, or untrained personnel, poten- tially causing further damage to historic materials. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing components of metal features when there are surviving prototypes, such as porch balusters, column capitals or bases, or porch cresting, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire metal feature, such as a column or balustrade, when limited replacement of deteriorated or missing components is appropriate. Using replacement material that does not match the historic metal feature. [7] (a) After the damaged portions of the base were repaired, (b) the cast-iron columns were cleaned and repainted to protect the metal from rusting. METALS 43 PRESERVATION [8] Regular maintenance includes removing leaves that can clog gutters and cause water damage to the exterior and interior walls of a house. RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving roofs and their functional and decorative features that are important in defining the overall historic character of the building. The form of the roof (gable, hipped, gambrel, flat, or mansard) is significant, as are its decora- tive and functional features (such as cupolas, cresting, parapets, monitors, chimneys, weather vanes, dormers, ridge tiles, and snow guards), roofing material (such as slate, wood, clay tile, metal, roll roofing, or asphalt shingles), and size, color, and patterning. Altering the roof and roofing materials which are important in defin- ing the overall historic character of the building so that, as a result, the character is diminished. Replacing historic roofing material instead of repairing or replacing only the deteriorated material. Changing the type or color of roofing materials. Stabilizingdeteriorated or damaged roofs as a preliminary mea- sure, when necessary, prior to undertaking preservation work. Failing to stabilize a deteriorated or damaged roof until additional work is undertaken, thereby allowing further damage to occur to the historic building Protecting and maintaining roof by cleaning gutters and downspouts and replacing deteriorated flashing. Roof sheathing should also be checked for indications of moisture due to leaks or condensation. Failing to clean and maintain gutters and downspouts properly so that water and debris collect and cause damage to roof fasteners, sheathing, and the underlying structure Providing adequate anchorage for roofing material to guard against wind damage and moisture penetration. Allowing flashing, caps, and exposed roof fasteners to corrode, which accelerates deterioration of the roof. Protecting a leaking roof with a temporary waterproof membrane with a synthetic underlayment, roll roofing, plywood, or a tarpau- lin until it can be repaired. Leaving a leaking roof unprotected so that accelerated deteriora- tion of historic building materials (such as masonry, wood, plaster, paint, and structural members) occurs. Repainting a roofing material that requires a protective coating and was painted historically (such as a terneplate metal roof or gutters) as part of regularly -scheduled maintenance. Failing to repaint a roofing material that requires a protective coating and was painted historically as part of regularly -scheduled maintenance. Protecting a roof covering when working on other roof features. Failing to protect roof coverings when working on other roof features. Evaluating the overall condition of the roof to determine whether more than protection and maintenance, such as repairs to roof features, will be necessary. Failing to undertake adequate measures to ensure the protection of roof features. Repairinga roof by ensuring that the existing historic roof or com- patible non -historic roof covering is sound and waterproof. Removing historic materials that could be repaired or using improper repair techniques. Failing to reuse intact slate or tile when only the roofing substrate or fasteners need replacement. 44 ROOFS PRESERVATION 1 RECOMMENDED NOT RECOMMENDED Using corrosion -resistant roof fasteners (e.g., nails and clips) to repair a roof to help extend its longevity. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Replacing in kind extensively deteriorated or missing components of roof features when there are surviving prototypes, such as ridge tiles, roof cresting, or dormer trim, slates, or tiles, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire roof feature, such as a chimney or dormer, 1 when limited replacement of deteriorated or missing components is appropriate. Using replacement material that does not match the historic roof feature. [9] Distinctively -shaped roofs are important in defining the historic character of these early 20'h-century structures: (a) an asphalt shingle roof on a house; (b) and a concrete roof on Fonthill, Doylestown, PA (1908-1912), designed and built by Henry Chapman Mercer. ROOFS 45 PRESERVATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving windows and their func- tional and decorative features that are important to the overall historic character of the building. The window material and how the window operates (e.g., double hung, casement, awning, or hopper) are significant, as are its components (including sash, muntins, ogee lugs, glazing, pane configuration, sills, mullions, casings, or brick molds) and related features, such as shutters. Altering windows or window features which are important in defin- ing the historic character of the building so that, as a result, the character is diminished. Changing the appearance of windows that contribute to the historic character of the building by replacing materials, finishes, or colors which noticeably change the sash, depth of reveal, and muntin con- figuration; the reflectivity and color of the glazing; or the appear- ance of the frame. Obscuring historic wood window trim with metal or other material. Stabilizing deteriorated or damaged windows as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize deteriorated or damaged windows as a prelimi- nary measure, when necessary, prior to undertaking preservation work. Protecting and maintaining the wood or metal which comprises the window jamb, sash, and trim through appropriate surface treatments, such as cleaning, paint removal, and reapplication of the same protective coating systems. Failing to protect and maintain materials on a cyclical basis so that deterioration of the window results. Protecting windows against vandalism before work begins by covering them and by installing alarm systems that are keyed into local protection agencies. Leaving windows unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected windows. Installing impact -resistant glazing, when necessary for security, so that it is compatible with the historic windows and does not damage them or negatively impact their character. Installing impact -resistant glazing, when necessary for security, that is not compatible with the historic windows and damages them or negatively impacts their character. Making windows weathertight by recaulking gaps in fixed joints and replacing or installing weatherstripping. Replacing windows rather than maintaining the sash, frame, or glazing. Protecting windows from chemical cleaners, paint, or abrasion during work on the exterior of the building. Failing to protect historic windows from chemical cleaners, paint, or abrasion when work is being done on the exterior of the building. Protecting and retaining historic glass when replacing putty or repairing other components of the window. Failing to protect the historic glass when making repairs. 46 WINDOWS PRESERVATION [10] Historic exterior storm windows preserve and help to insulate wood windows. [11] Old and brittle glazing putty should be removed carefully before reputtying to keep window glazing weathertight. WINDOWS 47 PRESERVATION RECOMMENDED NOT RECOMMENDED Sustaining the historic operability of windows by lubricating fric- tion points and replacing broken components of the operating system (such as hinges, latches, sash chains or cords) or replac- ing deteriorated gaskets or insulating units. Failing to maintain windows and window components so that win- dows are inoperable, or sealing operable sash permanently. Failing to repair and reuse window hardware such as sash lifts, latches, and locks Adding storm windows with a matching or a one -over -one pane configuration that will not obscure the characteristics of the his- toric windows. Storm windows improve energy efficiency and are especially beneficial when installed over wood windows because they also protect them from accelerated deterioration. Protecting adjacent materials when working on windows. Failing to protect adjacent materials when working on windows. Evaluating the overall condition of windows to determine whether more than protection and maintenance, such as repairs to win- dows and window features, will be necessary. Failing to undertake adequate measures to ensure the protection of windows. Repairing window frames and sash by patching, splicing, consoli- dating, or otherwise reinforcing them using recognized preserva- tion methods. Removing window frames or sash that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or untrained personnel, potentially causing furthur damage to historic buildings. Using corrosion -resistant roof fasteners (e.g., nails and clips) to repair a roof to help extend its longevity. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing components of windows when there are surviving prototypes, such as frames or sash, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire window when limited replacement of deterio- rated or missing components is appropriate. Using replacement material that does not match the historic window. 48 WINDOWS PRESERVATION ENTRANCES AND PORCHES RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving entrances and porches and Altering entrances and porches which are important in defining the their functional and decorative features that are important in overall historic character of the building so that, as a result, the defining the overall historic character of the building. The materi- als themselves (including wood, masonry, and metal) are sig- nificant, as are the features, such as doors, transoms, pilasters, columns, balustrades, stairs, roofs, and projecting canopies. character is diminished. Replacing historic entrance and porch features instead of repairing or replacing only the deteriorated material. Stabilizing deteriorated or damaged entrances and porches as a Failing to stabilize a deteriorated or damaged entrance or porch preliminary measure, when necessary, prior to undertaking preser- until additional work is undertaken, thereby allowing further vation work. damage to occur to the historic building. [12] Repair and limited replacement in kind to match deteriorated wood porch features is always a recommended preservation treatment. [13] It is important that exposed swallow tail porch rafters be kept painted to protect them from water damage. ENTRANCES AND PORCHES 49 PRESERVATION RECOMMENDED NOT RECOMMENDED Protecting and maintaining the masonry, wood, and metals which comprise entrances and porches through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain historic materials on a cyclical basis so that deterioration of entrances and porches results. Protecting entrances and porches against arson and vandalism before work begins by covering them and by installing alarm systems keyed into local protection agencies. Leaving entrances and porches unprotected and subject to vandal - ism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting entrance and porch features when working on other features of the building. Failing to protect historic entrances and porches when working on other features of the building. Evaluating the overall condition of entrances and porches to determine whether more than protection and maintenance, such as repairs to entrance and porch features, will be necessary. Failing to undertake adequate measures to ensure the protection of entrance and porch features. Repairing entrances and porches by patching, splicing, consoli- dating, or otherwise reinforcing them using recognized preserva- tion methods. ' Removing entrances and porches or their features that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or untrained personnel, potentially causing further damage to historic materials. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing compo- nents of entrance and porch features when there are surviving prototypes, such as railings, balustrades, cornices, columns, sidelights, stairs, and roofs, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire entrance or porch feature when limited replace- ment of deteriorated and missing components is appropriate. Using replacement material that does not match the historic entrance or porch feature. 50 ENTRANCES AND PORCHES PRESERVATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving storefronts and their func- tional and decorative features that are important in defining the overall historic character of the building. The storefront materials (including wood, masonry, metals, ceramic tile, clear glass, and pigmented structural glass) and the configuration of the store- front are significant, as are features, such as display windows, base panels, bulkheads, signs, doors, transoms, kick plates, corner posts, piers, and entablatures. Altering storefronts and their features which are important in defin- ing the overall historic character of the building so that, as a result, the character is diminished. Replacing historic storefront features instead of repairing or replac- ing only the deteriorated material. Stabilizing deteriorated or damaged storefronts as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize a deteriorated or damaged storefront until addi- tional work is undertaken, thereby allowing further damage to occur to the historic building. Protecting and maintaining masonry, wood, glass, ceramic tile, and metals which comprise storefronts through appropriate treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain historic materials on a cyclical basis so that deterioration of storefront features results. Protecting storefronts against arson and vandalism before work begins by covering windows and doors and by installing alarm systems keyed into local protection agencies. Leaving the storefront unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through an unprotected storefront. Protecting the storefront when working on other features of the building. Failing to protect the storefront when working on other features of the building. [14] The signage is an original and integral part of this historic Carrara glass storefront. wrltrl rlriri r-rr ailed /y .Yhr A600 //(ypr:ie i ly s' ire heoldeeur+rr Ii `140:. arum J •r= BAND BOX CLEANERS I 10 w bietadaand Awnined STOREFRONTS 51 PRESERVATION STOREFRONT 1 RECOMMENDED NOT RECOMMENDED Evaluating the overall condition of the storefront to determine whether more than protection and maintenance, such as repairs to storefront features, will be necessary. Repairing storefronts by patching, splicing, consolidating, or oth- erwise reinforcing them using recognized preservation methods. Failing to undertake adequate measures to ensure the protection of storefront features. Removing historic material that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair tech- niques, or untrained personnel, potentially causing further damage to historic materials. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Replacing in kind extensively deteriorated or missing components of storefronts when there are surviving prototypes, such as doors, transoms, kick plates, base panels, bulkheads, piers, or signs, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire feature or storefront when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic store- front feature. [15] Regular maintenance has helped to preserve this historic storefront, which retains all of its character -defining features, including the granite bulkhead, multi - paned transom glazing, and recessed entrance. 52 STOREFRONTS PRESERVATION CURTAIN WALLS RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving curtain wall systems and their components that are important in defining the overall historic character of the building. The design of the curtain wall is significant, as are its component materials (metal stick framing and panel materials, such as clear or spandrel glass, stone, terra cotta, metal, and fiber -reinforced plastic), appearance (e.g., glazing color or tint, transparency, and reflectivity), and whether the glazing is fixed, operable, or louvered glass panels. How a curtain wall is engineered and fabricated, and the fact that it expands and contracts at a different rate from the building's structural system, are important to understand when undertaking the preservation of a curtain wall system. Altering curtain wall components which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing historic curtain wall features instead of repairing or replacing only the deteriorated components. Stabilizing deteriorated or damaged curtain walls as a prelimi- nary measure, when necessary, prior to undertaking preservation work. Failing to stabilize deteriorated or damaged curtain walls until addi- tional work is undertaken, thereby allowing further damage to occur to the historic building. Protecting and maintaining curtain walls and their components through appropriate surface treatments, such as cleaning and reapplication of protective coating systems; and by making them watertight and ensuring that sealants and gaskets are in good condition. Failing to protect and maintain curtain wall components on a cycli- cal basis so that deterioration of curtain walls results. Failing to identify and treat the various causes of curtain wall fail - ure, such as open gaps between components where sealants have deteriorated or are missing. Protecting ground -level curtain walls from vandalism before work begins by covering them, while ensuring adequate ventilation, and by installing alarm systems keyed into local protection agen- cies. Leaving ground -level curtain walls unprotected and subject to van - dalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Installing impact -resistant glazing in a curtain wall system, when necessary for security or to meet code requirements, so that it is compatible with the historic curtain walls and does not damage them or negatively impact their character. Installing impact -resistant glazing in a curtain wall system, when necessary for security, that is not compatible with the historic cur - tain walls and damages them or negatively impacts their character. CURTAIN WALLS 53 PRESERVATION i CURTAIN WALL 1 RECOMMENDED NOT RECOMMENDED Cleaning curtain wall systems only when necessary to halt dete- rioration or to remove heavy soiling. Cleaning curtain wall systems when they are not heavily soiled, thereby needlessly introducing chemicals or moisture into historic materials. Carrying out cleaning tests, when it has been determined that cleaning is appropriate, using only cleaning materials that will not damage components of the system, including factory -applied finishes. Test areas should be examined to ensure that no damage has resulted. Cleaning curtain wall systems without testing first or using cleaning materials that may damage components of the system. Evaluating the overall condition of curtain walls to determine whether more than protection and maintenance, such as repairs to curtain wall components, will be necessary. Failing to undertake adequate measures to ensure the protection of curtain wall components. Repairing curtain walls by ensuring that they are watertight by augmenting existing components or replacing deteriorated or missing sealants or gaskets, where necessary, to seal any gaps between system components. Removing curtain wall components that could be stabilized, repaired, and conserved, or using improper repair techniques, or untrained personnel, potentially causing further damage to historic materials. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing compo- nents of a curtain wall system when there are surviving proto- types or when the replacement can be based on documentary or physical evidence. The new work should match the old in mate- rial, design, scale, color, and finish. Replacing an entire curtain wall feature when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic curtain wall feature. [16] Plywood provides temporary protection for an opening where a damaged spandrel panel was removed until a matching replacement panel can be installed. 54 CURTAIN WALLS PRESERVATION STRUCTURAL SYSTEMS RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving structural systems and vis- ible features of systems that are important in defining the overall historic character of the building. This includes the materials that comprise the structural system (i.e., wood, metal, and masonry), the type of system, and its features, such as posts and beams, trusses, summer beams, vigas, cast-iron or masonry columns, above -grade stone foundation walls, or load -bearing masonry walls. Altering visible features of historic structural systems which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Overloading the existing structural system, or installing equipment or mechanical systems which could damage the structure. Replacing a load -bearing masonry wall that could be augmented and retained. Leaving known structural problems untreated, such as deflected beams, cracked and bowed walls, or racked structural members. Stabilizing deteriorated or damaged structural systems as a pre- liminary measure, when necessary, prior to undertaking preserva- tion work. Failing to stabilize a deteriorated or damaged structural system until additional work is undertaken, thereby allowing further damage to occur to the historic building. Failing to protect and maintain the structural system on a cyclical basis so that deterioration of the structural system results. Protecting and maintaining the structural system by keeping gutters and downspouts clear and roofing in good repair; and by ensuring that wood structural members are free from insect infestation. Using treatments or products that may retain moisture, which accelerates deterioration of structural members. STRUCTURAL SYSTEMS 55 PRESERVATION [17] Distinctive examples of traditional construction techniques should be preserved, such as this wooden peg, which is part of the structural system of this late-l9th-century warehouse. [18] A massive, exposed, concrete structural system defines the historic character of the interior of St. John's Abbey, Collegeville, MN, designed by Marcel Breuer and constructed in 1961. 56 STRUCTURAL SYSTEMS PRESERVATION 1 1 RECOMMENDED NOT RECOMMENDED Evaluating the overall condition of the structural system to deter- mine whether more than protection and maintenance, such as repairs to structural features, will be necessary. Failing to undertake adequate measures to ensure the protection of structural systems. Repairing the structural system by augmenting individual com- ponents, using recognized preservation methods. For example, weakened structural members (such as floor framing) can be paired or sistered with a new member, braced, or otherwise supplemented and reinforced. Upgrading the building structurally in a manner that diminishes the historic character of the exterior (such as installing strapping channels or removing a decorative cornice) or that damages interior features or spaces. Replacing a structural member or other feature of the structural system when it could be augmented and retained. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. IMPRIMPAPPRIMPRI Replacing an entire curtain wall feature when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic curtain wall feature. Replacing in kind those visible portions or features of the struc- tural system that are either extensively deteriorated or missing when there are surviving prototypes, such as cast-iron columns and sections of load -bearing walls, or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Considering the use of substitute material to replace structural features that are not visible. Substitute material must be struc- turally sufficient and physically compatible with the rest of the system. Using substitute material that does not equal the load -bearing capabilities of the historic material or is physically incompatible with the structural system. STRUCTURAL SYSTEMS 57 PRESERVATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving visible features of early mechanical systems that are important in defining the overall historic character of the building, such as radiators, vents, fans, grilles, and plumbing and lighting fixtures. Removing or altering visible features of mechanical systems that are important in defining the overall historic character of the building so that, as a result, the character is diminished. Stabilizing functioning mechanical systems as a preliminary mea- sure, when necessary, prior to undertaking preservation work. Failing to stabilize a functioning mechanical system and its visible features until additional work is undertaken. Protecting and maintaining functioning mechanical, plumbing, and electrical systems and their features through cyclical main- tenance. Failing to protect and maintain functioning mechanical, plumbing, and electrical systems on a cyclical basis so that their deterioration results. Improving the energy efficiency of existing mechanical systems to help reduce the need for a new system by installing storm windows, insulating attics and crawl spaces, or adding awnings, if appropriate. Evaluating the overall condition of functioning mechanical systems to determine whether more than protection and mainte- nance, such as repairs to mechanical system components, will be necessary. Failing to undertake adequate measures to ensure the protection of structural systems. Repairing mechanical systems by augmenting or upgrading system components (such as installing new pipes and ducts), rewiring, or adding new compressors or boilers. Replacing a mechanical system when its components could be upgraded and retained. 58 MECHANICAL SYSTEMS PRESERVATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING RECOMMENDED NOT RECOMMENDED The following work is highlighted to indicate that it represents the greatest degree Preservation, and should only be considered after protection, stabilization, and I L,imite - • - - nt in WM of intervention generally recommended within the treatment repair concerns have been addressed. Installing a visible replacement feature that does not convey the same appearance. • Replacing in kind those extensively deteriorated or missing visible features of mechanical systems when there are surviving proto- types, such as ceiling fans, radiators, grilles, or lighting fixtures. The following work should be considered in a Preservation project when the installation of new mechanical equipment or an entire system is required to make the building functional. Installing a new mechanical system, if required, so that it results in the least alteration possible to the historic building and its character -defining features. Installing a new mechanical system so that character -defining structural or interior features are radically changed, damaged, or destroyed. Providing adequate structural support for new mechanical equip- ment. Failing to consider the weight and design of new mechanical equip- ment so that, as a result, historic structural members or finished surfaces are weakened or cracked. Installing new mechanical and electrical systems and ducts, pipes, and cables in closets, service areas, and wall cavities to preserve the historic character of the interior space. Installing ducts, pipes, and cables where they will obscure charac- ter -defining features or negatively impact the historic character of the interior. Concealing mechanical equipment in walls or ceilings in a manner that results in extensive loss or damage or otherwise obscures his- toric building materials and character -defining features. MECHANICAL SYSTEMS 59 PRESERVATION i INTERIOR SPACES, FEATURES, AND FINISHES 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving floor plan or interior spaces, features, and finishes that are important in defining the overall historic character of the building. Significant spatial characteristics include the size, configuration, proportion, and relationship of rooms and corridors; the relationship of features to spaces; and the spaces themselves, such as lobbies, lodge halls, entrance halls, parlors, theaters, auditoriums, gymnasiums, and industrial and commercial interiors. Color, texture, and pattern are important characteristics of features and finishes, which can include such elements as columns, plaster walls and ceilings, flooring, trim, fireplaces and mantels, paneling, light fixtures, hardware, decorative radiators, ornamental grilles and registers, windows, doors, and transoms; plaster, paint, wallpaper and wall coverings, and special finishes, such as marbleizing and graining; and utilitarian (painted or unpainted) features, including wood, metal, or concrete exposed columns, beams, and trusses and exposed load -bearing brick, concrete, and wood walls. Altering a floor plan, interior spaces (including individual rooms), features, or finishes which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing historic interior features and finishes instead of repairing or replacing only the deteriorated portion. Installing new material that obscures or damages character -defining interior features and finishes. Removing paint, plaster, or other finishes from historically -finished interior surfaces and leaving the features exposed (e.g., removing plaster to expose brick walls or a brick chimney breast, stripping paint from wood to stain or varnish it, or removing a plaster ceiling to expose unfinished beams). Applying paint, plaster, or other coatings to surfaces that have been unfinished historically, thereby changing their character. Changing the type of finish or its color, such as painting a histori- cally -varnished wood feature, or removing paint from a historically - painted feature. Stabilizing deteriorated or damaged interior features and finishes as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize a deteriorated or damaged interior feature or finish until additional work can be undertaken, thereby allowing further damage to occur to the interior. Protecting and maintaining historic materials (including plaster, masonry, wood, and metals) which comprise interior features through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain interior materials and finishes on a cyclical basis so that deterioration of interior features results. 60 INTERIOR SPACES, FEATURES, AND FINISHES PRESERVATION INTERIOR SPACES, FEATURES, AND FINISHES RECOMMENDED NOT RECOMMENDED Protecting interior features and finishes against arson and vandal- Leaving the building unprotected and subject to vandalism before ism before project work begins by erecting temporary fencing or work begins, thereby allowing the interior to be damaged if it can be by covering broken windows and open doorways, while ensuring adequate ventilation, and by installing alarm systems keyed into local protection agencies. accessed through unprotected openings. Protecting interior features (such as a staircase, mantel, flooring, or decorative finishes) from damage during project work by cover- ing them with plywood, heavy canvas, or plastic sheeting. Failing to protect interior features and finishes when working on the interior. [19] The sweeping staircase with its metal railing, chandelier, and terrazzo floor in the lobby of the 1954 Simms Building, Albuquerque, NM, are character - defining features. Photo: Harvey M. Kaplan. [20] It is important to protect decorative interior features, such as this highly -glazed tile wainscoting in a historic train station, when painting the walls above it. INTERIOR SPACES, FEATURES, AND FINISHES 61 PRESERVATION INTERIOR SPACES, FEATURES, AND FINISHES RECOMMENDED NOT RECOMMENDED Removing damaged or deteriorated paint and finishes only to the next sound layer using the gentlest method possible prior to repainting or refinishing using compatible paint or other coating systems. Removing paint that is firmly adhered to interior materials and features. Using abrasive cleaning methods only on the interior of industrial or warehouse buildings with utilitarian, unplastered masonry walls and where wood features are not finished, molded, beaded, or worked by hand. Low-pressure abrasive cleaning (e.g., sand- blasting or other media blasting) should only be considered if test patches show no surface damage and after gentler methods have proven ineffective. Using abrasive methods anywhere but utilitarian and industrial interior spaces or when there are other cleaning methods that are less likely to damage the surface of the material. Evaluating the overall condition of the interior materials, features, and finishes to determine whether more than protection and maintenance, such as repairs to features and finishes, will be necessary. Failing to undertake adequate measures to ensure the protection of interior materials, features, and finishes. Repairing interior features and finishes by patching, splicing, consolidating, or otherwise reinforcing the materials using recog- nized preservation methods. Removing interior features or finishes that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or untrained personnel, potentially causing fur- ther damage to historic materials. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing components of interior features when there are surviving prototypes (such as stairs, balustrades, wood paneling, columns, decorative wall finishes, and ornamental plaster or pressed -metal ceilings); or when the replacement can be based on documentary or physical evidence. The new work should match the old in material, design, scale, color, and finish. Replacing an entire interior feature when limited replacement of deteriorated and missing components is appropriate. Using replacement material that does not match the historic interior feature or finish. 62 INTERIOR SPACES, FEATURES, AND FINISHES PRESERVATION BUILDING SIT g RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving features of the building site Altering buildings and their features or site features which are that are important in defining its overall historic character. Site important in defining the overall historic character of the property features may include walls, fences, or steps; circulation systems, such as walks, paths, or roads; vegetation, such as trees, shrubs, grass, orchards, hedges, windbreaks, or gardens; landforms, such as hills, terracing, or berms; furnishings and fixtures, such as light posts or benches; decorative elements, such as sculpture, statuary, or monuments; water features, including fountains, streams, pools, lakes, or irrigation ditches; and subsurface archeological resources, other cultural or religious features, or burial grounds which are also important to the site. so that, as a result, the character is diminished. Retaining the historic relationship between buildings and the Removing or relocating buildings or landscape features, thereby landscape. destroying the historic relationship between buildings and the landscape. [21] (a) The formal garden on the property of the 1826 Beauregard- Keyes House in New Orleans (b) is integral to the character of the site. BUILDING SITE 63 PRESERVATION RECOMMENDED NOT RECOMMENDED Stabilizing deteriorated or damaged building and site features as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize a deteriorated or damaged building or site feature until additional work can be undertaken, thereby allowing further damage to occur to the building site. Protecting and maintaining buildings and site features by provid- ing proper drainage to ensure that water does not erode founda- tion walls, drain toward the building, or damage or erode the landscape. Failing to ensure that site drainage is adequate so that buildings and site features are damaged or destroyed; or, alternatively, chang- ing the site grading so that water does not drain properly. Minimizing disturbance of the terrain around buildings or elsewhere on the site, thereby reducing the possibility of destroy- ing or damaging important landscape features, archeological resources, other cultural or religious features, or burial grounds. Using heavy machinery or equipment in areas where it may disturb or damage important landscape features, archeological resources, other cultural or religious features, or burial grounds. Protecting (e.g., preserving in place) important site features, archeological resources, other cultural or religious features, or burial grounds. Leaving known site features or archeological material unprotected so that it is damaged during preservation work. Planning and carrying out any necessary investigation before preservation begins, using professional archeologists and meth- ods when preservation in place is not feasible. Allowing unqualified personnel to perform data recovery on archeo- logical resources, which can result in damage or loss of important archeological material. Preserving important landscape features through regularly-sched- uled maintenance of historic plant material. Allowing important landscape features or archeological resources to be lost, damaged, or to deteriorate due to inadequate protection or lack of maintenance. Protecting the building site and landscape features against arson and vandalism before preservation work begins by erecting tem- porary fencing and by installing alarm systems keyed into local protection agencies. Leaving the property unprotected and subject to vandalism before work begins so that the building site and landscape features, archeological resources, other cultural or religious features, or burial grounds can be damaged or destroyed. Installing protective fencing, bollards, and stanchions on a build- ing site, when necessary for security, that are as unobtrusive as possible. Installing protective fencing, bollards, and stanchions on a building site, when necessary for security, without taking into consideration their location and visibility so that they negatively impact the his- toric character of the site. Providing continued protection and maintenance of buildings and landscape features on the site through appropriate grounds or landscape management. Removing or destroying features from the site, such as fencing, paths or walkways, masonry balustrades, or plant material. 64 BUILDING SITE PRESERVATION BUILDING SITE RECOMMENDED NOT RECOMMENDED Protecting building and landscape features when working on the site. Failing to protect building and landscape features during work on the site. Evaluating the overall condition of the site to determine whether more than protection and maintenance, such as repairs to materi- als and features, will be necessary. Failing to undertake adequate measures to ensure the protection of the site. Repairing building and site features which have damaged, dete- riorated, or missing components to reestablish the whole feature and to ensure retention of the integrity of historic materials. Failing to repair damaged or deteriorated site features. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after stabilization, and repair concerns have been addressed. protection, Limited Replacement in Kind Replacing in kind extensively deteriorated or missing features of the site when there are surviving prototypes, such as part of a fountain, portions of a walkway, or a hedge, or when the replace- ment can be based on documentary or physical evidence. The new work should match the old in material, design, scale, and color. Replacing an entire feature of the building or site when limited replacement of deteriorated or missing components is appropriate. Using replacement material that does not match the historic site feature. 1 [22 a-b] The 1907 Commander General's Quarters facing Continental Park is one of many important structures that contribute to the historic significance and character of Fort Monroe, a National Monument, in Hampton, VA. BUILDING SITE 65 PRESERVATION SETTING (DISTRICT / NEIGHBORHOOD) RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving building and landscape fea- Altering those building and landscape features of the setting which tures that are important in defining the overall historic character of the setting. Such features can include circulation systems, such as roads and streets; furnishings and fixtures, such as light posts or benches; vegetation, gardens, and yards; adjacent open space, such as fields, parks, commons, or woodlands; and impor- tant views or visual relationships. are important in defining its historic character so that, as a result, the character is diminished. Retaining the historic relationship between buildings and Altering the relationship between the buildings and landscape fea- landscape features in the setting. For example, preserving the tures in the setting by widening existing streets, changing landscape relationship between a town common or urban plaza and the materials, or locating new streets or parking areas where they may adjacent houses, municipal buildings, roads, and landscape and streetscape features. negatively impact the historic character of the setting. Removing or relocating historic buildings or landscape features, thereby destroying the historic relationship between buildings and the landscape in the setting. [23] The city square is important in defining the character of the historic setting in this small town. 66 SETTING (DISTRICT/NEIGHBORHOOD) PRESERVATION [24] Cast-iron porches and wrought -iron fences from the late 19th century typify this block in an urban historic district. [25] Street names in tile set into the sidewalk are distinctive features in this historic district. SETTING (DISTRICT/NEIGHBORHOOD) 67 PRESERVATION 1 RECOMMENDED NOT RECOMMENDED Stabilizing deteriorated or damaged building or landscape fea- tures in the setting as a preliminary measure, when necessary, prior to undertaking preservation work. Failing to stabilize a deteriorated or damaged building or landscape feature in the setting until additional work can be undertaken, thereby allowing further damage to occur to the setting. Protecting and maintaining historic features in the setting through regularly -scheduled maintenance and landscape man- agement. Failing to protect and maintain materials in the setting on a cycli- cal basis so that deterioration of building and landscape features results. Stripping or removing historic features from buildings or the setting, such as a porch, fencing, walkways, or plant material. Installing protective fencing, bollards, and stanchions in the setting, when necessary for security, that are as unobtrusive as possible. Installing protective fencing, bollards, and stanchions in the setting, when necessary for security, without taking into consideration their location and visibility so that they negatively impact the historic character of the setting. Protecting building and landscape features when undertaking work in the setting. Failing to protect building and landscape features during work in the setting. Evaluating the overall condition of materials and features to determine whether more than protection and maintenance, such as repairs to materials and features in the setting, will be neces- sary. Failing to undertake adequate measures to ensure the protection of materials and features of the setting. Repairing features in the setting by reinforcing the historic mate- rials, using recognized preservation methods. Removing material that could be repaired or using improper repair techniques. The following work is highlighted to indicate that it represents the greatest degree of intervention generally recommended within the treatment Preservation, and should only be considered after protection, stabilization, and repair concerns have been addressed. Limited Replacement in Kind Replacing in kind extensively deteriorated or missing compo- nents of building and landscape features in the setting when there are surviving prototypes, such as balustrades or paving materials, or when the replacement can be based on documen- tary or physical evidence. The new work should match the old in material, design, scale, and color. Replacing an entire feature of the building or landscape when lim- ited replacement of deteriorated or missing components is appropri- ate. Using replacement material that does not match the historic build - ing or landscape feature. 68 SETTING (DISTRICT/NEIGHBORHOOD) PRESERVATION I RECOMMENDED NOT RECOMMENDED Sensitive solutions to meeting code requirements are an important part of protecting done to meet accessibility and life -safety requirements in the treatment Preservation and site. the historic character of the building and site. Thus, work that must be must also be assessed for its potential impact on the historic building ACCESSIBILITY Identifying the historic building's character -defining exterior features, interior spaces, features, and finishes, and features of the site and setting which may be affected by accessibility code- required work. Undertaking accessibility code -required alterations before identify - ing those exterior features, interior spaces, features, and finishes, and features of the site and setting which are character defining and, therefore, must be preserved. Complying with barrier -free access requirements in such a manner that the historic building's character -defining exterior fea- tures, interior spaces, features, and finishes, and features of the site and setting are preserved or impacted as little as possible. Altering, damaging, or destroying character -defining exterior fea- tures, interior spaces, features, and finishes, or features of the site and setting while making modifications to a building, its site, or setting to comply with accessibility requirements. Working with specialists in accessibility and historic preservation to determine the most sensitive solutions to comply with access requirements in a historic building, its site, and setting. Making changes to historic buildings, their sites, and setting without first consulting with specialists in accessibility and historic preservation to determine the most appropriate solutions to comply with accessibility requirements. Providing barrier -free access that promotes independence for the user while preserving significant historic features. Making access modifications that do not provide independent, safe access or preserve historic features. Finding solutions to meet accessibility requirements that mini- mize the impact of any necessary alteration for accessibility on the historic building, its site, or setting, such as compatible ramps, paths, and lifts. Making modifications for accessibility without considering the impact on the historic building, its site, and setting. CODE -REQUIRED WORK I ACCESSIBILITY 69 PRESERVATION ■ RECOMMENDED NOT RECOMMENDED Using relevant sections of existing codes regarding accessibility for historic buildings that provide alternative means of compli- ance when code -required work would otherwise negatively impact the historic character of the property. Minimizing the visual impact of accessibility ramps by install- ing them on secondary elevations when it does not compromise accessibility or by screening them with plantings. Adding a gradual slope or grade to the sidewalk, if appropriate, to access the entrance rather than installing a ramp that would be more intrusive to the historic character of the building and the district. Installing a lift as inconspicuously as possible when it is neces- sary to locate it on a primary elevation of the historic building. Installing a lift at a primary entrance without considering other options or locations. [26] A temporary ramp — unobtrusive and easily removed —facilitates access to the entrance of this museum and does not affect its historic character. [27] The access ramp at the left of the entrance is concealed by a hedge which minimizes its visibility and impact on the character of the historic apartment building. 70 CODE -REQUIRED WORK I ACCESSIBILITY PRESERVATION CODE -REQUIRED WORK ■ RECOMMENDED NOT RECOMMENDED LIFE SAFETY Identifying the historic building's character -defining exterior ' features, interior spaces, features, and finishes, and features of the site and setting which may be affected by life -safety code- required work. I Undertaking life -safety code -required alterations before identifying those exterior features, interior spaces, features, and finishes, and features of the site and setting which are character defining and, therefore, must be preserved. Complying with life -safety codes (including requirements for impact-resistant glazing, security, and seismic retrofit) in such a manner that the historic building's character -defining exterior fea- tures, interior spaces, features, and finishes, and features of the site and setting are preserved or impacted as little as possible. Altering, damaging, or destroying character -defining exterior fea- tures, interior spaces, features, and finishes, or features of the site and setting while making modifications to a building, its site, or setting to comply with life -safety code requirements. Removing building materials only after testing has been con- ducted to identify any hazardous materials, and using only the least damaging abatement methods. Removing building materials without testing first to identify any hazardous materials, or using potentially damaging methods of abatement. Providing workers with appropriate personal equipment for pro- tection from hazards on the worksite. 1 Removing hazardous or toxic materials without regard for work- ers' health and safety or environmentally -sensitive disposal of the materials. Working with code officials and historic preservation specialists to investigate systems, methods, or devices to make the build- ing compliant with life -safety codes to ensure that necessary alterations will be compatible with the historic character of the building. Making life -safety code -required changes to the building without consulting code officials and historic preservation specialists, with the result that alterations negatively impact the historic character of the building. Using relevant sections of existing codes regarding life safety for historic buildings that provide alternative means of code compli- ance when code -required work would otherwise negatively impact the historic character of the building. Upgrading historic stairways and elevators to meet life -safety codes so that they are not damaged or otherwise negatively impacted. Damaging or making inappropriate alterations to historic stairways and elevators or to adjacent spaces, features, or finishes in the process of doing work to meet code requirements. Installing sensitively -designed fire -suppression systems, such as sprinklers, so that historic features and finishes are preserved. Covering character -defining wood features with fire -retardant sheathing, which results in altering their appearance. Applying fire -retardant coatings when appropriate, such as intu- mescent paint, to protect steel structural systems. Using fire -retardant coatings if they will damage or obscure charac- ter -defining features. [28] A simple railing added on the inner side of an elaborate wood and cast-iron stair railing meets life -safety code requirements without greatly impacting its historic character. [29] A safety cone outside of a house where lead paint is being removed warns of the hazardous conditions on the site. CODE -REQUIRED WORK I LIFE SAFETY 71 PRESERVATION I 1 RECOMMENDED NOT RECOMMENDED Resilience to natural hazards should be addressed as part of a Preservation project. A historic building may have existing characteristics or features that help to address or minimize the impacts of natural hazards. These should always be used to best advantage when considering new adaptive treatments so as to have the least impact on the historic character of the building its site, and setting. Identifying the vulnerabilities of the historic property to the impacts of natural hazards (such as wildfires, hurricanes, or tornadoes) using the most current climate information and data available. Failing to identify and periodically reevaluate the potential vulner- ability of the building, its site, and setting to the impacts of natural hazards. Assessing the potential impacts of known vulnerabilities on character -defining features of the building, its site, and setting, and reevaluating and reassessing potential impacts on a regular basis. Documenting the property and its character -defining features as a record and guide for future repair work, should it be necessary, and storing the documentation in a weatherproof location. Failing to document the historic property and its character -defining features with the result that such information is not available in the future to guide repair or reconstruction work, should it be necessary. Ensuring that historic resource inventories and maps are accu- rate, up to date, and accessible in an emergency. Maintaining the building, its site, and setting in good repair, and regularly monitoring character -defining features. Failing to regularly monitor and maintain the property and building systems in good repair. Using and maintaining existing characteristics and features of the historic building, its site, setting, and larger environment (such as shutters for storm protection or a site wall that keeps out flood waters) that may help to avoid or minimize the impacts of natural hazards. Undertaking work to prevent or minimize the loss, damage, or destruction of the historic property while retaining and preserving significant features and the overall historic character of the build- ing, its site, and setting. Allowing loss, damage, or destruction to occur to the historic build - ing, its site, or setting by failing to evaluate potential future impacts of natural hazards or to plan and implement adaptive measures, if necessary to address possible threats. Ensuring that, when planning work to adapt for natural hazards, all feasible alternatives are considered, and that options requiring the least alteration are considered first. 72 RESILIENCE TO NATURAL HAZARDS PRESERVATION RESILIENCE TO NATURAL HAZARDS. RECOMMENDED NOT RECOMMENDED Implementing local and regional traditions (such as elevating residential buildings at risk of flooding or reducing flammable vegetation around structures in fire -prone areas) for adapting buildings and sites to specific natural hazards, when appropriate. Such traditional methods may be appropriate if they are com- patible with the historic character of the building, its site, and setting. Implementing a treatment traditionally used in another region or one typically used for a different property type or architectural style which is not compatible with the historic character of the property. Using special exemptions and variances when adaptive treat- ments to protect buildings from known hazards would otherwise negatively impact the historic character of the building, its site, or setting. Considering adaptive options, whenever possible, that would protect multiple historic resources, if the treatment can be imple- mented without negatively impacting the historic character of the setting or district, or archeological resources, other cultural or religious features, or burial grounds. [30] Historic window shutters still serve their original function as protection in hurricane - prone areas. RESILIENCE TO NATURAL HAZARDS 73 PRESERVATION Sustainability Sustainability should be addressed as part of a Preservation project. Good preservation practice is often synonymous with sustainability. Existing energy -efficient features should be retained and repaired. New sustainability treatments generally should be limited to updating existing features and systems to have the least impact on the historic character of the building. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. Although specifically developed for the treatment Rehabilitation, the Sustainability Guidelines can be used to help guide the other treatments. [31] An interior screen door at the entrance to individual apartments is a historic feature traditionally used to help circulate air throughout the building. 74 SUSTAINIBILITY REHABILITATION STANDARDS FOR REHABILITATION & GUIDELINES FOR REHABILITATING HISTORIC BUILDINGS Rehabilitation 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. 75 REHABILITATION Standards for Rehabilitation i. A property will be used as it was historically or be given a new use that requires minimal change to its distinctive materials, features, spaces and spatial relationships. 2. The historic character of a property will be retained and preserved. The removal of dis- tinctive materials or alteration of features, spaces and spatial relationships that character- ize a property will be avoided. 3. Each property will be recognized as a physical record of its time, place and use. Changes that create a false sense of historical development, such as adding conjectural features or elements from other historic properties, will not be undertaken. 4. Changes to a property that have acquired historic significance in their own right will be retained and preserved. 5. Distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that characterize a property will be preserved. 6. Deteriorated historic features will be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature will match the old in design, color, texture and, where possible, materials. Replacement of missing features will be substantiated by documentary and physical evidence. 7. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used. 8. Archeological resources will be protected and preserved in place. If such resources must be disturbed, mitigation measures will be undertaken. 9. New additions, exterior alterations, or related new construction will not destroy historic materials, features, and spatial relationships that characterize the property. The new work will be differentiated from the old and will be compatible with the historic materials, fea- tures, size, scale and proportion, and massing to protect the integrity of the property and its environment. io. New additions and adjacent or related new construction will be undertaken in such a manner that, if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired. 76 REHABILITATION GUIDELINES FOR REHABILITATING HISTORIC BUILDINGS INTRODUCTION In Rehabilitation, historic building materials and character -defining features are protected and maintained as they are in the treatment Preservation. However, greater latitude is given in the Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings to replace extensively deteriorated, damaged, or miss- ing features using either the same material or compatible substi- tute materials. Of the four treatments, only Rehabilitation allows alterations and the construction of a new addition, if necessary for a continuing or new use for the historic building. Identify, Retain, and Preserve Historic Materials and Features The guidance for the treatment Rehabilitation begins with recom- mendations to identify the form and detailing of those architectural materials and features that are important in defining the building's historic character and which must be retained to preserve that char- acter. Therefore, guidance on identifying, retaining, and preserving character -defining features is always given first. Protect and Maintain Historic Materials and Features After identifying those materials and features that are important and must be retained in the process of Rehabilitation work, then protecting and maintaining them are addressed. Protection generally involves the least degree of intervention and is preparatory to other work. Protection includes the maintenance of historic materials and features as well as ensuring that the property is protected before and during rehabilitation work. A historic building undergoing rehabilita- tion will often require more extensive work. Thus, an overall evalua- tion of its physical condition should always begin at this level. Repair Historic Materials and Features Next, when the physical condition of character -defining materials and features warrants additional work, repairing is recommended. Rehabilitation guidance for the repair of historic materials, such as masonry, again begins with the least degree of intervention possible. In rehabilitation, repairing also includes the limited replacement in kind or with a compatible substitute material of extensively dete- riorated or missing components of features when there are surviv- ing prototypes features that can be substantiated by documentary and physical evidence. Although using the same kind of material is always the preferred option, a substitute material may be an accept- able alternative if the form, design, and scale, as well as the substi- tute material itself, can effectively replicate the appearance of the remaining features. Replace Deteriorated Historic Materials and Features Following repair in the hierarchy, Rehabilitation guidance is pro- vided for replacing an entire character -defining feature with new material because the level of deterioration or damage of materials precludes repair. If the missing feature is character defining or if it is critical to the survival of the building (e.g., a roof), it should be replaced to match the historic feature based on physical or his - INTRODUCTION 77 REHABILITATION toric documentation of its form and detailing. As with repair, the preferred option is always replacement of the entire feature in kind (i.e., with the same material, such as wood for wood). However, when this is not feasible, a compatible substitute material that can reproduce the overall appearance of the historic material may be considered. It should be noted that, while the National Park Service guidelines recommend the replacement of an entire character -defining feature that is extensively deteriorated, the guidelines never recommend removal and replacement with new material of a feature that could reasonably be repaired and, thus, preserved. Design for the Replacement of Missing Historic Features When an entire interior or exterior feature is missing, such as a porch, it no longer plays a role in physically defining the historic character of the building unless it can be accurately recovered in form and detailing through the process of carefully documenting the historic appearance. If the feature is not critical to the survival of the building, allowing the building to remain without the feature is one option. But if the missing feature is important to the historic character of the building, its replacement is always recommended in the Rehabilitation guidelines as the first, or preferred, course of action. If adequate documentary and physical evidence exists, the feature may be accurately reproduced. A second option in a rehabilitation treatment for replacing a missing feature, particularly when the available information about the feature is inadequate to permit an accurate reconstruction, is to design a new feature that is compatible with the overall historic character of the building. The new design should always take into account the size, scale, and material of the building itself and should be clearly differentiated from the authentic historic features. For properties that have changed over time, and where those changes have acquired significance, reestablishing missing historic features generally should not be undertaken if the missing features did not coexist with the features currently on the building. Juxtaposing historic features that did not exist concurrently will result in a false sense of the building's history. Alterations Some exterior and interior alterations to a historic building are generally needed as part of a Rehabilitation project to ensure its continued use, but it is most important that such alterations do not radically change, obscure, or destroy character -defining spaces, materials, features, or finishes. Alterations may include changes to the site or setting, such as the selective removal of buildings or other features of the building site or setting that are intrusive, not character defining, or outside the building's period of significance. Code -Required Work: Accessibility and Life Safety Sensitive solutions to meeting code requirements in a Rehabilitation project are an important part of protecting the historic character of the building. Work that must be done to meet accessibility and life -safety requirements must also be assessed for its potential impact on the historic building, its site, and setting. Resilience to Natural Hazards Resilience to natural hazards should be addressed as part of a Rehabilitation project. A historic building may have existing characteristics or features that help to address or minimize the impacts of natural hazards. These should always be used to best advantage when considering new adaptive treatments so as to have the least impact on the historic character of the building, its site, and setting. 78 INTRODUCTION REHABILITATION Sustainability Sustainability should be addressed as part of a Rehabilitation proj- ect. Good preservation practice is often synonymous with sustain - ability. Existing energy -efficient features should be retained and repaired. Only sustainability treatments should be considered that will have the least impact on the historic character of the building. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. New Exterior Additions and Related New Construction Rehabilitation is the only treatment that allows expanding a historic building by enlarging it with an addition. However, the Rehabilita- tion guidelines emphasize that new additions should be considered only after it is determined that meeting specific new needs cannot be achieved by altering non -character -defining interior spaces. If the use cannot be accommodated in this way, then an attached exterior addition may be considered. New additions should be designed and constructed so that the character -defining features of the historic building, its site, and setting are not negatively impacted. Generally, a new addition should be subordinate to the historic building. A new addition should be compatible, but differentiated enough so that it is not confused as historic or original to the building. The same guidance applies to new construction so that it does not negatively impact the historic character of the building or its site. Rehabilitation as a Treatment. When repair and replacement of deteriorated features are necessary; when alterations or additions to the property are planned for a new or continued use; and when its depiction at a particular time is not appropriate, Rehabilitation may be considered as a treatment. Prior to undertaking work, a documentation plan for Rehabilitation should be developed. INTRODUCTION 79 REHABILITATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Identifying, retaining and preserving masonry features that are important in defining the overall historic character of the build- ing (such as walls, brackets, railings, cornices, window and door surrounds, steps, and columns) and decorative ornament and other details, such as tooling and bonding patterns, coatings, and color. Removing or substantially changing masonry features which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Replacing or rebuilding a major portion of exterior masonry walls that could be repaired, thereby destroying the historic integrity of the building. Applying paint or other coatings (such as stucco) to masonry that has been historically unpainted or uncoated to create a new appear- ance. Removing paint from historically -painted masonry. Protecting and maintaining masonry by ensuring that historic drainage features and systems that divert rainwater from masonry surfaces (such as roof overhangs, gutters, and downspouts) are intact and functioning properly. Failing to identify and treat the causes of masonry deterioration, such as leaking roofs and gutters or rising damp. Cleaning masonry only when necessary to halt deterioration or remove heavy soiling. Cleaning masonry surfaces when they are not heavily soiled to create a "like -new" appearance, thereby needlessly introducing chemicals or moisture into historic materials. Carrying out masonry cleaning tests when it has been determined that cleaning is appropriate. Test areas should be examined to ensure that no damage has resulted and, ideally, monitored over a sufficient period of time to allow long-range effects to be predicted. Cleaning masonry surfaces without testing or without sufficient time for the testing results to be evaluated. [1] An alkaline -based product is appropriate to use to clean historic marble because it will not damage the marble, which is acid sensitive. 80 MASONRY REHABILITATION [2] Mid-century modern building technology made possible the form of this parabola - shaped structure and its thin concrete shell construction. Built in 1961 as the lobby of the La Concha Motel in Las Vegas, it was designed by Paul Revere Williams, one of the first prominent African -American architects. It was moved to a new location and rehabilitated to serve as the Neon Museum, and is often cited as an example of Googie architecture. Credit: Photographed with permission at The Neon Museum, Las Vegas, Nevada. MASONRY 81 REHABILITATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Cleaning soiled masonry surfaces with the gentlest method pos- sible, such as using low-pressure water and detergent and natural bristle or other soft -bristle brushes. Cleaning or removing paint from masonry surfaces using most abrasive methods (including sandblasting, other media blasting, or high-pressure water) which can damage the surface of the masonry and mortar joints. Using a cleaning or paint -removal method that involves water or liquid chemical solutions when there is any possibility of freezing temperatures. Cleaning with chemical products that will damage some types of masonry (such as using acid on limestone or marble), or failing to neutralize or rinse off chemical cleaners from masonry surfaces. [3] Not Recommended: The white film on the upper corner of this historic brick row house is the result of using a scrub or slurry coating, rather than traditional repointing by hand, which is the recommended method. [4] Not Recommended: The quoins on the left side of the photo show that high-pressure abrasive blasting used to remove paint can damage even early 20th- century, hard -baked, textured brick and erode the mortar, whereas the same brick on the right, which was not abrasively cleaned, is undamaged. 82 MASONRY REHABILITATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Using biodegradable or environmentally -safe cleaning or paint - removal products. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using coatings that encapsulate lead paint, when possible, where the paint is not required to be removed to meet environmental regulations. Allowing only trained conservators to use abrasive or laser -clean- ing methods, when necessary, to clean hard -to -reach, highly - carved, or detailed decorative stone features. Removing damaged or deteriorated paint only to the next sound layer using the gentlest method possible (e.g., hand scraping) prior to repainting. Removing paint that is firmly adhered to masonry surfaces, unless the building was unpainted historically and the paint can be removed without damaging the surface. Applying compatible paint coating systems to historically -painted masonry following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting masonry features. Repainting historically -painted masonry features with colors that are appropriate to the historic character of the building and district. Using paint colors on historically -painted masonry features that are not appropriate to the historic character of the building and district. Protecting adjacent materials when cleaning or removing paint from masonry features. Failing to protect adjacent materials when cleaning or removing paint from masonry features. Evaluating the overall condition of the masonry to determine whether more than protection and maintenance, such as repairs to masonry features, will be necessary. Failing to undertake adequate measures to ensure the protection of masonry features. Repairing masonry by patching, splicing, consolidating, or other- wise reinforcing the masonry using recognized preservation meth- ods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing parts of masonry features when there are surviving prototypes, such as terra-cotta brackets or stone balusters. Removing masonry that could be stabilized, repaired, and con - served, or using untested consolidants and unskilled personnel, potentially causing further damage to historic materials. Replacing an entire masonry feature, such as a cornice or bal- ustrade, when repair of the masonry and limited replacement of deteriorated or missing components are feasible. MASONRY 83 REHABILITATION RECOMMENDED NOT RECOMMENDED Repairing masonry walls and other masonry features by repoint- ing the mortar joints where there is evidence of deterioration, such as disintegrating mortar, cracks in mortar joints, loose bricks, or damaged plaster on the interior. Removing non -deteriorated mortar from sound joints and then repointing the entire building to achieve a more uniform appear - ance. Removing deteriorated lime mortar carefully by hand raking the joints to avoid damaging the masonry. Using power tools only on horizontal joints on brick masonry in conjunction with hand chiseling to remove hard mortar that is deteriorated or that is a non -historic material which is causing damage to the masonry units. Mechanical tools should be used only by skilled masons in limited circumstances and generally not on short, vertical joints in brick masonry. Allowing unskilled workers to use masonry saws or mechanical tools to remove deteriorated mortar from joints prior to repointing. Duplicating historic mortar joints in strength, composition, color, and texture when repointing is necessary. In some cases, a lime- based mortar may also be considered when repointing Portland cement mortar because it is more flexible. Repointing masonry units with mortar of high Portland cement content (unless it is the content of the historic mortar). Using "surface grouting" or a "scrub" coating technique, such as a "sack rub" or "mortar washing," to repoint exterior masonry units instead of traditional repointing methods. Repointing masonry units (other than concrete) with a synthetic caulking compound instead of mortar. Duplicating historic mortar joints in width and joint profile when repointing is necessary. Changing the width or joint profile when repointing. Repairing stucco by removing the damaged material and patching with new stucco that duplicates the old in strength, composition, color, and texture. Removing sound stucco or repairing with new stucco that is differ - ent in composition from the historic stucco. Patching stucco or concrete without removing the source of deterio- ration. Replacing deteriorated stucco with synthetic stucco, an exterior finish and insulation system (EFIS), or other non-traditional materi- als. 84 MASONRY REHABILITATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Using mud plaster or a compatible lime -plaster adobe render, when appropriate, to repair adobe. Applying cement stucco, unless it already exists, to adobe. Sealing joints in concrete with appropriate flexible sealants and backer rods, when necessary. Cutting damaged concrete back to remove the source of deterio- ration, such as corrosion on metal reinforcement bars. The new patch must be applied carefully so that it will bond satisfactorily with and match the historic concrete. Patching damaged concrete without removing the source of deterio- ration. [5] Rebars in the reinforced concrete ceiling have rusted, causing the concrete to spall. The rebars must be cleaned of rust before the concrete can be patched. [6] Some areas of the concrete brise soleil screen on this building constructed in 1967 are badly deteriorated. If the screen cannot be repaired, it may be replaced in kind or with a composite substitute material with the same appearance as the concrete. MASONRY 85 REHABILITATION [7] (a) J.W. Knapp's Department Store, built 1937-38, in Lansing, MI, was constructed with a proprietary material named "Maul Macotta" made of enameled steel and cast -in -place concrete panels. Prior to its rehabilitation, a building inspection revealed that, due to a flaw in the original design and construction, the material was deteriorated beyond repair. The architects for the rehabilitation project devised a replacement system (b) consisting of enameled aluminum panels that matched the original colors (c). Photos and drawing (a-b): Quinn Evans Architects; Photo (c): James Haefner Photography. 86 MASONRY REHABILITATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Using a non -corrosive, stainless -steel anchoring system when replacing damaged stone, concrete, or terra-cotta units that have failed. Applying non -historic surface treatments, such as water-repellent coatings, to masonry only after repointing and only if masonry repairs have failed to arrest water penetration problems. Applying waterproof, water-repellent, or non -original historic coat - ings (such as stucco) to masonry as a substitute for repointing and masonry repairs. Applying permeable, anti -graffiti coatings to masonry when appropriate. Applying water-repellent or anti -graffiti coatings that change the historic appearance of the masonry or that may trap moisture if the coating is not sufficiently permeable. Replacing in kind an entire masonry feature that is too deterio- rated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documenta- tion. Examples can include large sections of a wall, a cornice, pier, or parapet. If using the same kind of material is not feasible, then a compatible substitute material may be considered. Removing a masonry feature that is unrepairable and not replacing it, or replacing it with a new feature that does not match. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the masonry feature. The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Designing the Replacement for Missing Historic Features Creating an inaccurate appearance because the replacement for the missing masonry feature is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Introducing a new masonry feature that is incompatible in size, scale, material, or color. Designing and installing a replacement masonry feature, such as a step or door pediment, when the historic feature is completely missing. It may be an accurate restoration based on documentary and physical evidence, but only when the historic feature to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. MASONRY 87 REHABILITATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Identifying, retaining and preserving wood features that are I Removing or substantially changing wood features which are impor- important in defining the overall historic character of the building (such as siding, cornices, brackets, window and door surrounds, and steps) and their paints, finishes, and colors. tant in defining the overall historic character of the building so that, as a result, the character is diminished. Removing a major portion of the historic wood from a fa9ade instead of repairing or replacing only the deteriorated wood, then reconstructing the fa9ade with new material to achieve a uniform or "improved" appearance. Changing the type of finish, coating, or historic color of wood fea- tures, thereby diminishing the historic character of the exterior. Failing to renew failing paint or other coatings that are historic finishes. Stripping historically -painted surfaces to bare wood and applying a clear finish rather than repainting. Stripping paint or other coatings to reveal bare wood, thereby exposing historically -coated surfaces to the effects of accelerated weathering. Removing wood siding (clapboards) or other covering (such as stucco) from log structures that were covered historically, which changes their historic character and exposes the logs to accelerated deterioration. Protecting and maintaining wood features by ensuring that his- Failing to identify and treat the causes of wood deterioration, such toric drainage features that divert rainwater from wood surfaces as faulty flashing, leaking gutters, cracks and holes in siding, dete- (such as roof overhangs, gutters, and downspouts) are intact and riorated caulking in joints and seams, plant material growing too functioning properly. close to wood surfaces, or insect or fungal infestation. 88 WOOD REHABILITATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Applying chemical preservatives or paint to wood features that are subject to weathering, such as exposed beam ends, outrig- gers, or rafter tails. Using chemical preservatives (such as creosote) which, unless they were used historically, can change the appearance of wood features. Implementing an integrated pest management plan to identify appropriate preventive measures to guard against insect damage, such as installing termite guards, fumigating, and treating with chemicals. Retaining coatings (such as paint) that protect the wood from moisture and ultraviolet light. Paint removal should be consid- ered only when there is paint surface deterioration and as part of an overall maintenance program which involves repainting or applying other appropriate coatings. Stripping paint or other coatings from wood features without recoat- ing. [8] Rotted clapboards have been replaced selectively with new wood siding to match the originals. WOOD 89 REHABILITATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Removing damaged or deteriorated paint to the next sound layer using the gentlest method possible (e.g., hand scraping and hand sanding) prior to repainting. Using potentially -damaging paint -removal methods on wood sur- faces, such as open -flame torches, orbital sanders, abrasive meth - ods (including sandblasting, other media blasting, or high-pressure water), or caustic paint -removers. Removing paint that is firmly adhered to wood surfaces. Using chemical strippers primarily to supplement other methods such as hand scraping, hand sanding, and thermal devices. Failing to neutralize the wood thoroughly after using chemical paint removers so that new paint may not adhere. Removing paint from detachable wood features by soaking them in a caustic solution, which may roughen the surface, split the wood, or result in staining from residual acids leaching out of the wood. Using biodegradable or environmentally -safe cleaning or paint - removal products. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using thermal devices (such as infrared heaters) carefully to remove paint when it is so deteriorated that total removal is nec- essary prior to repainting. Using a thermal device to remove paint from wood features without first checking for and removing any flammable debris behind them. Using thermal devices without limiting the amount of time the wood feature is exposed to heat. Using coatings that encapsulate lead paint, when possible, where the paint is not required to be removed to meet environmental regulations. Applying compatible paint coating systems to historically -painted wood following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting wood features. Repainting historically -painted wood features with colors that are appropriate to the building and district. Using paint colors on historically -painted wood features that are not appropriate to the building or district. 90 WOOD REHABILITATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Protecting adjacent materials when working on other wood features. Failing to protect adjacent materials when working on wood fea- tures. Evaluating the overall condition of the wood to determine whether more than protection and maintenance, such as repairs to wood features, will be necessary. Failing to undertake adequate measures to ensure the protection of wood features. [9] Smooth -surfaced cementitious siding (left) may be used to replace deteriorated wood siding only on secondary elevations that have minimal visibility. [10] Not Recommended: Cementitious siding with a raised wood -grain texture is not an appropriate material to replace historic wood siding, which has a smooth surface when painted. WOOD 91 REHABILITATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Repairing wood by patching, splicing, consolidating, or otherwise reinforcing the wood using recognized conservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of wood features when there are surviving prototypes, such as brackets, molding, or sections of siding. a Removing wood that could be stabilized, repaired, and conserved, or using untested consolidants and unskilled personnel, potentially causing further damage to historic materials. Replacing an entire wood feature, such as a cornice or balustrade, when repair of the wood and limited replacement of deteriorated or missing components is feasible. Replacing in kind an entire wood feature that is too deterio- rated to repair (if the overall form and detailing are still evident) using physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples of such wood features include a cornice, entablature, or a balustrade. If using wood is not feasible, then a compatible substitute material may be considered. Removing a wood feature that is unrepairable and not replacing it, or replacing it with a new feature that does not match. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the wood feature. Replacing a deteriorated wood feature or wood siding on a pri- mary or other highly -visible elevation with a new matching wood feature. Replacing a deteriorated wood feature or wood siding on a primary or other highly -visible elevation with a composite substitute mate - rial. The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Designing the Replacement for Missing Historic Features Designing and installing a replacement masonry feature, such as a step or door pediment, when the historic feature is completely missing. It may be an accurate restoration based on documentary and physical evidence, but only when the historic feature to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Creating an inaccurate appearance because the replacement for the missing masonry feature is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Introducing a new wood feature that is incompatible in size, scale, material, or color. 92 WOOD REHABILITATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving metal features that are important in defining the overall historic character of the building (such as columns, capitals, pilasters, spandrel panels, or stair- ways) and their paints, finishes, and colors. The type of metal should be identified prior to work because each metal has its own properties and may require a different treatment. Removing or substantially changing metal features which are impor- tant in defining the overall historic character of the building so that, as a result, the character is diminished. Removing a major portion of the historic metal from a fagade instead of repairing or replacing only the deteriorated metal, then reconstructing the fagade with new material to achieve a uniform or "improved" appearance. Protecting and maintaining metals from corrosion by providing proper drainage so that water does not stand on flat, horizontal surfaces or accumulate in curved decorative features. Failing to identify and treat the causes of corrosion, such as mois- ture from leaking roofs or gutters. Placing incompatible metals together without providing an appropri- ate separation material. Such incompatibility can result in galvanic corrosion of the less noble metal (e.g., copper will corrode cast iron, steel, tin, and aluminum). Cleaning metals when necessary to remove corrosion prior to repainting or applying appropriate protective coatings. Leaving metals that must be protected from corrosion uncoated after cleaning. [11] The stainless steel doors at the entrance to this Art Deco apartment building are important in defining its historic character and should be retained in place. METALS 93 REHABILITATION RECOMMENDED NOT RECOMMENDED Identifying the particular type of metal prior to any cleaning procedure and then testing to ensure that the gentlest cleaning method possible is selected; or, alternatively, determining that cleaning is inappropriate for the particular metal. Using cleaning methods which alter or damage the color, texture, or finish of the metal, or cleaning when it is inappropriate for the particular metal. Removing the patina from historic metals. The patina may be a protective layer on some metals (such as bronze or copper) as well as a distinctive finish. Using non -corrosive chemical methods to clean soft metals (such as lead, tinplate, terneplate, copper, and zinc) whose finishes can be easily damaged by abrasive methods. Cleaning soft metals (such as lead, tinplate, terneplate, copper, and zinc) with abrasive methods (including sandblasting, other abrasive media, or high-pressure water) which will damage the surface of the metal. Using the least abrasive cleaning method for hard metals (such as cast iron, wrought iron, and steel) to remove paint buildup and corrosion. If hand scraping and wire brushing have proven inef- fective, low-pressure abrasive methods may be used as long as they do not abrade or damage the surface. Using high-pressure abrasive techniques (including sandblasting, other media blasting, or high-pressure water) without first trying gentler cleaning methods prior to cleaning cast iron, wrought iron, or steel. Applying appropriate paint or other coatings to historically -coated metals after cleaning to protect them from corrosion. Applying paint or other coatings to metals (such as copper, bronze or stainless steel) if they were not coated historically, unless a coat- ing is necessary for maintenance. Repainting historically -painted metal features with colors that are appropriate to the building and district. Using paint colors on historically -painted metal features that are not appropriate to the building or district. Applying an appropriate protective coating (such as lacquer or wax) to a metal feature that was historically unpainted, such as a bronze door, which is subject to heavy use. 94 METALS REHABILITATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Protecting adjacent materials when cleaning or removing paint from metal features. Failing to protect adjacent materials when working on metal fea- tures. Evaluating the overall condition of metals to determine whether more than protection and maintenance, such as repairs to metal features, will be necessary. Failing to undertake adequate measures to ensure the protection of metal features. rf'!/J%'': Ijs t1r*• WM MI INOM 10111, 001.1.1.1 p.m ma am Ammo go h I. a ea es • Immo ��• on Imo I NoshMin di MN 9 IMMI in OM PM OM IN f I. T AIM ,.r fies —1 r [12] This historic steel window has been cleaned, repaired, and primed in preparation for painting and reglazing. [13] The gold -colored, anodized aluminum geodesic dome of the former Citizen's State Bank in Oklahoma City, OK, built in 1958 and designed by Robert Roloff, makes this a distinctive mid- 20th century building. METALS 95 REHABILITATION [14] Interior cast-iron columns have been cleaned and repainted as part of the rehabilitation of this historic market building for continuing use. [15] New enameled -metal panels were replicated to replace the original panels, which were too deteriorated to repair, when the storefront of this early 1950s building was recreated. 96 METALS REHABILITATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Repairing metal by reinforcing the metal using recognized pres- ervation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of features when there are surviving prototypes, such as column capitals or bases, store- fronts, railings and steps, or window hoods. Replacing in kind an entire metal feature that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples of such a feature could include cast-iron porch steps or steel -sash windows. If using the same kind of material is not fea- sible, then a compatible substitute material may be considered. Removing metals that could be stabilized, repaired, and conserved, or using improper repair techniques, or unskilled personnel, poten- tially causing further damage to historic materials. Replacing an entire metal feature, such as a column or balustrade, when repair of the metal and limited replacement of deteriorated or missing components are feasible. Removing a metal feature that is unrepairable and not replacing it, or replacing it with a new metal feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the metal feature or that is physically or chemically incompatible. The following work is highlighted to indicate that it is specific to Rehabilitati been addressed. on projects and should only be considered after the preservation concerns have Designing the Replacement for Missing Historic Features Designing and installing a replacement metal feature, such as a metal cornice or cast-iron column, when the historic feature is completely missing. It may be an accurate restoration based on documentary and physical evidence, but only when the historic feature to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Creating an inaccurate appearance because the replacement for the missing metal feature is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Introducing a new metal feature that is incompatible in size, scale, material, or color. METALS 97 REHABILITATION 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving roofs and their functional and decorative features that are important in defining the overall historic character of the building. The form of the roof (gable, hipped, gambrel, flat, or mansard) is significant, as are its deco- rative and functional features (such as cupolas, cresting, para- pets, monitors, chimneys, weather vanes, dormers, ridge tiles, and snow guards), roofing material (such as slate, wood, clay tile, metal, roll roofing, or asphalt shingles), and size, color, and patterning. w Removing or substantially changing roofs which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Removing a major portion of the historic roof or roofing material that is repairable, then rebuilding it with new material to achieve a more uniform or "improved" appearance. Changing the configuration or shape of a roof by adding highly vis- ible new features (such as dormer windows, vents, skylights, or a penthouse). Stripping the roof of sound historic material, such as slate, clay tile, wood, or metal. Protecting and maintaining roof by cleaning gutters and downspouts and replacing deteriorated flashing. Roof sheathing should also be checked for indications of moisture due to leaks or condensation. Failing to clean and maintain gutters and downspouts properly so that water and debris collect and cause damage to roof features, sheathing, and the underlying roof structure. Providing adequate anchorage for roofing material to guard against wind damage and moisture penetration. Allowing flashing, caps, and exposed fasteners to corrode, which accelerates deterioration of the roof. Protecting a leaking roof with a temporary waterproof membrane with a synthetic underlayment, roll roofing, plywood, or a tarpau- lin until it can be repaired. Leaving a leaking roof unprotected so that accelerated deteriora- tion of historic building materials (such as masonry, wood, plaster, paint, and structural members) occurs. Repainting a roofing material that requires a protective coating and was painted historically (such as a terneplate metal roof or gutters) as part of regularly -scheduled maintenance. Failing to repaint a roofing material that requires a protective coating and was painted historically as part of regularly -scheduled maintenance. Applying compatible paint coating systems to historically -painted roofing materials following proper surface preparation. Applying paint or other coatings to roofing material if they were not coated historically. Protecting a roof covering when working on other roof features. Failing to protect roof coverings when working on other roof features. Evaluating the overall condition of the roof and roof features to determine whether more than protection and maintenance, such as repairs to roof features, will be necessary. Failing to undertake adequate measures to ensure the protection of roof features. 98 ROOFS REHABILITATION 1 RECOMMENDED NOT RECOMMENDED Repairinga roof by ensuring that the existing historic or compat- ible non -historic roof covering is sound and waterproof. Repair may include the limited replacement in kind or with a compatible substitute material of missing materials (such as wood shingles, slates, or tiles) on a main roof, as well as those extensively deteriorated or missing components of features when there are surviving prototypes, such as ridge tiles, dormer roofing, or roof monitors. Using corrosion -resistant roof fasteners (e.g., nails and clips) to repair a roof to help extend its longevity. Replacing an entire roof feature when repair of the historic roof- ing materials and limited replacement of deteriorated or missing components are feasible. [16] The deteriorated asphalt shingles of this porch roof are being replaced in kind with matching shingles. ROOFS 99 REHABILITATION RECOMMENDED NOT RECOMMENDED Replacing in kind an entire roof covering or feature that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples of such a feature could include a large section of roofing, a dormer, or a chimney. If using the same kind of material is not feasible, then a compatible substitute material may be considered. Removing a feature of the roof that is unrepairable and not replac- ing it, or replacing it with a new roof feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the roof covering or the surviving components of the roof feature or that is physically or chemically incompatible. Replacing only missing or damaged roofing tiles or slates rather than replacing the entire roof covering. Failing to reuse intact slate or tile in good condition when only the roofing substrate or fasteners need replacement. Replacing an incompatible roof covering or any deteriorated non - historic roof covering with historically -accurate roofing material, if known, or another material that is compatible with the historic character of the building. The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Designing the Replacement for Missing Historic Features Designing and installing a new roof covering for a missing roof or a new feature, such as a dormer or a monitor, when the historic feature is completely missing. It may be an accurate restoration based on documentary and physical evidence, but only when the historic feature to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Creating an inaccurate appearance because the replacement for the missing roof feature is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Introducing a new roof feature that is incompatible in size, scale, material, or color. 100 ROOFS REHABILITATION III RECOMMENDED NOT RECOMMENDED Alterations and Additions for a New Use Installing mechanical and service equipment on the roof (such as heating and air-conditioning units, elevator housing, or solar panels) when required for a new use so that they are inconspicu- ous on the site and from the public right-of-way and do not damage or obscure character -defining historic features. Designing rooftop additions, elevator or stair towers, decks or ter- races, dormers, or skylights when required by a new or continu- ing use so that they are inconspicuous and minimally visible on the site and from the public right-of-way and do not damage or obscure character -defining historic features. Installing a green roof or other roof landscaping, railings, or furnishings that are not visible on the site or from the public right-of-way and do not damage the roof structure. Installing roof -top mechanical or service equipment so that it dam- ages or obscures character -defining roof features or is conspicuous on the site or from the public right-of-way. Changing a character -defining roof form, or damaging or destroying character -defining roofing material as a result of an incompatible rooftop addition or improperly -installed or highly -visible mechanical equipment. Installing a green roof or other roof landscaping, railings, or furnish- ings that are visible on the site and from the public right-of-way. [17] New wood elements have been used selectively to replace rotted wood on the underside of the roof in this historic warehouse. ROOFS 101 REHABILITATION 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving windows and their func- tional and decorative features that are important to the overall character of the building. The window material and how the window operates (e.g., double hung, casement, awning, or hopper) are significant, as are its components (including sash, muntins, ogee lugs, glazing, pane configuration, sills, mullions, casings, or brick molds) and related features, such as shutters. Removing or substantially changing windows or window features which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Changing the appearance of windows that contribute to the historic character of the building by replacing materials, finishes, or colors which noticeably change the sash, depth of the reveal, and muntin configurations; the reflectivity and color of the glazing; or the appearance of the frame. Obscuring historic wood window trim with metal or other material. Replacing windows solely because of peeling paint, broken glass, stuck sash, or high air infiltration. These conditions, in themselves, do not indicate that windows are beyond repair. Protecting and maintaining the wood or metal which comprises the window jamb, sash, and trim through appropriate treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain window materials on a cyclical basis so that deterioration of the window results. Protecting windows against vandalism before work begins by covering them and by installing alarm systems that are keyed into local protection agencies. Leaving windows unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected windows. Making windows weathertight by recaulking gaps in fixed joints and replacing or installing weatherstripping. Protecting windows from chemical cleaners, paint, or abrasion during work on the exterior of the building. Failing to protect historic windows from chemical cleaners, paint, or abrasion when work is being done on the exterior of the building. Protecting and retaining historic glass when replacing putty or repairing other components of the window. Failing to protect the historic glass when making window repairs. 102 WINDOWS REHABILITATION RECOMMENDED NOT RECOMMENDED Sustaining the historic operability of windows by lubricating friction points and replacing broken components of the operat- ing system (such as hinges, latches, sash chains or cords) and replacing deteriorated gaskets or insulating units. Failing to maintain windows and window components so that win - dows are inoperable, or sealing operable sash permanently. Failing to repair and reuse window hardware such as sash lifts, latches, and locks. Adding storm windows with a matching or a one -over -one pane configuration that will not obscure the characteristics of the his- toric windows. Storm windows improve energy efficiency and are especially beneficial when installed over wood windows because they also protect them from accelerated deterioration. Adding interior storm windows as an alternative to exterior storm windows when appropriate. [18] The historic metal storm windows in this 1920s office building were retained and repaired during the rehabilitation project. [19] Installing a mockup of a proposed replacement window can be helpful to evaluate how well the new windows will match the historic windows that are missing or too deteriorated to repair. WINDOWS 103 REHABILITATION [20 a-d] The original steel windows in this industrial building were successfully repaired as part of the rehabilitation project (left). 104 WINDOWS REHABILITATION • RECOMMENDED NOT RECOMMENDED Installing sash locks, window guards, removable storm windows, and other reversible treatments to meet safety, security, or energy conservation requirements. Evaluating the overall condition of the windows to determine whether more than protection and maintenance, such as repairs to windows and window features, will be necessary. Failing to undertake adequate measures to ensure the protection of window features. Repairing window frames and sash by patching, splicing, consoli- dating, or otherwise reinforcing them using recognized preserva- tion methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated, broken, or missing components of features when there are surviving prototypes, such as sash, sills, hardware, or shutters. Removing window features that could be stabilized, repaired, or conserved using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to the historic materials. Replacing an entire window when repair of the window and limited replacement of deteriorated or missing components are feasible. Removing glazing putty that has failed and applying new putty; or, if glass is broken, carefully removing all putty, replacing the glass, and reputtying. Installing new glass to replace broken glass which has the same visual characteristics as the historic glass. Replacing in kind an entire window that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compat- ible substitute material may be considered. Removing a character -defining window that is unrepairable or is not needed for the new use and blocking up the opening, or replacing it with a new window that does not match. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the window or that is physically incompatible. WINDOWS 105 REHABILITATION [21] The windows on the lower floor, which were too deteriorated to repair, were replaced with new steel windows matching the upper -floor historic windows that were retained. RECOMMENDED NOT RECOMMENDED Modifying a historic single -glazed sash to accommodate insulated glass when it will not jeopardize the soundness of the sash or significantly alter its appearance. Modifying a historic single -glazed sash to accommodate insulated glass when it will jeopardize the soundness of the sash or signifi- cantly alter its appearance. Using low-e glass with the least visible tint in new or replacement windows. Using low-e glass with a dark tint in new or replacement windows, thereby negatively impacting the historic character of the building. Using window grids rather than true divided lights on windows on the upper floors of high-rise buildings if they will not be notice- able. Using window grids rather than true divided lights on windows in low-rise buildings or on lower floors of high-rise buildings where they will be noticeable, resulting in a change to the historic charac- ter of the building. Ensuring that spacer bars in between double panes of glass are the same color as the window sash. Using spacer bars in between double panes of glass that are not the same color as the window sash. Replacing all of the components in a glazing system if they have failed because of faulty design or materials that have deteriorated with new material that will improve the window performance without noticeably changing the historic appearance. Replacing all of the components in a glazing system with new mate - rial that will noticeably change the historic appearance. Replacing incompatible, non -historic windows with new windows that are compatible with the historic character of the building; or reinstating windows in openings that have been filled in. The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Designing the Replacement for Missing Historic Features Creating an inaccurate appearance because the replacement for the missing window is based upon insufficient physical or historic docu- mentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Installing replacement windows made from other materials that are not the same as the material of the original windows if they would have a noticeably different appearance from the remaining historic windows. Designing and installing a new window or its components, such as frames, sash, and glazing, when the historic feature is com- pletely missing. It may be an accurate restoration based on documentary and physical evidence, but only when the historic feature to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. 106 WINDOWS REHABILITATION (a) (b) (c) [22] Not Recommended: (a-b) The original wood windows in this late-19th-century building, which were highly decorative, could likely have been repaired and retained. (c) Instead, they were replaced with new windows that do not match the detailing of the historic windows and, therefore, do not meet the Standards (above). WINDOWS 107 REHABILITATION [23] (a)This deteriorated historic wood window was repaired and retained (b) in this rehabilitation project. 108 WINDOWS REHABILITATION RECOMMENDED NOT RECOMMENDED Alterations and Additions for a New Use Adding new window openings on rear or other secondary, less - visible elevations, if required by a new use. The new openings and the windows in them should be compatible with the overall design of the building but, in most cases, not duplicate the historic fenestration. Replacing windows that are too deteriorated to repair using the same sash and pane configuration, but with new windows that operate differently, if necessary, to accommodate a new use. Any change must have minimal visual impact. Examples could include replacing hopper or awning windows with casement windows, or adding a realigned and enlarged operable portion of industrial steel windows to meet life -safety codes. Installing impact -resistant glazing, when necessary for security, so that it is compatible with the historic windows and does not damage them or negatively impact their character. Using compatible window treatments (such as frosted glass, appropriate shades or blinds, or shutters) to retain the historic character of the building when it is necessary to conceal mechan- ical equipment, for example, that the new use requires be placed in a location behind a window or windows on a primary or highly - visible elevation. Changing the number, location, size, or glazing pattern of windows on primary or highly -visible elevations which will alter the historic character of the building. Cutting new openings on character -defining elevations or cutting new openings that damage or destroy significant features. Adding balconies at existing window openings or new window open- ings on primary or other highly -visible elevations where balconies never existed and, therefore, would be incompatible with the his- toric character of the building. Replacing a window that contributes to the historic character of the building with a new window that is different in design (such as glass divisions or muntin profiles), dimensions, materials (wood, metal, or glass), finish or color, or location that will have a notice- ably different appearance from the historic windows, which may negatively impact the character of the building. Installing impact -resistant glazing, when necessary for security, that is incompatible with the historic windows and that damages them or negatively impacts their character. Removing a character -defining window to conceal mechanical equipment or to provide privacy for a new use of the building by blocking up the opening. WINDOWS 109 REHABILITATION [24] Rotted boards in the beaded -board porch ceiling are being replaced with new matching beaded board. ENTRANCES AND PORCHES 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving entrances and porches and their functional and decorative features that are important in defining the overall historic character of the building. The materi- als themselves (including masonry, wood, and metal) are signifi- cant, as are their features, such as doors, transoms, pilasters, columns, balustrades, stairs, roofs, and projecting canopies. Removing or substantially changing entrances and porches which are important in defining the overall historic character of the build - ing so that, as a result, the character is diminished. Cutting new entrances on a primary facade. Altering utilitarian or service entrances so they compete visually with the historic primary entrance; increasing their size so that they appear significantly more important; or adding decorative details that cannot be documented to the building or are incompatible with the building's historic character. Retaining a historic entrance or porch even though it will no longer be used because of a change in the building's function. Removing a historic entrance or porch that will no longer be required for the building's new use. Protecting and maintainingthe masonry, wood, and metals which comprise entrances and porches through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain entrance and porch materials on a cyclical basis so that deterioration of entrances and porches results. Protecting entrances and porches against arson and vandalism before work begins by covering them and by installing alarm systems keyed into local protection agencies. Leaving entrances and porches unprotected and subject to vandal - ism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting entrance and porch features when working on other features of the building. Failing to protect materials and features when working on other features of the building. Evaluating the overall condition of entrances and porches to determine whether more than protection and maintenance, such as repairs to entrance and porch features, will be necessary. Failing to undertake adequate measures to ensure the protection of entrance and porch features. Repairing entrances and porches by patching, splicing, consoli- dating, and otherwise reinforcing them using recognized preser- vation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated features or missing components of features when there are surviving prototypes, such as balustrades, columns, and stairs. Removing entrances and porches that could be stabilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to historic materials. Replacing an entire entrance or porch feature when repair of the feature and limited replacement of deteriorated or missing compo- nents are feasible. 110 ENTRANCES AND PORCHES REHABILITATION ENTRANCES AND PORCHES 1 RECOMMENDED NOT RECOMMENDED Replacing in kind an entire entrance or porch that is too deterio- rated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documenta- tion. If using the same kind of material is not feasible, then a compatible substitute material may be considered. Removing an entrance or porch that is unrepairable and not replac- ing it, or replacing it with a new entrance or porch that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of entrance or porch features or that is physically incompatible. [25] The new infill designs for the garage door openings in this commercial building (a) converted for restaurant use and in this mill building (b) rehabilitated for residential use are compatible with the historic character of the buildings. ENTRANCES AND PORCHES 111 REHABILITATION ■ ENTRANCES AND PORCHES 1 RECOMMENDED NOT RECOMMENDED The follawing work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation been addressed. Design the Rep acerren for Missing Historic Feat es Designing and installing a new entrance or porch when the historic feature is completely missing or has previously been replaced by one that is incompatible. It may be an accurate res- toration based on documentary and physical evidence, but only when the historic entrance or porch to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. have Creating an inaccurate appearance because the replacement for the missing entrance or porch is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Alterations and Additions for a New Use Enclosing historic porches on secondary elevations only, when required by a new use, in a manner that preserves the historic character of the building (e.g., using large sheets of glass and recessing the enclosure wall behind existing posts and balus- trades). Enclosing porches in a manner that results in a diminution or loss of historic character by using solid materials rather than clear glaz- ing, or by placing the enclosure in front of, rather than behind, the historic features. Designing and constructing additional entrances or porches on secondary elevations when required for the new use in a manner that preserves the historic character of the building (i.e., ensuring that the new entrance or porch is clearly subordinate to historic primary entrances or porches). Constructing secondary or service entrances and porches that are incompatible in size and scale or detailing with the historic building or that obscure, damage, or destroy character -defining features. [26] Not Recommended:Installing a screened enclosure is never recommended on a front or otherwise prominent historic porch. In limited instances, it may be possible to add screening on a porch at the rear or on a secondary facade; however, the enclosure should match the color of the porch and be placed behind columns and railings so that it does not obscure these features. 112 ENTRANCES AND PORCHES REHABILITATION STOREFRONT RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving storefronts and their func- Removing or substantially changing storefronts and their features tional and decorative features that are important in defining the which are important in defining the overall historic character of the overall historic character of the building. The storefront materials (including wood, masonry, metals, ceramic tile, clear glass, and pigmented structural glass) and the configuration of the store- building so that, as a result, the character is diminished. Changing the storefront so that it has a residential rather than com- front are significant, as are features, such as display windows, base panels, bulkheads, signs, doors, transoms, kick plates, corner posts, piers, and entablatures. The removal of inappropri- mercial appearance. Introducing features from an earlier period that are not compatible ate, non -historic cladding, false mansard roofs, and other later, non -significant alterations can help reveal the historic character of the storefront. with the historic character of the storefront. Changing the location of the storefront's historic main entrance. Replacing or covering a glass transom with solid material or inap- propriate signage, or installing an incompatible awning over it. Retaining later, non -original features that have acquired signifi- cance over time. Removing later features that may have acquired significance. [28] This new storefront, which replaced one that was missing, is compatible with the historic character of the building. STOREFRONTS 113 REHABILITATION STOREFRONT 1 RECOMMENDED NOT RECOMMENDED Protecting and maintaining masonry, wood, glass, ceramic tile, and metals which comprise storefronts through appropriate treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain storefront materials on a cyclical basis so that deterioration of storefront features results. Protecting storefronts against arson and vandalism before work begins by covering windows and doors and by installing alarm systems keyed into local protection agencies. Leaving the storefront unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting the storefront when working on other features of the building. Failing to protect the storefront when working on other features of the building. Evaluating the overall condition of the storefront to determine whether more than protection and maintenance, such as repairs to storefront features, will be necessary. Failing to undertake adequate measures to ensure the protection of storefront features. [27] This original c.1940s storefront, with its character - defining angled and curved glass display window and recessed entrance with a decorative terrazzo paving, is in good condition and should be retained in a rehabilitation project. 114 STOREFRONTS REHABILITATION STOREFRONT RECOMMENDED NOT RECOMMENDED Repairing storefronts by patching, splicing, consolidating, or otherwise reinforcing them using recognized preservation meth- ods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of storefronts when there are surviving prototypes, such as transoms, base panels, kick plates, piers, or signs. Replacing in kind an entire storefront that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compat- ible substitute material may be considered. Removing storefronts that could be stabilized, repaired, and con- served, or using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to historic materials. Replacing a storefront feature when repair of the feature and limited replacement of deteriorated or missing components are feasible. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the storefront or that is physically incompatible. Removing a storefront that is unrepairable and not replacing it or replacing it with a new storefront that does not match. The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Designing the Replacement for Missing Historic Features Designing and installing a new storefront when the historic storefront is completely missing or has previously been replaced by one that is incompatible. It may be an accurate restoration based on documentary and physical evidence, but only when the historic storefront to be replaced coexisted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Creating an inaccurate appearance because the replacement for the missing storefront is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature to be replaced did not coexist with the features currently on the building. Using new, over -scaled, or internally -lit signs unless there is a his- toric precedent for them or using other types of signs that obscure, damage, or destroy character -defining features of the storefront and the building. STOREFRONTS 115 REHABILITATION STOREFRONT 1 RECOMMENDED Replacing missing awnings or canopies that can be historically documented to the building, or adding new signage, awnings, or canopies that are compatible with the historic character of the building. NOT RECOMMENDED Adding vinyl awnings, or other awnings that are inappropriately sized or shaped, which are incompatible with the historic character of the building; awnings that do not extend over the entire length of the storefront; or large canopies supported by posts that project out over the sidewalk, unless their existence can be historically docu- mented. Alterations and Additions for a New Use Retaining the glazing and the transparency (i.e., which allows the openness of the interior to be experienced from the exterior) that is so important in defining the character of a historic storefront when the building is being converted for residential use. Window treatments (necessary for occupants' privacy) should be installed that are uniform and compatible with the commercial appearance of the building, such as screens or wood blinds. When display cases still exist behind the storefront, the screening should be set at the back of the display case. [29] The rehabilitation of the 1910 Ma'alaea General Store (a), which served the workers' camp at the Wailuku Sugar Company on the Hawaiian island of Maui, included the reconstruction of the original parapet (b). Replacing storefront glazing with solid material for occupants' pri- vacy when the building is being converted for residential use. Installing window treatments in storefront windows that have a resi- dential appearance, which are incompatible with the commercial character of the building. Installing window treatments that are not uniform in a series of repetitive storefront windows. 116 STOREFRONTS REHABILITATION CURTAIN WALLS 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving curtain wall systems and their components (metal framing members and glass or opaque panels) that are important in defining the overall historic charac- ter of the building. The design of the curtain wall is significant, as are its component materials (metal stick framing and panel materials, such as clear or spandrel glass, stone, terra cotta, metal, and fiber -reinforced plastic), appearance (e.g., glazing color or tint, transparency, and reflectivity), and whether the glaz- ing is fixed, operable or louvered glass panels. How a curtain wall is engineered and fabricated, and the fact that it expands and contracts at a different rate from the building's structural system, are important to understand when undertaking the rehabilitation of a curtain wall system. Removing or substantially changing curtain wall components which are important in defining the overall historic character of the build - ing so that, as a result, the character is diminished. Replacing historic curtain wall features instead of repairing or replacing only the deteriorated components. Protecting and maintaining curtain walls and their components through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems; and by making them watertight and ensuring that sealants and gaskets are in good condition. Failing to protect and maintain curtain wall components on a cycli- cal basis so that deterioration of curtain walls results. Failing to identify, evaluate, and treat various causes of curtain wall failure, such as open gaps between components where sealants have deteriorated or are missing. Protecting ground -level curtain walls from vandalism before work begins by covering them, while ensuring adequate ventilation, and by installing alarm systems keyed into local protection agencies. Leaving ground -level curtain walls unprotected and subject to van - dalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected glazing. Protecting curtain walls when working on other features of the building. Failing to protect curtain walls when working on other features of the building. Cleaning curtain wall systems only when necessary to halt dete- rioration or to remove heavy soiling. Cleaning curtain wall systems when they are not heavily soiled, thereby needlessly introducing chemicals or moisture into historic materials. CURTAIN WALLS 117 REHABILITATION 1 1M RECOMMENDED NOT RECOMMENDED Carrying out cleaning tests, when it has been determined that cleaning is appropriate, using only cleaning materials that will not damage components of the system, including factory -applied finishes. Test areas should be examined to ensure that no damage has resulted. Cleaning curtain wall systems without testing or using cleaning materials that may damage components of the system. Evaluating the overall condition of curtain walls to determine whether more than protection and maintenance, such as repair of curtain wall components, will be necessary. Failing to undertake adequate measures to protect curtain wall components. Repairing curtain walls by ensuring that they are watertight by augmenting existing components or replacing deteriorated or missing sealants or gaskets, where necessary, to seal any gaps between system components. Repair may include the limited replacement of those extensively deteriorated or missing compo- nents of curtain walls when there are surviving prototypes. Removing curtain wall components that could be repaired or using improper repair techniques. Replacing an entire curtain wall system when repair of materials and limited replacement of deteriorated or missing components are feasible. Applying sealants carefully so that they are not readily visible. Replacing in kind a component or components of a curtain wall system that are too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature. If using the same kind of material is not feasible, then a compatible substitute material may be consid- ered as long as it has the same finish and appearance. Removing a curtain wall component or the entire system, if neces- sary, that is unrepairable and not replacing it or replacing it with a new component or system that does not convey the same appear - ance. Replacing masonry, metal, glass, or other components of a curtain wall system (or the entire system, if necessary) which have failed because of faulty design with substitutes that match the original as closely as possible and which will reestablish the viability and performance of the system. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the curtain wall or that is physically incompatible. 118 CURTAIN WALLS REHABILITATION srxinm.w MOIM• t i31E pIN C 1'A,,AAil "'r;rEY PtiOrQSEr (1RTA'QNA»I Teti iLk! [30] Rather than replace the original curtain wall system of the 1954 Simms Building in Albuquerque, NM, with a different color tinted glass or coat it with a non - historic reflective film, the HVAC system was updated to improve energy efficiency. Photo: Harvey M. Kaplan. [31 a-c:] (a) The rehabilitation of the First Federal Savings and Loan Association building in Birmingham, AL, constructed in 1961, required replacing the deteriorated historic curtain wall system because the framing and the fasteners holding the spandrel glass and the windows had failed. (b) Comparative drawings show that the differences between the replacement system, which incorporated new insulated glass to meet wind -load requirements, and the original system are minimal. (c) The replacement system, shown after completion of the project, has not altered the historic character of the building. CURTAIN WALLS 119 REHABILITATION RECOMMENDED NOT RECOMMENDED The following work is highlighted to indicate that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have been addressed. Des gni g the -enlace er?t for Missing Historic Feature Designing and installing a new curtain wall or its components when the historic feature is completely missing. It may be an accurate restoration based on documentary and physical evi- dence, but only when the historic feature to be replaced coex- isted with the features currently on the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Alterations and Additions for a New Use Installing new glazing or an entire new curtain wall system, when necessary to meet safety -code requirements, with dimensions, detailing, materials, colors, and finish as close as possible to the historic curtain wall components. Creating an inaccurate appearance because the replacement for the missing curtain wall component is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature did not coexist with the features currently on the building. Introducing a new curtain wall component that is incompatible in size, scale, material, color, and finish. Installing new glazing or an entire new curtain wall system, when necessary to meet safety -code requirements, with dimensions and detailing that is significantly different from the historic curtain wall components. Installing impact -resistant glazing, when necessary for security, so that it is compatible with the historic windows and does not damage them or negatively impact their character. Installing impact -resistant glazing in a curtain wall system, when necessary for security, that is incompatible with the historic curtain walls and damages them or negatively impacts their character. 120 CURTAIN WALLS REHABILITATION STRUCTURAL SYSTEMS 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving structural systems and vis- Removing or substantially changing visible features of historic ible features of systems that are important in defining the overall structural systems which are important in defining the overall his - historic character of the building. This includes the materials that toric character of the building so that, as a result, the character is comprise the structural system (i.e., wood, metal and masonry), the type of system, and its features, such as posts and beams, trusses, summer beams, vigas, cast-iron or masonry columns, above -grade stone foundation walls, or load -bearing masonry walls. diminished. Overloading the existing structural system, or installing equipment or mechanical systems which could damage the structure. Replacing a load -bearing masonry wall that could be augmented and retained. Leaving known structural problems untreated, such as deflected beams, cracked and bowed walls, or racked structural members. Protecting and maintaining the structural system by keeping Failing to protect and maintain the structural system on a cyclical gutters and downspouts clear and roofing in good repair; and by ensuring that wood structural members are free from insect infestation. basis so that deterioration of the structural system results. Using treatments or products that may retain moisture, which accelerates deterioration of structural members. [33] Retaining as much as possible of the historic wood sill plate and replacing only the termite -damaged wood is always the preferred and recommended treatment. STRUCTURAL SYSTEMS 121 REHABILITATION STRUCTURAL SYSTEM RECOMMENDED NOT RECOMMENDED Evaluating the overall condition of the structural system to deter- Failing to undertake adequate measures to ensure the protection of mine whether more than protection and maintenance, such as repairs to structural features, will be necessary. structural systems. Repairing the structural system by augmenting individual com- Upgrading the building structurally in a manner that diminishes the ponents, using recognized preservation methods. For example, weakened structural members (such as floor framing) can be paired or sistered with a new member, braced, or otherwise supplemented and reinforced. historic character of the exterior or that damages interior features or spaces. Replacing a historic structural feature in its entirety or in part when it could be repaired or augmented and retained. [32] (a-b) The rehabilitation of the 1892 Carson Block Building in Eureka, CA, for its owner, the Northern California Indian Development Council, included recreating the missing corner turret and sensitively introducing seismic reinforcement (c) shown here (opposite page) in a secondary upper floor office space. Photos: Page & Turnbull. 122 STRUCTURAL SYSTEMS REHABILITATION STRUCTURAL SYSTEMS l RECOMMENDED NOT RECOMMENDED Installing seismic or structural reinforcement, when necessary, in a manner that minimizes its impact on the historic fabric and character of the building. Replacing in kind or with a compatible substitute material large Using substitute material that does not equal the load -bearing portions or entire features of the structural system that are either capabilities of the historic material; does not convey the same extensively damaged or deteriorated or that are missing when appearance of the historic material, if it is visible; or is physically there are surviving prototypes, such as cast-iron columns, trusses, or masonry walls. Substitute material must be structurally suf- ficient, physically compatible with the rest of the system, and, where visible, must have the same form, design, and appearance as the historic feature. incompatible. Installing a visible or exposed structural replacement feature that does not match. Replacing to match any interior features or finishes that may have to be removed to gain access to make structural repairs, and reusing salvageable material. STRUCTURAL SYSTEMS 123 REHABILITATION RECOMMENDED NOT RECOMMENDED The following work is highlighted to indicate been addressed. Zerati i= s and A•�� Limiting any new excavations next to that it is specific to Rehabilitation projects and should only be considered after the preservation concerns have s for a New Use historic foundations to avoid Carrying out excavations or regrading land adjacent to a historic building which could cause the historic foundation to settle, shift, or fail, or which could destroy significant archeological resources. unde�lII. ning the structural stability of the budding or adjacent historic buildings. The area next to the building foundation should be investigated first to ascertain potential damage to site features or archeological resources. Correcting structural deficiencies needed to accommodate a new use in a manner that preserves the structural system and indi- vidual character -defining features. Making substantial changes to significant interior spaces or damag- ing or destroying features or finishes that are character defining to correct structural deficiencies. Designing and installing new mechanical or electrical equipment, when necessary, in a manner that minimizes the number and size of cuts or holes in structural members. Installing new mechanical or electrical equipment in a manner which reduces the load -bearing capacity of historic structural mem- bers. Inserting a new floor when required for the new use if it does not negatively impact the historic character of the interior space; and if it does not damage the structural system, does not abut window glazing, and is not visible from the exterior of the building. Inserting a new floor that damages or destroys the structural system or abuts window glazing and is visible from the exterior of the build - ing and, thus, negatively impacts its historic character. Creating an atrium, light court, or lightwell to provide natural light when required for a new use only when it can be done in a manner that preserves the structural system and the historic character of the building. Removing structural features to create an atrium, light court, or lightwell if it negatively impacts the historic character of the build - ing. 124 STRUCTURAL SYSTEMS REHABILITATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving visible features of early mechanical systems that are important in defining the overall historic character of the building, such as radiators, vents, fans, grilles, and plumbing and lighting fixtures. Removing or substantially changing visible features of mechanical systems that are important in defining the overall historic character of the building so that, as a result, the character is diminished. Protecting and maintaining mechanical, plumbing, and electrical systems and their features through cyclical maintenance. Failing to protect and maintain a functioning mechanical system, plumbing, and electrical systems and their visible features on a cyclical basis so that their deterioration results. Improving the energy efficiency of existing mechanical systems to help reduce the need for a new system by installing storm windows, insulating attics and crawl spaces, or adding awnings, if appropriate. Evaluating the overall condition of mechanical systems to deter- mine whether more than protection and maintenance, such as repairs to mechanical system components, will be necessary. Failing to undertake adequate measures to ensure the protection of mechanical system components. Repairing mechanical systems by augmenting or upgrading system components (such as installing new pipes and ducts), rewiring, or adding new compressors or boilers. Replacing a mechanical system when its components could be upgraded and retained. Replacing in kind or with a compatible substitute material those extensively deteriorated or missing visible features of mechanical systems when there are surviving prototypes, such as ceiling fans, radiators, grilles, or plumbing fixtures. Installing a visible replacement feature of a mechanical system, if it is important in defining the historic character of the building, that does not convey the same appearance. MECHANICAL SYSTEMS 125 REHABILITATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING RECOMMENDED NOT RECOMMENDED The following work is highlighted to indicate that it is specific to Rehabilitation been addressed. projects and should only be considered after the preservation concerns have Zerati i= s and A•�� s for a New Use Installing a new mechanical system, if required, so that it results Installing a new mechanical system so that character -defining structural or interior features are radically changed, damaged, or destroyed. in the least alteration pus�iLle to the Ii. UliL Luildi1ig and its character -defining features. Providing adequate structural support for the new mechanical equipment. Failing to consider the weight and design of new mechanical equip - ment so that, as a result, historic structural members or finished surfaces are weakened or cracked. Installing new mechanical and electrical systems and ducts, pipes, and cables in closets, service areas, and wall cavities to preserve the historic character of the interior space. Installing systems and ducts, pipes, and cables in walls or ceilings in a manner that results in extensive loss or damage or otherwise obscures historic building materials and character -defining features. Concealing HVAC ductwork in finished interior spaces, when pos- sible, by installing it in secondary spaces (such as closets, attics, basements, or crawl spaces) or in appropriately -located, furred- down soffits. Leaving HVAC ductwork exposed in most finished spaces or install- ing soffits in a location that will negatively impact the historic character of the interior or exterior of the building. Installing exposed ductwork in a finished space when necessary to protect and preserve decorative or other features (such as column capitals, pressed -metal or ornamental plaster ceilings, coffers, or beams) that is painted, and appropriately located so that it will have minimal impact on the historic character of the space. Installing exposed ductwork in a finished space when necessary to protect and preserve decorative or other features that is not painted, or is located where it will negatively impact the historic character of the space. Lowering ceilings, installing a dropped ceiling, or constructing soffits to conceal ductwork in a finished space when this will not result in extensive loss or damage to historic materials or decora- tive and other features, and will not change the overall character of the space or the exterior appearance of the building (i.e., lowered ceilings or soffits visible through window glazing). Lowering ceilings, installing a dropped ceiling, or constructing sof- fits to conceal ductwork in a finished space in a manner that results in extensive loss or damage to historic materials or decorative and other features, and will change the overall character of the space or the exterior appearance of the building. 126 MECHANICAL SYSTEMS REHABILITATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING RECOMMENDED NOT RECOMMENDED Installing appropriately located, exposed ductwork in historically - unfinished interior spaces in industrial or utilitarian buildings. Installing a split system mechanical unit in a manner that will have minimal impact on the historic character of the interior and result in minimal loss of historic building material. Installing a split system mechanical unit without considering its impact on the historic character of the interior or the potential loss of historic building material. Installing heating or air conditioning window units only when the installation of any other system would result in significant damage or loss of historic materials or features. Installing mechanical equipment on the roof, when necessary, so that it is minimally visible to preserve the building's historic character and setting. Installing mechanical equipment on the roof that is overly large or highly visible and negatively impacts the historic character of the building or setting. Placing air conditioning compressors in a location on a secondary elevation of the historic building that is not highly visible. Placing air conditioning compressors where they are highly visible and negatively impact the historic character of the building or setting. [34] The new ceiling ducts installed during the conversion of this historic office building into apartments are minimal in design and discretely placed above the windows. MECHANICAL SYSTEMS 127 REHABILITATION INTERIOR SPACES, FEATURES, AND FINISHES 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving floor plan or interior spaces, features, and finishes that are important in defining the overall historic character of the building. Significant spatial characteristics include the size, configuration, proportion, and relationship of rooms and corridors; the relationship of features to spaces; and the spaces themselves, such as lobbies, lodge halls, entrance halls, parlors, theaters, auditoriums, gymnasiums, and industrial and commercial interiors. Color, texture, and pattern are important characteristics of features and finishes, which can include such elements as columns, plaster walls and ceilings, flooring, trim, fireplaces and mantels, paneling, light fixtures, hardware, decorative radiators, ornamental grilles and registers, windows, doors, and transoms; plaster, paint, wallpaper and wall coverings, and special finishes, such as marbleizing and graining; and utilitarian (painted or unpainted) features, including wood, metal, or concrete exposed columns, beams, and trusses and exposed load -bearing brick, concrete, and wood walls. Altering a floor plan, or interior spaces (including individual rooms), features, and finishes, which are important in defining the overall historic character of the building so that, as a result, the character is diminished. Altering the floor plan by demolishing principal walls and partitions for a new use. Altering or destroying significant interior spaces by inserting addi- tional floors or lofts; cutting through floors to create lightwells, light courts, or atriums; lowering ceilings; or adding new walls or remov- ing historic walls. Relocating an interior feature, such as a staircase, so that the cir- culation pattern and the historic relationship between features and spaces are altered. Installing new material that obscures or damages character -defining interior features or finishes. Removing paint, plaster, or other finishes from historically -finished interior surfaces to create a new appearance (e.g., removing plaster to expose brick walls or a brick chimney breast, stripping paint from wood to stain or varnish it, or removing a plaster ceiling to expose unfinished beams). Applying paint, plaster, or other coatings to surfaces that have been unfinished historically, thereby changing their character. Changing the type of finish or its color, such as painting a histori- cally -varnished wood feature, or removing paint from a historically - painted feature. 128 INTERIOR SPACES, FEATURES, AND FINISHES REHABILITATION INTERIOR SPACES, FEATURES, AND FINISHES g RECOMMENDED NOT RECOMMENDED Retaining decorative or other character -defining features or finishes that typify the showroom or interior of a historic store, such as a pressed -metal ceiling, a beaded -board ceiling, or wainscoting. Removing decorative or other character -defining features or finishes that typify the showroom or interior of a historic store, such as a pressed -metal ceiling, a beaded -board ceiling, or wainscoting. Protecting and maintaining historic materials (including plas- ter, masonry, wood, and metals) which comprise interior spaces through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect and maintain interior materials and finishes on a cyclical basis so that deterioration of interior features results. Protecting interior features and finishes against arson and vandal- ism before project work begins by erecting temporary fencing or by covering broken windows and open doorways, while ensuring adequate ventilation, and by installing alarm systems keyed into local protection agencies. Leaving the building unprotected and subject to vandalism before work begins, thereby allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting interior features (such as a staircase, mantel, flooring, or decorative finishes) from damage during project work by cover- ing them with plywood, heavy canvas, or plastic sheeting. Failing to protect interior features and finishes when working on the ' interior. [35] (a) Although deteriorated, the historic school corridor, shown on the left, with its character -defining features, including doors and transoms, was retained and repaired as part of the rehabilitation project (b). INTERIOR SPACES, FEATURES, AND FINISHES 129 REHABILITATION [36] The elaborate features and finishes of this historic banking hall in the Union Trust Company Building, in Cleveland, OH, were retained and repaired as part of its conversion into a food market. 130 INTERIOR SPACES, FEATURES, AND FINISHES REHABILITATION INTERIOR SPACES, FEATURES, AND FINISHES a RECOMMENDED NOT RECOMMENDED Removing damaged or deteriorated paint and finishes only to the next sound layer using the gentlest method possible prior to repainting or refinishing using compatible paint or other coating systems. Using potentially damaging methods, such as open -flame torches or abrasive techniques, to remove paint or other coatings. Removing paint that is firmly adhered to interior surfaces. Using abrasive cleaning methods only on the interior of industrial or warehouse buildings with utilitarian, unplastered masonry walls and where wood features are not finished, molded, beaded, or worked by hand. Low-pressure abrasive cleaning (e.g., sand- blasting or other media blasting) should only be considered if test patches show no surface damage and after gentler methods have proven ineffective. Using abrasive methods anywhere but utilitarian and industrial interior spaces or when there are other methods that are less likely to damage the surface of the material. Evaluating the overall condition of the interior materials, features, and finishes to determine whether more than protection and maintenance, such as repairs to features and finishes, will be necessary. Failing to undertake adequate measures to ensure the protection of interior materials, features, and finishes. Repairing interior features and finishes by patching, splicing, consolidating, or otherwise reinforcing the materials using rec- ognized preservation methods. Repairs may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing parts of interior features when there are surviving prototypes, such as stairs, balustrades, wood paneling, columns, decorative wall finishes, and ornamental pressed -metal or plaster ceilings. Repairs should be physically and visually compatible. Removing materials that could be repaired or using improper repair techniques. Replacing an entire interior feature (such as a staircase, mantel, or door surround) or a finish (such as a plaster) when repair of materi- als and limited replacement of deteriorated or missing components are feasible. INTERIOR SPACES, FEATURES, AND FINISHES 131 REHABILITATION [38] The rehabilitation project retained the industrial character of this historic factory building, which included installation of a fire -rated, clear glass enclosure that allows the stairway, an important interior feature, to remain visible. [37] Exposed and painted ducts were appropriately installed here in a retail space in Denver's historic Union Station after considering other options that would have impacted the ceiling height, or damaged or obscured the ornamental plaster crown molding. Photo: Heritage Consulting Group. [39] Leaving the ceiling structure exposed and installing exposed ductwork where it does not impact the windows, are appropriate treatments when rehabilitating an industrial building for another use. 132 INTERIOR SPACES, FEATURES, AND FINISHES REHABILITATION INTERIOR SPACES, FEATURES, AND FINISHES g RECOMMENDED Replacing in kind an entire interior feature that is too deterio- rated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature. Examples could include wainscoting, window and door surrounds, or stairs. If using the same kind of material is not feasible, then a compatible substitute material may be considered. NOT RECOMMENDED Removing a character -defining interior feature that is unrepairable and not replacing it, or replacing it with a new feature or finish that does not match the historic feature. Using a substitute material for the replacement that does not convey the same appearance of the interior feature or that is physi- cally incompatible. Using a substitute material for the replacement that does not convey the same appearance of the interior feature or that is physi- cally incompatible. The following work is highlighted to indicate that it is specific to Rehabilitat been addressed. ion projects and should only be considered after the preservation concerns have Designing the Replacement for Missing Historic Features Designing and installing a new interior feature or finish when the historic feature or finish is completely missing. This could include missing walls, stairs, mantels, wood trim, and plaster, or even entire rooms if the historic spaces, features, and finishes are missing or have been destroyed by inappropriate alterations. The design may be an accurate restoration based on documentary and physical evidence, but only when the feature or finish to be replaced coexisted with the features currently in the building. Or, it may be a new design that is compatible with the size, scale, material, and color of the historic building. Creating an inaccurate appearance because the replacement for the missing feature is based upon insufficient physical or historic documentation; is not a compatible design; or because the feature did not coexist with the feature currently on the building. Introducing a new interior feature or finish that is incompatible in size, scale, material, color, and finish. Alterations and Additions for a New Use Installing new or additional systems required for a new use for the building, such as bathrooms and mechanical equipment, in secondary spaces to preserve the historic character of the most significant interior spaces. Subdividing primary spaces, lowering ceilings, or damaging or obscuring character -defining features (such as fireplaces, windows, or stairways) to accommodate a new use for the building. INTERIOR SPACES, FEATURES, AND FINISHES 133 REHABILITATION INTERIOR SPACES, FEATURES, AND FINISHES 1 RECOMMENDED NOT RECOMMENDED Installing new mechanical and electrical systems and ducts, pipes, and cables in closets, service areas, and wall cavities to preserve the historic character of interior spaces, features, and finishes. Installing ducts, pipes, and cables where they will obscure charac- ter -defining features or negatively impact the historic character of the interior. Creating open work areas, when required by the new use, by selectively removing walls only in secondary spaces, less sig- nificant upper floors, or other less -visible locations to preserve primary public spaces and circulation systems. Retaining the configuration of corridors, particularly in build- ings with multiple floors with repetitive plans (such as office and apartment buildings or hotels), where not only the floor plan is character defining, but also the width and the length of the corridor, doorways, transoms, trim, and other features, such as wainscoting and glazing. Making extensive changes to the character of significant historic corridors by narrowing or radically shortening them, or removing their character -defining features. Reusing decorative material or features that had to be removed as part of the rehabilitation work (including baseboards, door casing, paneled doors, and wainscoting) and reusing them in areas where these features are missing or are too deteriorated to repair. Discarding historic material when it can be reused to replace miss - ing or damaged features elsewhere in the building, or reusing mate - rial in a manner that may convey a false sense of history. Installing permanent partitions in secondary, rather than pri- mary, spaces whenever feasible. Removable partitions or partial- height walls that do not destroy the sense of space often may be installed in large character -defining spaces when required by a new use. Installing partitions that abut windows and glazing or that damage or obscure character -defining spaces, features, or finishes. Enclosing a character -defining interior stairway, when required by code, with fire -rated glass walls or large, hold -open doors so that the stairway remains visible and its historic character is retained. Enclosing a character -defining interior stairway for safety or func- tional reasons in a manner that conceals it or destroys its character. Locating new, code -required stairways or elevators in secondary and service areas of the historic building. Making incompatible changes or damaging or destroying character - defining spaces, features, or finishes when adding new code - required stairways and elevators. 134 INTERIOR SPACES, FEATURES, AND FINISHES REHABILITATION [41] Not Recommended: Leaving fragments of deteriorated or "sculpted" plaster is not a compatible treatment for either finished or unfinished interior spaces. [40] Not Recommended: Removing a finished ceiling and leaving the structure exposed in a historic retail space does not meet the Standards for Rehabilitation. INTERIOR SPACES, FEATURES, AND FINISHES 135 REHABILITATION RECOMMENDED NOT RECOMMENDED Creating an atrium, light court, or lightwell to provide natural light when required for a new use only when it can be done in a manner that preserves significant interior spaces, features, and finishes or important exterior elevations. Destroying or damaging character -defining interior spaces, features, or finishes, or damaging the structural system to create an atrium, light court, or lightwell. Inserting a new floor, mezzanine, or loft when required for a new use if it does not damage or destroy significant interior features and finishes and is not visible from the exterior of the building. Inserting a new floor, mezzanine, or loft that damages or destroys significant interior features or abuts window glazing and is visible from the exterior of the building, and, thus, negatively impacts its historic character. Inserting a new floor, when necessary for a new use, only in large assembly spaces that are secondary to another assembly space in the building; in a space that has been greatly altered; or where character -defining features have been lost or are too deteriorated to repair. Inserting a new floor in significant, large assembly spaces with distinctive features and finishes, which negatively impacts their historic character. Installing exposed ductwork in a finished space when necessary to protect and preserve decorative or other features (such as column capitals, ornamental plaster or pressed -metal ceilings, coffers, or beams) that is designed, painted, and appropriately located so that it will have minimal impact on the historic char- acter of the space. Installing exposed ductwork in a finished space when necessary to protect and preserve decorative or other features that is not painted, or is located where it will negatively impact the historic character of the space. Lowering ceilings, installing a dropped ceiling, or constructing soffits to conceal ductwork in a finished space when they will not result in extensive loss or damage to historic materials or decora- tive and other features, and will not change the overall character of the space or the exterior appearance of the building (i.e., lowered ceilings or soffits visible through window glazing). Lowering ceilings, installing a dropped ceiling, or constructing sof- fits to conceal ductwork in a finished space in a manner that results in extensive loss or damage to historic materials or decorative and other features, and will change the overall character of the space or the exterior appearance of the building. Installing a split system mechanical unit in a manner that will have minimal impact on the historic character of the interior and will result in minimal loss of historic building material. Installing a split system mechanical unit without considering its impact on the historic character of the interior or the potential loss of historic building material. 136 INTERIOR SPACES, FEATURES, AND FINISHES REHABILITATION BUILDING SIT RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving features of the building site that are important in defining its overall historic character. Site features may include walls, fences, or steps; circulation systems, such as walks, paths or roads; vegetation, such as trees, shrubs, grass, orchards, hedges, windbreaks, or gardens; landforms, such as hills, terracing, or berms; furnishings and fixtures, such as light posts or benches; decorative elements, such as sculpture, statuary, or monuments; water features, including fountains, streams, pools, lakes, or irrigation ditches; and subsurface arche- ological resources, other cultural or religious features, or burial grounds which are also important to the site. Removing or substantially changing buildings and their features or site features which are important in defining the overall historic character of the property so that, as a result, the character is dimin- ished. [42] This garden is an important character - defining landscape feature on this college campus. BUILDING SITE 137 REHABILITATION l BUILDING SITE RECOMMENDED NOT RECOMMENDED Retaining the historic relationship between buildings and the landscape. Removing or relocating buildings or landscape features, thereby destroying the historic relationship between buildings and the land- scape. Removing or relocating buildings on a site or in a complex of related historic structures (such as a mill complex or farm), thereby dimin- ishing the historic character of the site or complex. Moving buildings onto the site, thereby creating an inaccurate his- toric appearance. Changing the grade level of the site if it diminishes its historic character. For example, lowering the grade adjacent to a building to maximize use of a basement, which would change the historic appearance of the building and its relation to the site. Protecting and maintaining buildings and site features by provid- ing proper drainage to ensure that water does not erode founda- tion walls, drain toward the building, or damage or erode the landscape. Failing to ensure that site drainage is adequate so that buildings and site features are damaged or destroyed; or, alternatively, chang- ing the site grading so that water does not drain properly. Correcting any existing irrigation that may be wetting the build- ing excessively. Neglecting to correct any existing irrigation that may be wetting the building excessively. Minimizing disturbance of the terrain around buildings or else- where on the site, thereby reducing the possibility of destroy- ing or damaging important landscape features, archeological resources, other cultural or religious features, or burial grounds. Using heavy machinery or equipment in areas where it may disturb or damage important landscape features, archeological resources, other cultural or religious features, or burial grounds. Surveying and documenting areas where the terrain will be altered to determine the potential impact to important landscape features, archeological resources, other cultural or religious fea- tures, or burial grounds. Failing to survey the building site prior to beginning work, which may result in damage or loss of important landscape features, archeological resources, other cultural or religious features, or burial grounds. 138 BUILDING SITE REHABILITATION RECOMMENDED NOT RECOMMENDED Protecting (e.g., preserving in place) important site features, archeological resources, other cultural or religious features, or burial grounds. Leaving known site features or archeological material unprotected so that it is damaged during rehabilitation work. Planning and carrying out any necessary investigation before rehabilitation begins, using professional archeologists and meth- ods, when preservation in place is not feasible. Allowing unqualified personnel to perform data recovery on archeo- logical resources, which can result in damage or loss of important archeological material Preserving important landscape features through regularly-sched- uled maintenance of historic plant material. Allowing important landscape features or archeological resources to be lost, damaged, or to deteriorate due to inadequate protection or lack of maintenance Protecting the building site and landscape features against arson and vandalism before rehabilitation work begins by erecting tem- porary fencing and by installing alarm systems keyed into local protection agencies. Leaving the property unprotected and subject to vandalism before work begins so that the building site and landscape features, archeological resources, other cultural or religious features, or burial grounds can be damaged or destroyed. Removing or destroying features from the site, such as fencing, paths or walkways, masonry balustrades, or plant material. Installing protective fencing, bollards, and stanchions on a build- ing site, when necessary for security, that are as unobtrusive as possible. Installing protective fencing, bollards, and stanchions on a building site, when necessary for security, without taking into consideration their location and visibility so that they negatively impact the his- toric character of the site. Providing continued protection and maintenance of buildings and landscape features on the site through appropriate grounds and landscape management. Failing to protect and maintain materials and features from the restoration period on a cyclical basis so that deterioration of the site results. Protecting buildings and landscape features when working on the site. Failing to protect building and landscape features during work on the site or failing to repair damaged or deteriorated site features. BUILDING SITE 139 REHABILITATION BUILDING SITE RECOMMENDED NOT RECOMMENDED Evaluating the overall condition of materials and features to determine whether more than protection and maintenance, such as repairs to site features, will be necessary. Failing to undertake adequate measures to ensure the protection of the site. Repairing historic site features which have been damaged, are Removing materials and features that could be repaired or using deteriorated, or have missing components order reestablish the whole feature and to ensure retention of the integrity of the historic materials. Repairs may include limited replacement in improper repair techniques. Replacing an entire feature of the site (such as a fence, walkway, or kind or with a compatible substitute material of those extensively drive) when repair of materials and limited replacement of deterio- deteriorated or missing parts of site features when there are surviving prototypes, such as paving, railings, or individual plants within a group (e.g., a hedge). Repairs should be physically and visually compatible. rated or missing components are feasible. [43] The industrial character of the site was retained when this brewery complex was rehabilitated for residential use. [44] Not Recommended: (a-b) The historic character of this plantation house (marked in blue on plan on opposite page) and its site was diminished and adversely impacted when multiple new buildings like this (#3 on plan) were constructed on the property (c). 140 BUILDING SITE REHABILITATION 1 RECOMMENDED NOT RECOMMENDED Replacing in kind an entire feature of the site that is too deterio- rated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature. Examples could include a walkway or a fountain, a land form, or plant material. If using the same kind of material is not feasible, then a compatible substitute material may be considered. Removing a character -defining feature of the site that is unrepair- able and not replacing it, or replacing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving site feature or that is physi- cally or ecologically incompatible. Adding conjectural landscape features to the site (such as period reproduction light fixtures, fences, fountains, or vegetation) that are historically inappropriate, thereby creating an inaccurate appearance of the site. BUILDING SITE 141 REHABILITATION [45] Undertaking a survey to document archeological resources may be considered in some rehabilitation projects when a new exterior addition is planned. BUILDING SITE RECOMMENDED NOT RECOMMENDED The following work is highlighted to indicate that it is specific to Rehabilitation been addressed. projects and should only be considered after the preservation concerns have Designing the Replacehie t=g His oric eature- Designing and installing a new feature on a site when the his- toric feature is completely missing. This could include missing outbuildings, terraces, drives, foundation plantings, specimen trees, and gardens. The design may be an accurate restoration based on documentary and physical evidence, but only when the feature to be replaced coexisted with the features currently on the site. Or, it may be a new design that is compatible with the historic character of the building and site. Creating an inaccurate appearance because the replacement for the missing feature is based upon insufficient physical or historic documentation, is not a compatible design, or because the feature did not coexist with the features currently on the site. Introducing a new feature, including plant material, that is visually incompatible with the site or that alters or destroys the historic site patterns or use. Alterations and Additions for a New Use Designing new onsite features (such as parking areas, access ramps, or lighting), when required by a new use, so that they are as unobtrusive as possible, retain the historic relationship between the building or buildings and the landscape, and are compatible with the historic character of the property. Locating parking areas directly adjacent to historic buildings where vehicles may cause damage to buildings or landscape features or when they negatively impact the historic character of the building site if landscape features and plant materials are removed. Designing new exterior additions to historic buildings or adjacent new construction that are compatible with the historic character of the site and preserves the historic relationship between the building or buildings and the landscape. Introducing new construction on the building site which is visu- ally incompatible in terms of size, scale, design, material, or color, which destroys historic relationships on the site, or which dam - ages or destroys important landscape features, such as replacing a lawn with paved parking areas or removing mature trees to widen a driveway. Removing non -significant buildings, additions, or site features which detract from the historic character of the site. Removing a historic building in a complex of buildings or removing a building feature or a landscape feature which is important in defin- ing the historic character of the site. Locating an irrigation system needed for a new or continuing use of the site where it will not cause damage to historic buildings. Locating an irrigation system needed for a new or continuing use of the site where it will damage historic buildings. 142 BUILDING SITE REHABILITATION SETTING (DISTRICT / NEIGHBORHOOD) 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving building and landscape features that are important in defining the overall historic character of the setting. Such features can include circulation systems, such as roads and streets; furnishings and fixtures, such as light posts or benches; vegetation, gardens and yards; adjacent open space, such as fields, parks, commons, or wood- lands; and important views or visual relationships. Removing or substantially changing those building and landscape features in the setting which are important in defining the historic character so that, as a result, the character is diminished. [46] The varied size, shapes, and architectural styles of these historic buildings are unique to this street in Christiansted, St. Croix, USVI, and should be retained in a rehabilitation project. [47] Original paving stones contribute to the character of the historic setting and distinguish this block from other streets in the district. SETTING (DISTRICT / NEIGHBORHOOD) 143 REHABILITATION SETTING (DISTRICT / NEIGHBORHOOD) 1 RECOMMENDED Retaining the historic relationship between buildings and landscape features in the setting. For example, preserving the relationship between a town common or urban plaza and the adjacent houses, municipal buildings, roads, and landscape and streetscape features. [48] Old police and fire call boxes, which are distinctive features in this historic district, have been retained, and now showcase work by local artists. [49] Low stone walls are character - defining features in this hilly, early-20th-century residential neighborhood. NOT RECOMMENDED Altering the relationship between the buildings and landscape fea- tures in the setting by widening existing streets, changing landscape materials, or locating new streets or parking areas where they may negatively impact the historic character of the setting. Removing or relocating buildings or landscape features, thereby destroying the historic relationship between buildings and the land- scape in the setting. 144 SETTING (DISTRICT / NEIGHBORHOOD) REHABILITATION RECOMMENDED NOT RECOMMENDED Protecting and maintaining historic features in the setting through regularly -scheduled maintenance and grounds and land- scape management. Failing to protect and maintain materials in the setting on a cycli- cal basis so that deterioration of buildings and landscape features results. Stripping or removing historic features from buildings or the setting, such as a porch, fencing, walkways, or plant material. Installing protective fencing, bollards, and stanchions in the setting, when necessary for security, that are as unobtrusive as possible. Installing protective fencing, bollards, and stanchions in the setting, when necessary for security, without taking into consideration their location and visibility so that they negatively impact the historic character of the setting. Protecting buildings and landscape features when undertaking work in the setting. Failing to protect buildings and landscape features during work in the setting. Evaluating the overall condition of materials and features to determine whether more than protection and maintenance, such as repairs to materials and features in the setting, will be necessary. Failing to undertake adequate measures to ensure the protection of materials and features in the setting. Repairing features in the setting by reinforcing the historic materials. Repairs may include the replacement in kind or with a compatible substitute material of those extensively deteriorated or missing parts of setting features when there are surviving pro- totypes, such as fencing, paving materials, trees, and hedgerows. Repairs should be physically and visually compatible. Failing to repair and reinforce damaged or deteriorated historic materials and features in the setting. Removing material that could be repaired or using improper repair techniques. Replacing an entire feature of the building or landscape in the setting when repair of materials and limited replacement of deterio- rated or missing components are feasible. SETTING (DISTRICT / NEIGHBORHOOD) 145 REHABILITATION SETTING (DISTRICT / NEIGHBOR RECOMMENDED NOT RECOMMENDED Replacing in kind an entire building or landscape feature in the setting that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature. If using the same kind of mate- rial is not feasible, then a compatible substitute material may be considered. The following work is highlighted to indicate that it is specific to Rehabilita addressed. Designing the Replacement for Missing Historic Features Designing and installing a new feature of the building or land- scape in the setting when the historic feature is completely missing. This could include missing steps, streetlights, terraces, trees, and fences. The design may be an accurate restoration based on documentary and physical evidence, but only when the feature to be replaced coexisted with the features currently in the setting. Or, it may be a new design that is compatible with the historic character of the setting. Alterations and Additions for a New Use Designing new features (such as parking areas, access ramps, or lighting), when required by a new use, so that they are as unobtrusive as possible, retain the historic relationships between buildings and the landscape in the setting, and are compatible with the historic character of the setting. Removing a character -defining feature of the building or landscape from the setting that is unrepairable and not replacing it or replac- ing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving building or landscape feature in the setting or that is physically or ecologically incompatible. Creating an inaccurate appearance because the replacement for the missing feature is based upon insufficient physical or historic documentation; is not a compatible design, or because the feature did not coexist with the features currently in the setting. Introducing a new building or landscape feature that is visually or otherwise incompatible with the setting's historic character (e.g., replacing low metal fencing with a high wood fence). Locating parking areas directly adjacent to historic buildings where vehicles may cause damage to buildings or landscape features or when they negatively impact the historic character of the setting if landscape features and plant materials are removed. Designing new exterior additions to historic buildings or adjacent new construction that are compatible with the historic character of the setting that preserve the historic relationship between the buildings and the landscape. Introducing new construction into historic districts which is visually incompatible or that destroys historic relationships within the set- ting, or which damages or destroys important landscape features. Removing non -significant buildings, additions, or landscape fea- tures which detract from the historic character of the setting. Removing a historic building, a building feature, or landscape feature which is important in defining the historic character of the setting. ation projects and should only be considered after the preservation concerns have 146 SETTING (DISTRICT / NEIGHBORHOOD) REHABILITATION CODE -REQUIRED WORK 1 RECOMMENDED NOT RECOMMENDED Sensitive solutions to meeting accessibility and life -safety code requirements are an important part of protecting the historic character of the building and site. Thus, work that must be done to meet use -specific code requirements should be considered early in planning a Rehabilitation of a historic building for a new use. Because code mandates are directly related to occupancy, some uses require less change than others and, thus, may be more appropriate for a historic building. Early coordination with code enforcement authorities can reduce the impact of alterations necessary to comply with current codes. Identifying the historic building's character -defining exterior features, interior spaces, features, and finishes, and features of the site and setting which may be affected by accessibility code - required work. Undertaking accessibility code -required alterations before identify- ing those exterior features, interior spaces, features, and finishes, and features of the site and setting which are character defining and, therefore, must be preserved. Complying with barrier -free access requirements in such a manner that the historic building's character -defining exterior fea- tures, interior spaces, features, and finishes, and features of the site and setting are preserved or impacted as little as possible. Altering, damaging, or destroying character -defining exterior fea- tures, interior spaces, features, and finishes, or features of the site and setting while making modifications to a building, its site, or setting to comply with accessibility requirements. [50] This kitchen in a historic apartment complex was rehabilitated to meet accessibility requirements. [51] A new interior access ramp with a simple metal railing is compatible with the character of this mid- century -modern building. CODE -REQUIRED WORK I ACCESSIBILITY 147 REHABILITATION [52] The access ramp blends in with the stone facade of the First National Bank in Stephenville, TX, and is appropriately located on the side where it is does not impact the historic character of the building. Photo: Nancy McCoy, QuimbyMcCoy Preservation Architecture, LLP. CODE -REQUIRED WORK RECOMMENDED NOT RECOMMENDED Working with specialists in accessibility and historic preservation to determine the most sensitive solutions to comply with access requirements in a historic building, its site, or setting. Making changes to historic buildings, their sites, or setting without first consulting with specialists in accessibility and historic preser- vation to determine the most appropriate solutions to comply with accessibility requirements. Providing barrier -free access that promotes independence for the user while preserving significant historic features. Making modifications for accessibility that do not provide indepen- dent, safe access while preserving historic features. Finding solutions to meet accessibility requirements that mini- mize the impact of any necessary alteration on the historic build- ing, its site, and setting, such as compatible ramps, paths, and I ifts. Making modifications for accessibility without considering the impact on the historic building, its site, and setting. [54] The gently -sloped path in a historic park in Kansas City, MO, which accesses the memorial below, includes a rest area part way up the hill. Photo: STRATA Architecture + Preservation. [53] This entrance ramp (right) is compatible with the historic character of this commercial building. 148 CODE -REQUIRED WORK I ACCESSIBILITY REHABILITATION ■ RECOMMENDED NOT RECOMMENDED Using relevant sections of existing codes regarding accessibil- ity for historic buildings that provide alternative means of code compliance when code -required work would otherwise negatively impact the historic character of the property. Minimizing the impact of accessibility ramps by installing them on secondary elevations when it does not compromise accessibil- ity or by screening them with plantings. Installing elevators, lifts, or incompatible ramps at a primary entrance, or relocating primary entrances to secondary locations to provide access without investigating other options or locations. Adding a gradual slope or grade to the sidewalk, if appropriate, to access the entrance rather than installing a ramp that would be more intrusive to the historic character of the building and the district. Adding an exterior stair or elevator tower that is compatible with the historic character of the building in a minimally -visible location only when it is not possible to accommodate it on the interior without resulting in the loss of significant historic spaces, features, or finishes. Installing a lift as inconspicuously as possible when it is neces- sary to locate it on a primary elevation of the historic building. Installing lifts or elevators on the interior in secondary or less significant spaces where feasible. Installing lifts or elevators on the interior in primary spaces which will negatively impact the historic character of the space. [55] The lift is compatible with the industrial character of this former warehouse. CODE -REQUIRED WORK I ACCESSIBILITY 149 REHABILITATION RECOMMENDED NOT RECOMMENDED LIFE SAFETY Undertaking life -safety code -required alterations before identifying those exterior features, interior spaces, features, and finishes, and features of the site and setting which are character defining and, therefore, must be preserved. Identifying the historic building's character -defining exterior features, interior spaces, features, and finishes, and features of the site and setting which may be affected by life -safety code- required work. Complying with life -safety codes (including requirements for impact-resistant glazing, security, and seismic retrofit) in such a manner that the historic building's character -defining exterior fea- tures, interior spaces, features, and finishes, and features of the site and setting are preserved or impacted as little as possible. Altering, damaging, or destroying character -defining exterior fea- tures, interior spaces, features, and finishes, or features of the site and setting while making modifications to a building, its site, or setting to comply with life -safety code requirements. Removing building materials only after testing has been con- ducted to identify hazardous materials, and using only the least damaging abatement methods. Removing building materials without testing first to identify the hazardous materials, or using potentially damaging methods of abatement. Providing workers with appropriate personal equipment for pro- tection from hazards on the worksite. Removing hazardous or toxic materials without regard for work- ers' health and safety or environmentally -sensitive disposal of the materials. Working with code officials and historic preservation specialists to investigate systems, methods, or devices to make the build- ing compliant with life -safety codes to ensure that necessary alterations will be compatible with the historic character of the building. Making life -safety code -required changes to the building without consulting code officials and historic preservation specialists, with the result that alterations negatively impact the historic character of the building. Using relevant sections of existing codes regarding life safety for historic buildings that provide alternative means of code compli- ance when code -required work would otherwise negatively impact the historic character of the building. [56 a-b] In order to continue in its historic use, the door openings of this 1916 Colonial Revival -style fire station had to be widened to accommodate the larger size of modern fire trucks. Although this resulted in some change to the arched door surrounds, it is minimal and does not negatively impact the historic character of the building. (a) Above, before; Photo: Fire and Emergency Medical Services Department (FEMS), Washington, D.C.; below, after. 150 CODE -REQUIRED WORK I LIFE SAFETY REHABILITATION Whig ire". h`'ti!`s k_�$`46.4*�►''.�y3►0.Vat:*tea1/4. Stb.S ity4. 6.04..%,.44%.:0,..s.art.NN ' .f4 IW�. ` •':_ s �BONN ` 04 4 tau Zative+Ve e▪ ft Nal .4144:0446'. 'Ir.' lift ern 0 i 1 a ranati it: ft ELso▪ ierirwinse INZ114 ▪ O"Z': fir [57] Workers wear protective clothing while removing lead paint from metal features. f 11 27I Ar4 i C AA■AI ji4 r41nil t [59] (a-b) The decorative concrete balcony railings on this 1960s building did not meet life -safety code requirements. They were replaced with new glass railings with a fritted glass pattern matching the original design -a creative solution that satisfies codes, while preserving the historic appearance of the building when viewed from the street (c-d). Photos: (a, b, d) ERA Architects, Inc.; (c) Nathan Cyprys, photographer. CODE -REQUIRED WORK I LIFE SAFETY 151 REHABILITATION RECOMMENDED NOT RECOMMENDED Upgrading historic stairways and elevators to meet life -safety codes so that they are not damaged or otherwise negatively impacted. Damaging or making inappropriate alterations to historic stairways and elevators or to adjacent features, spaces, or finishes in the process of doing work to meet code requirements. Installing sensitively -designed fire -suppression systems, such as sprinklers, so that historic features and finishes are preserved. Covering character -defining wood features with fire -retardant sheathing, which results in altering their appearance. Applying fire -retardant coatings when appropriate, such as intu- mescent paint, to protect steel structural systems. Using fire -retardant coatings if they will damage or obscure charac- ter -defining features. Adding a new stairway or elevator to meet life -safety code requirements in a manner that preserves adjacent character- defining features and spaces. Altering, damaging, or destroying character -defining spaces, features, or finishes when adding a new code -required stairway or elevator. Using existing openings on secondary or less -visible elevations or, if necessary, creating new openings on secondary or less -visible elevations to accommodate second egress requirements. Using a primary or other highly -visible elevation to accommodate second egress requirements without investigating other options or locations. Placing a code -required stairway or elevator that cannot be accommodated within the historic building in a new exterior addi- tion located on a secondary or minimally -visible elevation. Constructing a new addition to accommodate code -required stairs or an elevator on character -defining elevations or where it will obscure, damage, or destroy character -defining features of the building, its site, or setting. Designing a new exterior stairway or elevator tower addition that is compatible with the historic character of the building. [58] Fire doors that retract into the walls have been installed here (not visible in photo) preserve the historic character of this corridor. 152 CODE -REQUIRED WORK I LIFE SAFETY REHABILITATION RESILIENCE TO NATURAL HAZARDS. i RECOMMENDED NOT RECOMMENDED Resilience to natural hazards should be addressed as part of the treatment Rehabilitation. A historic building may have existing characteristics or features that help address or minimize the impacts of natural hazards. These should be used to best advantage and should be taken into consideration early in the planning stages of a rehabilitation project before proposing any new treatments. When new adaptive treatments are needed they should be carried out in a manner that will have the least impact on the historic character of the building, its site, and setting. . Identifying the vulnerabilities of the historic property to the impacts of natural hazards (such as wildfires, hurricanes, or tornadoes) using the most current climate information and data available. Failing to identify and periodically reevaluate the potential vulner- ability of the building, its site, and setting to the impacts of natural hazards. Assessing the potential impacts of known vulnerabilities on character -defining features of the building, its site, and setting; and reevaluating and reassessing potential impacts on a regular basis. Documenting the property and character -defining features as a record and guide for future repair work, should it be necessary, and storing the documentation in a weatherproof location. Failing to document the historic property and its character -defining features with the result that such information is not available in the future to guide repair or reconstruction work, should it be necessary. Ensuring that historic resources inventories and maps are accu- rate, up to date, and accessible in times of emergency. Maintaining the building, its site, and setting in good repair, and regularly monitoring character -defining features. Failing to regularly monitor and maintain the property and the building systems in good repair. Using and maintaining existing characteristics and features of the historic building, its site, setting, and larger environment (such as shutters for storm protection or a site wall that keeps out flood waters) that may help to avoid or minimize the impacts of natural hazards Allowing loss, damage, or destruction to occur to the historic build - ing, its site, or setting by failing to evaluate potential future impacts of natural hazards or to plan and implement adaptive measures, if necessary to address possible threats. Undertaking work to prevent or minimize the loss, damage, or destruction of the historic property while retaining and preserving significant features and the overall historic character of the build- ing, its site, and setting. Carrying out adaptive measures intended to address the impacts of natural hazards that are unnecessarily invasive or will otherwise adversely impact the historic character of the building, its site, or setting. RESILIENCE TO NATURAL HAZARDS 153 REHABILITATION [60] In some instances, it may be necessary to elevate a historic building located in a floodplain to protect it. But this treatment is appropriate only if elevating the building will retain its historic character, including its relationship to the site, and its new height will be compatible with surrounding buildings if in a historic district. The house on the right, which has been raised only slightly, has retained its historic character. The house on the left has been raised several feet higher, resulting in a greater impact on the historic character of the house and the district. 154 RESILIENCE TO NATURAL HAZARDS REHABILITATION RESILIENCE TO NATURAL HAZARDS RECOMMENDED NOT RECOMMENDED Ensuring that, when planning work to adapt for natural hazards, all feasible alternatives are considered, and that the options requiring the least alteration are considered first. Implementing local and regional traditions (such as elevating residential buildings at risk of flooding or reducing flammable vegetation around structures in fire -prone areas) for adapting buildings and sites in response to specific natural hazards, when appropriate. Such traditional methods may be appropriate if they are compatible with the historic character of the building, its site, and setting. Implementing a treatment traditionally used in another region or one typically used for a different property type or architectural style which is not compatible with the historic character of the property. Using special exemptions and variances when adaptive treat- ments to protect buildings from known hazards would otherwise negatively impact the historic character of the building, its site, and setting. Considering adaptive options, whenever possible, that would protect multiple historic resources, if the treatment can be imple- mented without negatively impacting the historic character of the district, or archeological resources, other cultural or religious features, or burial grounds. Sustainability Sustainability is usually a very important and integral part of the treatment Rehabilitation. Existing energy -efficient features should be taken into consideration early in the planning stages of a rehabili- tation project before proposing any energy improvements. There are numerous treatments that may be used to upgrade a historic build- ing to help it operate more efficiently while retaining its character. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guide- lines on Sustainability for Rehabilitating Historic Buildings. RESILIENCE TO NATURAL HAZARDS 155 REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED New Additions Placing functions and services required for a new use (including elevators and stairways) in secondary or non -character -defining interior spaces of the historic building rather than constructing a new addition. Expanding the size of the historic building by constructing a new addition when requirements for the new use could be met by alter - ing non -character -defining interior spaces. Constructing a new addition on a secondary or non -character- defining elevation and limiting its size and scale in relationship to the historic building. Constructing a new addition on or adjacent to a primary elevation of the building which negatively impacts the building's historic character. Constructing a new addition that results in the least possible loss of historic materials so that character -defining features are not obscured, damaged, or destroyed. Attaching a new addition in a manner that obscures, damages, or destroys character -defining features of the historic building. Designing a new addition that is compatible with the historic building. Designing a new addition that is significantly different and, thus, incompatible with the historic building. Ensuring that the addition is subordinate and secondary to the historic building and is compatible in massing, scale, materials, relationship of solids to voids, and color. Constructing a new addition that is as large as or larger than the historic building, which visually overwhelms it (i.e., results in the diminution or loss of its historic character). 156 NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Using the same forms, materials, and color range of the historic building in a manner that does not duplicate it, but distinguishes the addition from the original building. Duplicating the exact form, material, style, and detailing of the historic building in a new addition so that the new work appears to be historic. Basing the alignment, rhythm, and size of the window and door openings of the new addition on those of the historic building. Incorporating a simple, recessed, small-scale hyphen, or con- nection, to physically and visually separate the addition from the historic building. Distinguishing the addition from the original building by setting it back from the wall plane of the historic building. [61 a-b] The materials, design, and location at the back of the historic house are important factors in making this a compatible new addition. Photos: © Maxwell MacKenzie. NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION 157 REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Ensuring that the addition is stylistically appropriate for the his- toric building type (e.g., whether it is residential or institutional). Considering the design for a new addition in terms of its rela- tionship to the historic building as well as the historic district, neighborhood, and setting. (62] The stair tower at the rear of this commercial building is a compatible new addition. 158 NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Rooftop Additions Designing a compatible rooftop addition for a multi -story build- ing, when required for a new use, that is set back at least one full bay from the primary and other highly -visible elevations and that is inconspicuous when viewed from surrounding streets. Constructing a rooftop addition that is highly visible, which nega- tively impacts the character of the historic building, its site, setting, or district. [ 63] (a) A mockup should be erected to demonstrate the visibility of a proposed rooftop addition and its potential impact on the historic building. Based on review of this mockup (orange marker), it was determined that the rooftop addition would meet the Standards (b). The addition is unobtrusive and blends in with the building behind it. New addition NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION 159 REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Limiting a rooftop addition to one story in height to minimize its visibility and its impact on the historic character of the building. Constructing a highly -visible, multi -story rooftop addition that alters the building's historic character. Constructing a rooftop addition on low-rise, one- to three-story his- toric buildings that is highly visible, overwhelms the building, and negatively impacts the historic district. Constructing a rooftop addition with amenities (such as a raised pool deck with plantings, HVAC equipment, or screening) that is highly visible and negatively impacts the historic character of the building. [64] Not Recommended: It is generally not appropriate to construct a rooftop addition on a low-rise, two- to three-story building such as this, because it negatively affects its historic character. 160 NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Related New Construction Adding a new building to a historic site or property only if the requirements for a new or continuing use cannot be accommo- dated within the existing structure or structures. Adding a new building to a historic site or property when the project requirements could be accommodated within the existing structure or structures. Locating new construction far enough away from the historic building, when possible, where it will be minimally visible and will not negatively affect the building's character, the site, or setting. Placing new construction too close to the historic building so that it negatively impacts the building's character, the site, or setting. [65] (a) This (far left) is a compatible new outbuilding constructed on the site of a historic plantation house (b). Although traditional in design, it is built of wood to differentiate it from the historic house (which is scored stucco) located at the back of the site so as not to impact the historic house, and minimally visible from the public right-of-way (c). . new addition NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION 161 REHABILITATION NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RECOMMENDED NOT RECOMMENDED Designing new construction on a historic site or in a historic setting that it is compatible but differentiated from the historic building or buildings. Replicating the features of the historic building when designing a new building, with the result that it may be confused as historic or original to the site or setting. Considering the design for related new construction in terms of its relationship to the historic building as well as the historic district and setting. Ensuring that new construction is secondary to the historic build- ing and does not detract from its significance. Adding new construction that results in the diminution or loss of the historic character of the building, including its design, materi- als, location, or setting. Constructing a new building on a historic property or on an adjacent site that is much larger than the historic building. Designing new buildings or groups of buildings to meet a new use that are not compatible in scale or design with the character of the historic building and the site, such as apartments on a historic school property that are too residential in appearance. Using site features or land formations, such as trees or sloping terrain, to help minimize the new construction and its impact on the historic building and property. Designing an addition to a historic building in a densely -built location (such as a downtown commercial district) to appear as a separate building or infill, rather than as an addition. In such a setting, the addition or the infill structure must be compatible with the size and scale of the historic building and surrounding buildings —usually the front elevation of the new building should be in the same plane (i.e., not set back from the historic build- ing). This approach may also provide the opportunity for a larger addition or infill when the facade can be broken up into smaller elements that are consistent with the scale of the historic build- ing and surrounding buildings. 162 NEW EXTERIOR ADDITIONS TO HISTORIC BUILDINGS AND RELATED NEW CONSTRUCTION RESTORATION STANDARDS FOR RESTORATION & GUIDELINES FOR RESTORING HISTORIC BUILDINGS Restoration 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. The limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code - required work to make properties functional is appropriate within a restoration project. 163 RESTORATION Standards for Restoration i. A property will be used as it was historically or be given a new use that interprets the property and its restoration period. 2. Materials and features from the restoration period will be retained and preserved. The removal of materials or alteration of features, spaces and spatial relationships that charac- terize the period will not be undertaken. 3. Each property will be recognized as a physical record of its time, place and use. Work needed to stabilize, consolidate and conserve materials and features from the restoration period will be physically and visually compatible, identifiable upon close inspection and properly documented for future research. 4. Materials, features, spaces and finishes that characterize other historical periods will be documented prior to their alteration or removal. 5. Distinctive materials, features, finishes and construction techniques or examples of craftsmanship that characterize the restoration period will be preserved. 6. Deteriorated features from the restoration period will be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature will match the old in design, color, texture and, where possible, materials. 7. Replacement of missing features from the restoration period will be substantiated by documentary and physical evidence. A false sense of history will not be created by adding conjectural features, features from other properties, or by combining features that never existed together historically. 8. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. Treatments that cause damage to historic materials will not be used. 9. Archeological resources affected by a project will be protected and preserved in place. If such resources must be disturbed, mitigation measures will be undertaken. io. Designs that were never executed historically will not be constructed. 164 RESTORATION GUIDELINES FOR RESTORING HISTORIC BUILDINGS INTRODUCTION Restoration is the treatment that should be followed when the expressed goal of the project is to make the building appear as it did at a particular —and at its most significant —time in its his- tory. The guidance provided by the Standards for Restoration and Guidelines for Restoring Historic Buildings is to first identify the materials and features from the restoration period. After these materi- als and features have been identified, they should be maintained, protected, repaired, and replaced, when necessary. Unlike the other treatments in which most, if not all, of the historic elements are retained, restoration will likely include the removal of features from other periods. Missing features from the restoration period should be replaced, based on physical or historic documentation, with either the same or compatible substitute materials. Only those designs that can be documented as having been built should be recreated in a restoration proj ect. Identify, Retain, and Preserve Materials and Features from the Restoration Period The guidance for the treatment Restoration begins with recom- mendations to identify the form and detailing of those architectural materials and features that are significant to the restoration period as established by historic research and documentation. Therefore, guidance on identifying, retaining, and preserving features from the restoration period is always given first. Protect and Maintain Materials and Features from the Restoration Period After identifying those materials and features from the restoration period that must be retained in the process of Restoration work, then protecting and maintaining them are addressed. Protection generally involves the least degree of intervention and is prepara- tory to other work. Protection includes the maintenance of materi- als and features from the restoration period as well as ensuring that the property is protected before and during restoration work. An overall evaluation of the physical condition of the features from the restoration period should always begin at this level. Repair (Stabilize, Consolidate, and Conserve) Materials and Features from the Restoration Period Next, when the physical condition of restoration period features requires additional work, repairing by stabilizing, consolidating, and conserving is recommended. Restoration guidance focuses on the preservation of those materials and features that are signifi- cant to the period. In Restoration, repair may include the limited replacement in kind or with a compatible substitute material of extensively deteriorated or missing components of existing restoration period features when there are surviving prototypes to use as a model. INTRODUCTION 165 RESTORATION Replace Extensively Deteriorated Features from the Restoration Period In Restoration, replacing an entire feature from the restoration period, such as a porch, that is too deteriorated to repair may be appropriate. Together with documentary evidence, the form and detailing of the historic feature should be used as a model for the replacement. Using the same kind of material is preferred; however, compatible substitute material may be considered. New work may be unobtrusively dated to guide future research and treatment. Remove Existing Features from Other Historic Periods Most buildings change over time, but in Restoration the goal is to depict the building as it appeared at the most significant time in its history. Thus, it may involve removing or altering existing historic features that do not represent the restoration period. Materials, fea- tures, spaces, and finishes that characterize other historical periods should be documented to guide future research and treatment prior to their alteration or removal. Recreate Missing Features from the Restoration Period Most Restoration projects involve recreating features that were significant to the building during the restoration period, such as a porch, but are now missing. Missing features to be replaced should be substantiated by documentary and physical evidence to ensure the restoration is accurate. Using the same materials to depict lost features is always the preferred approach; however, using compat- ible substitute material is an acceptable alternative in Restoration because the goal of this treatment is to replicate the appearance of the historic building at a particular time. If documentary and physical evidence are not available to provide an accurate recreation of missing features, the treatment Rehabilitation might be a better overall approach to project work. Code -Required Work: Accessibility and Life Safety Sensitive solutions to meeting code requirements in a Restoration project are an important part of protecting the historic character of the building. Work that must be done to meet accessibility and life - safety requirements must also be assessed for its potential impact on the historic building as it is restored. Resilience to Natural Hazards Resilience to natural hazards should be addressed as part of a Resto- ration project. A historic building may have existing characteristics or features that help to address or minimize the impacts of natu- ral hazards. These should always be used to best advantage when planning new adaptive treatments that have the least impact on the historic character of the building, its site, and setting. Sustainability Sustainability should be addressed as part of a Restoration project. Good preservation practice is often synonymous with sustainability. Existing energy -efficient features should be retained and repaired. New sustainability treatments should generally be limited to updat- ing existing features and systems to have the least impact on the historic character of the building. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. Although specifi- cally developed for the treatment Rehabilitation, the Sustainability Guidelines can be used to help guide the other treatments. 166 INTRODUCTION RESTORATION Restoration as a Treatment. When the property's design, architectural, or historical significance during a particular period of time outweighs the potential loss of extant materials, features, spaces, and finishes that characterize other historical periods; when there is substantial physical and documentary evidence for the work; and when contemporary altera- tions and additions are not planned, Restoration may be considered as a treatment. Prior to undertaking work, a particular period of time, i.e., the restoration period, should be selected and justified, and a documentation plan for Restoration developed. INTRODUCTION 167 RESTORATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Identifying, retaining and preserving masonry features from the restoration period (such as walls, brackets, railings, cornices, window and door surrounds, steps, and columns) and decorative ornament and other details, such as tooling and bonding pat- terns, coatings, and color. Altering masonry features from the restoration period. Failing to document masonry features from the restoration period, which may result in their loss. Applying paint or other coatings (such as stucco) to restoration - period masonry features, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period masonry features, unless the work can be substantiated by historical documentation. Protecting and maintaining masonry features from the resto- ration period by ensuring that historic drainage features and systems that divert rainwater from masonry surfaces (such as roof overhangs, gutters, and downspouts) are intact and functioning properly. Failing to identify and treat the causes of masonry deterioration, such as leaking roofs and gutters or rising damp. [1] (a) When it was acquired by the National Trust for Historic Preservation in the 1980s, Montpelier in Montpelier Station, VA, the home of James and Dolley Madison, had been much altered and enlarged since it was first constructed. Based on historical documentation and research, Montpelier was accurately restored to its 1820s appearance when the president and his wife lived there (b). Photos: Courtesy of The Montpelier Foundation. 168 MASONRY RESTORATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Cleaning masonry only when necessary to halt deterioration or remove heavy soiling. Cleaning masonry surfaces from the restoration period when they are not heavily soiled to create a "like -new" appearance, thereby need- lessly introducing chemicals or moisture into historic materials. Carrying out masonry cleaning tests when it has been determined that cleaning is appropriate. Test areas should be examined to ensure that no damage has resulted and, ideally, monitored over a sufficient period of time to allow long-range effects to be predicted. Cleaning masonry surfaces without testing or without sufficient time for the testing results to be evaluated. Cleaning soiled restoration -period masonry surfaces with the gentlest method possible, such as using low-pressure water and detergent and natural bristle or other soft -bristle brushes. Cleaning or removing paint from masonry surfaces from the restora- tion period using most abrasive methods (including sandblasting, other media blasting, or high-pressure water) which can damage the surface of the masonry and mortar joints. Using a cleaning or paint -removal method that involves water or liquid chemical solutions when there is any possibility of freezing temperatures. Cleaning with chemical products that will damage some types of masonry (such as using acid on limestone or marble), or failing to neutralize or rinse off chemical cleaners from masonry surfaces. Using biodegradable or environmentally -safe cleaning or paint - removal products. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using coatings that encapsulate lead paint, when possible, where paint is not required to be removed to meet environmental regulations. Allowing only trained conservators to use abrasive or laser clean- ing methods, when necessary, to clean hard -to -reach, highly - carved, or detailed decorative stone features. MASONRY 169 RESTORATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Removing damaged or deteriorated paint only to the next sound layer using the gentlest method possible (e.g., hand scraping) prior to repainting. Removing paint that is firmly adhered to masonry surfaces. Applying compatible paint coating systems to historically- painted, restoration -period masonry following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting masonry features. Repainting historically -painted masonry features with colors that are documented to the restoration period of the building (i.e., verifying through paint analysis). Using paint colors on historically -painted masonry features that are not documented to the restoration period. Protecting adjacent restoration -period materials when cleaning or removing paint from masonry features from the restoration period. Failing to protect adjacent restoration -period materials when clean - ing or removing paint from masonry features from the restoration period. Evaluating the overall condition of masonry from the restoration period to determine whether more than protection and mainte- nance, such as repairs to masonry features will be necessary. Failing to undertake adequate measures to ensure the protection of masonry features from the restoration period. Repairing masonry features from the restoration period by patch- ing, splicing, consolidating, or otherwise reinforcing the masonry using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing compo- nents of masonry features from the restoration period when there are surviving prototypes (such as terra-cotta brackets or stone balusters) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Removing masonry from the restoration period that could be stabi- lized, repaired, and conserved, or using untested consolidants and unskilled personnel, potentially causing further damage to materials. 170 MASONRY RESTORATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Repairing masonry walls and other masonry features from the restoration period by repointing the mortar joints where there is evidence of deterioration, such as disintegrating mortar, cracks in mortar joints, loose bricks, or damaged plaster. Removing deteriorated lime mortar from the restoration period Removing restoration -period mortar that is not deteriorated from carefully by hand raking the joints to avoid damaging the masonry. sound joints. [2] (a) Decatur House in Washington, DC, was designed by William Henry Latrobe and constructed in 1816. (b) In the late-19th century, the facade was "modernized" by removing the limestone lintels on the first floor and replacing them with decorative sandstone lintels in the style of the period. (c) In the mid-20th century, the house was brought back to its original appearance based on historic documentation. Photos: The White House Historical Association and Decatur House, a National Trust Site. MASONRY 171 RESTORATION [3] Not Recommended: Although the Dutchman stone repair has been well executed, the replacement stone is not a good color match. MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Using power tools only on horizontal joints on restoration -period brick masonry in conjunction with hand chiseling to remove hard mortar that is deteriorated or that is a non -historic material which is causing damage to the masonry units. Mechanical tools should be used only by skilled masons in limited circumstances and generally not on short, vertical joints in brick masonry. Allowing unskilled workers to use masonry saws or mechanical tools to remove deteriorated mortar from joints prior to repointing. Duplicating historic mortar joints in strength, composition, color, and texture when repointing is necessary. In some cases, a lime- based mortar may also be considered when repointing Portland cement mortar joints because it is more flexible. Repointing masonry units with mortar of high Portland cement content (unless it is the content of the mortar from the restoration period). Duplicating restoration -period mortar joints in width and joint profile when repointing is necessary. Using "surface grouting" or a "scrub" coating technique, such as a "sack rub" or "mortar washing," to repoint exterior masonry units from the restoration period instead of traditional repointing methods. Changing the width or joint profile when repointing masonry from the restoration period. Aar 172 MASONRY RESTORATION MASONRY: STONE, BRICK TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Repairing stucco from the restoration period by removing the damaged material and patching with new material that duplicates the historic stucco in strength, composition, color, and texture. Removing sound stucco from the restoration period or repairing with new stucco that is different in composition from the historic stucco. Patching stucco or concrete from the restoration period without removing the source of deterioration. Replacing deteriorated stucco from the restoration period with synthetic stucco, an exterior finish and insulation system (EFIS), or other non-traditional materials. Using mud plaster or a compatible lime -plaster adobe render, when appropriate, to repair adobe from the restoration period. Applying cement stucco, unless it already exists, to adobe from the restoration period. Sealing joints in concrete from the restoration period with appro- priate flexible sealants and backer rods, when necessary. Repointing masonry units from the restoration period (other than concrete) with a synthetic caulking compound instead of mortar. Cutting damaged concrete from the restoration period back to remove the source of deterioration, such as corrosion on metal reinforcement bars. The new patch must be applied carefully so that it will bond satisfactorily with and match the historic concrete. Patching concrete from the restoration period without removing the source of deterioration. Using a non -corrosive, stainless -steel anchoring system when replacing damaged stone, concrete, or terra-cotta units from the restoration period that have failed. Repairing masonry features from the restoration period by patch- ing, splicing, consolidating, or otherwise reinforcing the masonry using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing compo- nents of masonry features from the restoration period when there are surviving prototypes (such as terra-cotta brackets or stone balusters) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Removing masonry from the restoration period that could be sta- bilized, repaired, and conserved, or using untested consolidants, improper repair techniques, or unskilled personnel, potentially causing further damage to materials. Replacing an entire masonry feature from the restoration period, such as a cornice or balustrade, when repair of the masonry and limited replacement of deteriorated or missing components are appropriate. MASONRY 173 RESTORATION [4] (a) Over the years terra-cotta cladding had been replaced on the lower floors of this early-2Oth century bank building with a storefront and incompatible windows. (b) A 1936 photograph of the building provided the documentation to restore its historic appearance. (c) Glass fiber reinforced plastic (GRFP) was chosen as a substitute material, and samples were made in a variety of colors and textures to obtain the best match for the missing and damaged terra cotta. (d) This photo taken after restoration shows that the GFRP replacements successfully blend in with the original terra cotta. Photo (d): Blamonet at English Wikipedia. (a) (c) (d) (b) 174 MASONRY RESTORATION MASONRY: STONE, BRICK, TERRA COTTA, CONCRETE, ADOBE, STUCCO, AND MORTAR RECOMMENDED NOT RECOMMENDED Applying non -historic surface treatments, such as water-repellent coatings, to masonry from the restoration period only after repointing and only if masonry repairs have failed to arrest water penetration problems. Applying waterproof, water-repellent, or other coatings that are not from the restoration period (such as stucco) to masonry as a substi- tute for repointing and masonry repairs. Applying permeable, anti -graffiti coatings to masonry from the restoration period when appropriate. Applying water-repellent or anti -graffiti coatings that change the historic appearance of the masonry from the restoration period or that may trap moisture if the coating is not sufficiently permeable. Replacing in kind an entire masonry feature from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature. Examples can include a large section of a wall, a cornice, balustrade, pier, or parapet. If using the same kind of material is not feasible, then a compatible substitute material may be considered. The new work may be unobtrusively dated to guide future research and treatment. Removing a masonry feature from the restoration period that is unrepairable and not replacing it, or replacing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the masonry. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic masonry features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing masonry features from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing masonry features from other historic periods, such as a door surround, porch, or steps. Failing to remove a masonry feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Documenting masonry features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Failing to document masonry features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing masonry feature that existed during the restoration period based on documentary and physical evidence; for example, duplicating a terra-cotta bracket or stone balus- trade. The new work may be unobtrusively dated to guide future research and treatment. Constructing a masonry feature that was part of the original design for the building but was never actually built, or a feature which was thought to have existed during the restoration period but which cannot be documented. MASONRY 175 RESTORATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving wood features from the res- toration period (such as siding, cornices, brackets, window and door surrounds, and steps) and their paints, finishes, and colors. Altering wood features from the restoration period. Failing to document wood features from the restoration period, which may result in their loss. Applying paint or other coatings to restoration -period wood features, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period wood features, unless the work can be substantiated by historical documentation. Protecting and maintaining wood features from the restoration period by ensuring that historic drainage features that divert rain- water from wood surfaces (such as roof overhangs, gutters, and downspouts) are intact and functioning properly. Failing to identify and treat the causes of wood deterioration, such as faulty flashing, leaking gutters, cracks and holes in siding, dete- riorated caulking in joints and seams, plant material growing too close to wood surfaces, or insect or fungal infestation. Applying chemical preservatives or paint to wood features from the restoration period that are subject to weathering, such as exposed beam ends, outriggers, or rafter tails. Using chemical preservatives that can change the appearance of wood features from the restoration period. Implementing an integrated pest management plan to identify appropriate preventive measures to guard against insect damage, such as installing termite guards, fumigating, and treating with chemicals. Retaining coatings from the restoration period (such as paint) that protect the wood from moisture and ultraviolet light. Paint removal should be considered only when there is paint surface deterioration and as part of an overall maintenance program which involves repainting or applying other appropriate coatings. Stripping restoration -period paint or other coatings from wood fea- tures without recoating them. Using biodegradable or environmentally -safe cleaning or paint - removal products. 176 WOOD RESTORATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Using thermal devices (such as infrared heaters) carefully to remove paint, when it is so deteriorated that total removal is necessary prior to repainting. Using a thermal device to remove paint from wood features without first checking for and removing any flammable debris behind them. Using thermal devices without limiting the amount of time the wood is exposed to heat. Using paint -removal methods that employ a poultice to which paint adheres, when possible, to neatly and safely remove old lead paint. Using coatings that encapsulate lead paint, when possible, where the paint is not required to be removed to meet environmental regulations. Using chemical strippers primarily to supplement other methods such as hand scraping, hand sanding, and thermal devices. Failing to neutralize the wood thoroughly after using chemical paint removers so that new paint may not adhere. Removing paint from detachable, restoration -period wood features by soaking them in a caustic solution which can roughen the sur- face, split the wood, or result in staining from residual acid leach- ing out through the wood. Removing damaged or deteriorated paint to the next sound layer using the gentlest method possible (e.g., hand scraping and hand sanding) prior to repainting. Using potentially -damaging paint -removal methods on restoration - period wood surfaces, such as open -flame torches, orbital sanders, abrasive methods (including sandblasting, other media blasting, or high-pressure water), or caustic paint -removers. Removing paint that is firmly adhered to wood surfaces. Applying compatible paint coating systems to historically -painted wood following proper surface preparation. Failing to follow manufacturers' product and application instruc- tions when repainting wood features from the restoration period. Repainting historically -painted wood features with colors that are documented to the restoration period of the building (i.e., verify- ing through paint analysis). Using paint colors on historically -painted wood features that are not documented to the restoration period. WOOD 177 RESTORATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED Protecting adjacent restoration -period materials when cleaning or removing paint from wood features from the restoration period. Failing to protect adjacent restoration -period materials when cleaning or removing paint from wood features from the restoration period. Evaluating the overall condition of wood features from the res- toration period to determine whether more than protection and maintenance, such as repairs to wood features, will be necessary. Failing to undertake adequate measures to ensure the protection of wood features from the restoration period. Repairing wood features from the restoration period by patching, splicing, consolidating, or otherwise reinforcing the wood using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of features from the restoration period when there are surviving prototypes (such as brackets, molding, or sections of siding) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Removing wood features from the restoration period that could be stabilized, repaired, and conserved, or using untested consolidants or unskilled personnel, potentially causing further damage to his - toric materials. Replacing an entire wood feature from the restoration period, such as a cornice or porch railing, when repair of the wood and limited replacement of deteriorated or missing components are appropriate. Replacing in kind an entire wood feature from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples can include a cornice, entablature, or a balustrade. If using the same kind of material is not feasible, then a compatible substitute material may be considered. The new work may be unobtrusively dated to guide future research and treatment. Removing a wood feature from the restoration period that is unre- pairable and not replacing it, or replacing it with a new feature that does not match. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the wood fea- ture from the restoration period or that is physically incompatible. 178 WOOD RESTORATION WOOD: CLAPBOARD, WEATHERBOARD, SHINGLES, AND OTHER FUNCTIONAL AND DECORATIVE ELEMENTS RECOMMENDED NOT RECOMMENDED The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic masonry features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing wood features from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing wood features from other historic periods, such as a door surround, porch, or steps. Documenting wood features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Failing to remove a wood feature from another period, thereby con- fusing the depiction of the building's appearance from the restora- tion period. Failing to document wood features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing wood feature that existed during the resto- ration period based on documentary and physical evidence; for example, duplicating a wood dormer or porch [5] New wood trim pieces were milled to match the few remaining historic features to replace those that were missing. Constructing a wood feature that was part of the original design for the building but was never actually built, or a feature which was thought to have existed during the restoration period but cannot be documented. WOOD 179 RESTORATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving metal features from the restoration period (such as columns, capitals, pilasters, spandrel panels, or stairways) and their finishes and colors. The type of metal should be identified prior to work because each metal has its own properties and may require a different treatment. Altering metal features from the restoration period. Failing to document metal features from the restoration period, which may result in their loss. Applying paint or other coatings to restoration -period metal fea- tures, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period metal features, unless the work can be substantiated by historical documentation. Protecting and maintaining metals from the restoration period from corrosion by providing proper drainage so that water does not stand on flat, horizontal surfaces or accumulate in curved decorative features. Failing to identify and treat the causes of corrosion of restoration - period metal features such as moisture from leaking roofs or gut - ters. Cleaning metals from the restoration period, when necessary, to remove corrosion prior to repainting or applying other appropriate protective coatings. Failing to reapply coating systems after cleaning metals from the restoration period that require protection from corrosion. Removing the patina from restoration -period metal features. The patina may be a protective layer on some metals (such as bronze or copper) as well as a distinctive finish. Identifying the particular type of metal from the restoration period prior to any cleaning procedure and then testing to ensure that the gentlest cleaning method possible is selected; or alterna- tively, determining that cleaning is inappropriate for the particu- lar metal. Using cleaning methods which alter or damage the restoration - period color, texture, and finish of the metal, or cleaning when it is inappropriate for the metal. Using non -corrosive chemical methods to clean soft metals from the restoration period (such as lead, tinplate, terneplate, copper, and zinc) whose finishes can be easily damaged by abrasive methods. Cleaning soft metals from the restoration period (such as lead, tin - plate, terneplate, copper, and zinc) with abrasive methods (includ- ing sandblasting, other media blasting, or high-pressure water) which will damage the surface of the metal. 180 METALS RESTORATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Using the least abrasive cleaning method on hard metals from the restoration period (such as cast iron, wrought iron, and steel) to remove paint buildup and corrosion. If hand scraping and wire brushing have Using the least abrasive cleaning method on hard metals from the restoration period (such as cast iron, wrought iron, and steel) to remove paint buildup and corrosion. If hand scraping and wire brushing have proven ineffective, low-pressure abrasive methods may be used as long as they do not damage the surface. Using high-pressure abrasive techniques without first trying gentler cleaning methods prior to cleaning cast iron, wrought iron, or steel. Applying appropriate paint or other coating systems to histori- cally-painted, restoration -period metal features after cleaning to protect them from corrosion. , Applying paint or other coatings to metals (such as copper, bronze, or stainless steel) if they were not coated during the restoration period. Repainting historically -painted metal features with colors that are documented to the restoration period of the building (i.e., verify- ing through paint analysis). Using paint colors on historically -painted metal features that are not documented to the restoration period of the building. Applying an appropriate protective coating (such as lacquer or wax) to an architectural metal feature that was historically unpainted, such as a bronze door, that is subject to heavy use. Protecting adjacent restoration -period materials when working on metal features from the restoration period. Failing to protect adjacent restoration -period materials when work - ing on metal features from the restoration period. Evaluating the overall condition of metals from the restoration period to determine whether more than protection and mainte- nance, such as repairs to metal features, will be necessary. Failing to undertake adequate measures to ensure the protection of metal features from the restoration period. Repairing metal features from the restoration period by reinforc- ing the metal by using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing parts of features when there are surviving prototypes (such as porch balusters, column capitals or bases, storefronts, railings, or porch cresting) or when the replacement can be based on physi- cal or historic documentation. The new work should match the old in material, design, scale, color, and finish. Removing metal features from the restoration period that could be stabilized, repaired, and conserved, or using improper repair tech - niques, or untrained personnel, potentially causing further damage to historic materials. Replacing an entire metal feature from the restoration period, such as a column or balustrade, when repair of the metal and limited replacement of deteriorated or missing components are appropriate. METALS 181 RESTORATION [6] Preliminary work before starting restoration revealed that the columns and the decorative shingles ornamenting the top floor of this historic building were fabricated of metal to imitate the red sandstone used elsewhere on the building. 182 METALS RESTORATION METALS: WROUGHT AND CAST IRON, STEEL, PRESSED METAL, TERNEPLATE, COPPER, ALUMINUM, AND ZINC RECOMMENDED NOT RECOMMENDED Replacing in kind an entire metal feature from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples of such a feature could include cast-iron porch steps or steel -sash windows. If using the same kind of material is not feasible, then a compatible sub- stitute material may be considered as long as it has the same appearance as the original. The new work may be unobtrusively dated to guide future research and treatment. Removing a metal feature from the restoration period that is unre- pairable and not replacing it, or replacing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the metal feature from the restoration period or that is physically or chemically incompatible. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic masonry features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing metal features from the restoration period using all new materials. Removing metal features from other historic periods, such as a cast-iron porch railing or aluminum windows. Documenting metal features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Failing to remove a metal feature from another period, thereby con- fusing the depiction of the building's appearance from the restora- tion period. Failing to document metal features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing metal feature that existed during the resto- ration period based on documentary and physical evidence; for example, duplicating a cast-iron storefront or porch. Constructing a metal feature that was part of the original design for the building but was never actually built, or a feature which was thought to have existed during the restoration period but cannot be documented. METALS 183 RESTORATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving roofs from the restoration period and their functional and decorative features. The form of the roof (gable, hipped, gambrel, flat, or mansard) is significant, as are its decorative and functional features (such as cupolas, cresting, parapets, monitors, chimneys, weather vanes, dormers, ridge tiles, and snow guards), roofing materials (such as slate, wood, clay tile, metal, roll roofing, or asphalt shingles) and size, color, and patterning. Altering roof and roofing materials from the restoration period. Failing to document roof features from the restoration period, which may result in their loss. Changing the type of paint or coating or the color of restoration - period roof features, unless the work can be substantiated by historical documentation. Stripping the roof of sound historic roofing material (such as slate, clay tile, wood, or metal) from the restoration period. Protecting and maintaining roof from the restoration period by cleaning gutters and downspouts and replacing deteriorated flashing. Roof sheathing should also be checked for indications of moisture due to leaks or condensation. Failing to clean and maintain gutters and downspouts so that water and debris collect and cause damage to roof fasteners, sheathing, and the underlying structure. Providing adequate anchorage for roofing material from the restoration period to guard against wind damage and moisture penetration. Allowing flashing, caps, and exposed roof fasteners to corrode, which accelerates deterioration. Protecting a leaking roof with a temporary waterproof membrane with a synthetic underlayment, roll roofing, plywood, or a tarpau- lin until it can be repaired. Leaving a leaking roof unprotected so that accelerated deterioration of historic building materials from the restoration period (such as masonry, wood, plaster, paint, and structural members) results. Repainting a roofing material from the restoration period that requires a protective coating and was painted historically (such as a terneplate metal roof or gutters) as part of regularly-sched- uled maintenance. Failing to repaint a roofing material from the restoration period that requires a protective coating and was painted historically as part of regularly -scheduled maintenance. Protecting a restoration -period roof covering when working on other roof features from the restoration period. Failing to protect restoration -period roof coverings when working on other roof features from the restoration period. Evaluating the overall condition of the roofing materials from the restoration period to determine whether more than protection and maintenance, such as repairs to roof features, will be necessary. Failing to undertake adequate measures to ensure the protection of roof features from the restoration period. 184 ROOFS RESTORATION [7 a-b] This crumbling chimney was restored to its historic appearance using matching bricks. [8] The missing steeple of this historic church was replaced with a new steeple made of a substitute material that, from the street below, closely resembles the original steeple. Photo: en.Wikipedia. ROOFS 185 RESTORATION ■ RECOMMENDED NOT RECOMMENDED Repairinga roof from the restoration period by reinforcing the materials that comprise the roof using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deterio- rated or missing components of features when there are surviving prototypes (such as cupola louvers, cresting, dormer roofing, roof monitors, or slate or tile on a main roof) or when replacement can be based on physical or historic documentation. The new work should match the old in materials, design, scale, color, and finish. Replacing an entire roof feature from the restoration period, such as a dormer, when repair of the roofing materials and limited replace- ment of deteriorated or missing components are feasible. Failing to reuse intact slate or tile from the restoration period when only the roofing substrate or fasteners need replacement. Replacing in kind an entire roof covering or feature from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples of such a feature could include a large section of roofing, a dormer, or a chimney. If using the same kind of material is not feasible, then a compat- ible substitute material may be appropriate. Removing a roof feature from the restoration period that is unrepair- able, such as a chimney or dormer, and not replacing it, or replac- ing it with a feature that does not match. Using a substitute material for the replacement of a single ele- ment of a roof (such as a tile or slate) or an entire feature that does not convey the same appearance of the surviving components of the roof feature from the restoration period or that is physically or chemically incompatible. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic masonry features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing roof features from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing roofs or roof features from other historic periods, such as a dormer or asphalt roofing. Documenting roof features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Recreating Missing Features from the Restoration Period Recreating a missing roofing material or roof feature that existed during the restoration period based on documentary and physical evidence; for example, duplicating a former dormer or cupola. Failing to remove a roof feature from another period, thereby con- fusing the depiction of the building's appearance from the restora- tion period. Failing to document roofing materials and roof features from other historic periods that are removed from the building so that a valu- able portion of the historic record is lost. Constructing a roof feature that was part of the original design for the building but was never actually built, or a feature which was thought to have existed during the restoration period but cannot be documented. 186 ROOFS RESTORATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving windows from the restora- tion period and their functional and decorative features. The window material and how the window operates (e.g., double hung, casement, awning, or hopper) are significant, as are its components (including sash, muntins, ogee lugs, glazing, pane configuration, sills, mullions, hardware, casings or brick molds) and related features, such as shutters. Altering windows or window features from the restoration period. Failing to document window features from the restoration period, which may result in their loss. Applying paint or other coatings to restoration -period window fea- tures, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period windows, unless the work can be substantiated by historical documentation. Stripping windows of sound historic material (such as wood or metal) from the restoration period. Conducting an in-depth survey of the condition of existing win- dows from the restoration period early in the planning process so that repair, upgrading, and, if necessary, possible replacement options can be fully explored. Replacing windows from the restoration period solely because of peeling paint, broken glass, stuck sash, or high air infiltration. These conditions, in themselves, do not indicate that windows are beyond repair. Protecting and maintaining the restoration -period wood or metal which comprises the window jamb, sash, and trim through appro- priate surface treatments such as cleaning, paint removal, and reapplication of the same protective coatings. Failing to protect and maintain window materials from the restora- tion period on a cyclical basis so that deterioration of the window results. Protecting windows from the restoration period against vandal- ism before work begins by covering them and by installing alarm systems that are keyed into local protection agencies. Leaving windows unprotected before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected windows. Installing impact -resistant glazing, when necessary for security, so that it is compatible with the historic windows from the res- toration period and does not damage them or negatively impact their character. Installing impact -resistant glazing, when necessary, for security that is not compatible with the historic windows from the restoration period and damages them or negatively impacts their character. WINDOWS 187 RESTORATION [9] Historic window and shutter hardware such as that shown here should be retained and repaired in a restoration project. l RECOMMENDED NOT RECOMMENDED Protecting restoration -period windows when working on other features of the building. Failing to protect restoration -period windows when working on other features of the building. Protecting and retaining historic glass from the restoration period when replacing putty or repairing other components of the window. Failing to protect historic glass from the restoration period when making repairs. Sustaining the historic operability of windows from the restoration period by lubricating friction points and replacing broken com- ponents of the operating system (such as hinges, latches, sash chains or cords) and replacing deteriorated gaskets or insulating units. Failing to maintain windows and window components from the res- toration period so that windows are inoperable, or sealing operable sash permanently. Failing to repair and reuse window hardware from the restoration period, such as sash lifts, latches, and locks. Evaluating the overall condition of windows from the restoration period to determine whether more than protection and mainte- nance, such as repairs to windows and window features, will be necessary. Failing to undertake adequate measures to ensure the protection of window features from the restoration period. Repairing window frames and sash from the restoration period by patching, splicing, consolidating, or otherwise reinforcing them using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated, broken, or missing components of windows when there are surviving prototypes (such as sash, sills, hardware, or shutters) or when the replace- ment can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Replacing an entire window from the restoration period when repair of materials and limited replacement in kind are appropriate. Removing a window from the restoration period that is unrepairable and not replacing it, or replacing it with a new window that does not match. 188 WINDOWS RESTORATION RECOMMENDED NOT RECOMMENDED Replacing in kind an entire window from the restoration period that is too deteriorated to repair (if the overall form and detail- ing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compatible substitute material may be consid- ered. The new work may be unobtrusively dated to guide future research and treatment. Removing a window from the restoration period that is unrepairable and not replacing it, or replacing it with a new window that does not match. Using substitute material for the replacement that does not convey the same appearance of the surviving components of the window from the restoration period or that is physically incompatible. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic masonry features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing window features from the restoration period using all new materials. II xistinn FaAt a !. rn ar Wietnrir Periods Removing windows or window features from other historic period, such as the glazing pattern or inappropriate shutters. Failing to remove a window or window feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Documenting window features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Recreating Missing Features from the Restoration Period Recreating a missing window or window feature that existed during the restoration period based on documentary and physical evidence; for example, duplicating a hoodmold or shutter. Failing to document window features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Constructing a window feature that was part of the original design for the building but was never actually built, or constructing a fea- ture which was thought to have existed during the restoration period but cannot be documented. WINDOWS 189 RESTORATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving entrances and porches from the restoration period and their functional and decorative features. The materials themselves (including wood, masonry, and metal) are important, as are their features, such as doors, transoms, pilasters, columns, balustrades, stairs, roofs, and projecting canopies. Altering entrances and porch features from the restoration period. Failing to document entrance and porch features from the restora- tion period, which may result in their loss. Applying paint or other coatings to restoration -period entrance and porch features, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period entrance and porch features, unless the work can be sub- stantiated by historical documentation. Stripping entrances and porches of sound material from the restora- tion period, such as wood, cast iron, tile, or brick. Protecting and maintaining the masonry, wood, and metals which comprise entrances and porches from the restoration period through appropriate surface treatments, such as cleaning, rust removal, paint removal, and reapplication of protective coatings. Failing to protect and maintain materials from the restoration period on a cyclical basis so that deterioration of the entrance or porch results. Protecting entrances and porches against arson and vandalism before work begins by covering them and by installing alarm systems keyed into local protection agencies. Leaving entrances and porches unprotected and subject to vandal - ism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting entrance and porch features from the restoration period when working on other features of the building. Failing to protect entrances and porches from the restoration period when working on other features of the building. Evaluating the overall condition of entrances and porches from the restoration period to determine whether more than protection and maintenance, such as repairs to entrance and porch features, will be necessary. Failing to undertake adequate measures to ensure the protection of entrance and porch features from the restoration period. 190 ENTRANCES AND PORCHES RESTORATION ENTRANCES AND PORCHES RECOMMENDED NOT RECOMMENDED Repairing entrances and porches from the restoration period by reinforcing them or replacing deteriorated materials using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of fea- tures when there are surviving prototypes (such as balustrades, columns, and stairs) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Replacing an entire entrance or porch feature from the restoration period when the repair of materials and limited replacement of deteriorated or missing components are feasible. [10] (a) The entrance of this house had been altered over the years, including removal of the porch floor and steps. (b) This photograph shows the house after the porch and steps were restored to their historic appearance. ENTRANCES AND PORCHES 191 RESTORATION RECOMMENDED NOT RECOMMENDED Replacing in kind an entire entrance or porch from the restora- tion period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of mate- rial is not feasible, then a compatible substitute material may be considered. The new work may be unobtrusively dated to guide future research and treatment. Removing an entrance or porch feature from the restoration period that is unrepairable and not replacing it, or replacing with a new entrance or porch that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of restoration -period entrance or porch features or that is otherwise incompatible. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic entrances and porches or their fea- tures that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing entrances and porches or their features from the restoration period using all new materials. -g nn Fxlc inn Faat!l es_frn Other Historic Periods Removing entrances and porches and their features from other historic periods, such as a porch railing. Documenting entrance and porch features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Recreating Missing Features from the Restoration Period Recreating a missing entrance or porch or its features that existed during the restoration period based on documentary and physical evidence; for example, duplicating a transom or porch column. Failing to remove an entrance or porch feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Failing to document entrance and porch features from other historic periods that are removed from the building so that a valuable por- tion of the historic record is lost. Constructing an entrance or porch feature that was part of the original design for the building but was never actually built, or constructing a feature which was thought to have existed during the restoration period but cannot be documented. 192 ENTRANCES AND PORCHES RESTORATION STOREFRONTS ■ RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving storefronts from the restora- tion period and their functional and decorative features. The storefront materials (including wood, masonry, metals, ceramic tile, clear glass, and pigmented structural glass) and the configu- ration of the storefront are significant, as are its features, such as display windows, base panels, bulkheads, signs, doors, transoms, kick plates, corner posts, piers, and entablatures. Altering storefronts and their features from the restoration period. Failing to document storefront features from the restoration period, which may result in their loss. Applying paint or other coatings to restoration -period storefront fea- tures, or removing them, if such treatments cannot be documented to the restoration period. Changing the type of paint or coating or the color of restoration - period storefront features, unless the work can be substantiated by historical documentation. Stripping storefronts of material from the restoration period, such as wood, cast iron, ceramic tile, pigmented structural glass, or masonry. Protecting and maintaining masonry, wood, glass, ceramic tile, and metals which comprise storefronts from the restoration period through appropriate surface treatments, such as cleaning, paint removal, and reapplication of protective coatings. Failing to protect and maintain storefront materials from the resto- ration period on a cyclical basis so that deterioration of storefront features results. Replacing storefront windows from the restoration period rather than maintaining all the components of the window system. Protecting storefronts against arson and vandalism before work begins by covering windows and doors and by installing alarm systems keyed into local protection agencies. Leaving the storefront unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected entrances. Protecting restoration -period storefront features when working on other features of the building. Failing to protect the restoration -period storefront when working on other features of the building. Evaluating the overall condition of the storefront from the restora- tion period to determine whether more than protection and main- tenance, such as repairs to storefront features, will be necessary. Failing to undertake adequate measures to ensure the protection of storefront features from the restoration period. STOREFRONTS 193 RESTORATION [11] (a) Some of the materials on the front of this historic building had been previously replaced, but the facade retained its essential distinctive features and design. (b) A vintage postcard of the building (far left) provided sufficient documentation to restore the facade to its historic 1945 appearance, using spandrel glass as a replacement for the original Carrara glass (c). Photo (b): Courtesy Kelsey & Associates. 194 STOREFRONTS RESTORATION I RECOMMENDED NOT RECOMMENDED Repairing storefronts from the restoration period by reinforcing them or replacing deteriorated materials using recognized pres- ervation methods. Repair may include the limited replacement in kind or with compatible substitute materials of those exten- sively deteriorated or missing components of features when there are surviving prototypes (such as transoms, pilasters, or signs) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Replacing an entire storefront from the restoration period when repair of materials and limited replacement of deteriorated or miss- ing components are feasible. Replacing in kind an entire storefront from the restoration period that is too deteriorated to repair (if the overall form and detail- ing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compatible substitute material may be consid- ered. The new work may be unobtrusively dated to guide future research and treatment. Removing a storefront from the restoration period that is unrepair- able and not replacing it, or replacing it with a new storefront that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the restoration -period storefront or that is physically incompatible. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic entrances and porches or their fea- tures that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing storefronts or their features from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing storefronts and their features from other historic peri- ods, such as later cladding or signage. Failing to remove a storefront feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Documenting storefront features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored for future research. Failing to document storefront features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing storefront or storefront feature that existed during the restoration period based on documentary and physical evidence; for example, duplicating a display window or transom. Constructing a storefront feature that was part of the original design for the building but was never actually built, or constructing a fea- ture which was thought to have existed during the restoration period but which cannot be documented. STOREFRONTS 195 RESTORATION CURTAIN WALLS: 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving curtain wall systems from the restoration period and their components. The design of the curtain wall is significant, as are its component materials (metal stick framing and panel materials, such as clear or spandrel glass, stone, terra cotta, metal, and fiber -reinforced plastic), appearance (e.g., glazing color or tint, transparency, and reflectiv- ity), and whether the glazing is fixed, operable, or louvered glass panels. How a curtain wall is engineered and fabricated, and the fact that it expands and contracts at a different rate from the building's structural system, are important to understand when undertaking the restoration of a curtain wall system. Altering curtain wall components from the restoration period. Failing to document curtain wall systems from the restoration period, which may result in their loss. Replacing curtain wall features from the restoration period instead of repairing or replacing only the deteriorated components. Protecting and maintaining curtain walls and their components from the restoration period through appropriate surface treat- ments, such as cleaning, paint removal, and reapplication of protective coating system; and by making them watertight and ensuring that sealants and gaskets are in good condition. Failing to protect and maintain curtain wall components from the restoration period on a cyclical basis so that deterioration of the curtain wall results. Protecting ground -level curtain walls from the restoration period from vandalism before work begins by covering them, while ensuring adequate ventilation, and by installing alarm systems keyed into local protection agencies. Leaving ground -level curtain walls from the restoration period unprotected and subject to vandalism before work begins, thereby also allowing the interior to be damaged if it can be accessed through unprotected glazing. Protecting restoration -period curtain wall components when work- ing on other features of the building. Failing to protect curtain wall components from the restoration period when working on other features of the building. Installing impact -resistant glazing, when required by safety codes or necessary for security, with color, transparency, and reflectivity as close as possible to the original in a curtain wall system from the restoration period so that it is compatible with the historic curtain walls and does not damage them or negatively impact their character. Installing impact -resistant glazing, when required by safety codes or necessary for security, that is not compatible with the historic cur - tain walls and damages them or negatively impacts their character. Evaluating the overall condition of the curtain wall system from the restoration period and its individual components to determine whether more than protection and maintenance, such as repairs to curtain wall features, will be necessary. Failing to undertake adequate measures to ensure the protection of curtain wall features from the restoration period. 196 CURTAIN WALLS RESTORATION RECOMMENDED NOT RECOMMENDED Repairing curtain walls from the restoration period by reinforc- ing them or replacing deteriorated materials, including replacing deteriorated or missing sealants or gaskets, when necessary, to seal any gaps between system components. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of curtain walls where there are surviving prototypes or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. Replacing an entire curtain wall from the restoration period when repair of materials and limited replacement of deteriorated or miss- ing components are feasible. [12] This historic curtain wall features a distinctive variety of panel types which must be repaired or replicated in a restoration project if any are damaged or missing. CURTAIN WALLS 197 RESTORATION CURTAIN WALLS RECOMMENDED NOT RECOMMENDED Replacing in kind an entire curtain wall from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compatible substitute material may be considered. The new work may be unobtrusively dated to guide future research and treatment. The following Restoration work is highlighted to indicate that it involves the features that would be retained in Preservation and Rehabilitation treatment restoration period using all new materials. Removing a curtain wall feature from the restoration period that is unrepairable and not replacing it, or replacing it with a new curtain wall feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the restoration -period curtain wall or that is physically incompatible. removal or alteration of existing historic entrances and porches or their s; and the replacement of missing curtain walls or their features from the MI!!IMINOther Historic Periods Removing curtain wall components from other historic periods. Failing to remove a curtain wall component from another period, thereby confusing the depiction of the building's appearance from the restoration period Documenting curtain wall components dating from other periods prior to their alteration or removal. If possible, selected examples of these components or materials should be stored for future research. Failing to document curtain wall components from other historic periods that are removed from the building so that a valuable por- tion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing curtain wall component that existed during the restoration period based on documentary and physical evi- dence. Constructing a curtain wall component that was part of the original design for the building but was never actually built, or constructing a feature which was thought to have existed during the restoration period but which cannot be documented. 198 CURTAIN WALLS RESTORATION STRUCTURAL SYSTEMS g RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving structural systems and fea- tures from the restoration period. This includes the materials that comprise the structural system (i.e., wood, metal, and masonry), the type of system, and its features, such as posts and beams, trusses, summer beams, vigas, cast-iron or masonry columns, above -grade stone foundation walls, or load -bearing masonry walls. Altering visible features of structural systems from the restoration period. Failing to document structural systems from the restoration period, which may result in their loss. Overloading the structural system from the restoration period, or installing equipment or mechanical systems which could damage the structure. Replacing a load -bearing masonry wall from the restoration period that could be augmented and retained. Leaving known structural problems untreated, such as deflected beams, cracked and bowed walls, or racked structural members. Protecting and maintaining the structural system from the resto- ration period by keeping gutters and downspouts clear and roof- ing in good repair; and by ensuring that wood structural members are free from insect infestation. Failing to protect and maintain exterior materials and features from the restoration period on a cyclical basis so that deterioration of the structural system results. Using treatments or products that may retain moisture, which accelerates deterioration of structural members. Evaluating the overall condition of the structural system from the restoration period to determine whether more than protection and maintenance, such as repairs to structural features, will be necessary. Failing to undertake adequate measures to ensure the protection of the structural system from the restoration period. STRUCTURAL SYSTEMS 199 RESTORATION 1 RECOMMENDED NOT RECOMMENDED Repairing structural systems from the restoration period by rein- Upgrading the building structurally in a manner that diminishes the forcing them by augmenting or upgrading individual components restoration -period character of the exterior (such as installing strap - or features in a manner that is consistent with the restoration ping channels or removing a decorative masonry cornice) or that period. For example, weakened structural members, such as floor framing, can be paired with a new member, braced, or otherwise supplemented and reinforced. The new work should match the damages interior features or spaces. Replacing a component of the restoration -period structural system old in material, design, scale, color, and finish. when it could be repaired or augmented and retained. Installing a visible or exposed structural replacement feature that does not match the restoration -period feature (e.g., replacing an exposed wood summer beam with a steel beam). Using substitute material that does not equal the load -bearing capabilities of the restoration -period structural component; does not convey the same appearance of the restoration -period component, if it is visible; or is physically incompatible. Replacing in kind or with a compatible substitute material large portions or entire features of the structural system from the resto- ration period that are either extensively damaged or deteriorated or that are missing when there are surviving prototypes, such as cast-iron columns, trusses, or sections of load -bearing walls, or when the replacement can be based on historic documentation. Substitute material must be structurally sufficient, physically compatible with the rest of the system, and, where visible, must have the same form, design, and appearance as the restoration - period feature. The new work may be unobtrusively dated to guide future research and treatment. 200 STRUCTURAL SYSTEMS RESTORATION STRUCTURAL SYSTEMS RECOMMENDED NOT RECOMMENDED The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing visible historic structural features that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing visible structural features from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing visually -intrusive structural features from other historic periods, such as a non -matching column. Documenting structural features dating from other periods prior to their alteration or removal. If possible, selected examples of these features or materials should be stored to facilitate future research. Failing to remove or alter a visually -intrusive structural feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Failing to document structural features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing, visible structural feature that existed during the restoration period based on documentary and physical evidence; for example, duplicating a viga or cast-iron column. Constructing a visible structural feature that was part of the original design for the building but was never actually built, or constructing a feature which was thought to have existed during the restoration period but cannot be documented. STRUCTURAL SYSTEMS 201 RESTORATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING.. 1 RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving visible features of mechani- cal systems from the restoration period, such as radiators, vents, fans, grilles, and plumbing and lighting fixtures. Altering visible features of mechanical systems from the restoration period. Failing to document visible features of mechanical systems from the restoration period, which may result in their loss. Protecting and maintaining functioning mechanical, plumbing, and electrical systems and their features from the restoration period through cyclical maintenance. Failing to protect and maintain functioning mechanical, plumb - ing, and electrical systems from the restoration period on a cyclical basis so that their deterioration results. Improving the energy efficiency of functioning mechanical systems to help reduce the need for a new system by installing storm windows and insulating attics and crawl spaces, if appro- priate. Repairing functioning mechanical systems by augmenting or upgrading system components (such as installing new pipes and ducts), rewiring, or adding new compressors or boilers. Replacing a functioning mechanical system or its components when it could be upgraded and retained. Replacing in kind or with a compatible substitute material those extensively deteriorated or missing visible features of restoration- period mechanical systems when there are prototypes, such as ceiling fans, radiators, grilles, or lighting fixtures. Installing a visible replacement feature that does not convey the same appearance as the restoration -period feature. Installing a new mechanical system, if required, in a manner that results in the least alteration possible to the building's appear- ance from the restoration period. Installing a new mechanical system in a manner that the appear - ance of visible structural or interior features from the restoration period is significantly changed, or the features are damaged or destroyed. Providing adequate structural support for new mechanical equipment. Failing to consider the weight and design of new mechanical equip - ment so that, as a result, restoration -period structural members or finished surfaces are weakened or cracked. 202 MECHANICAL SYSTEMS RESTORATION MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, AND PLUMBING 1 RECOMMENDED NOT RECOMMENDED Installing new mechanical and electrical systems and ducts, pipes, and cables in closets, services areas, and wall cavities to preserve the restoration -period character of the interior space. Installing ducts, pipes, and cables where they will obscure features from the restoration period. Concealing mechanical equipment in walls or ceilings in a manner that results in extensive loss or damage or otherwise obscures restoration -period building materials and features. Installing air conditioning units, if needed, in such a manner that features from the restoration period are not damaged or obscured, and so that excessive moisture is not generated that will acceler- ate deterioration of materials from the restoration period. The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing visible features of the mechanical system that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing visible features of the mechanical system from the restora- tion period using all new materials.. Removing Existing Features from Other Historic Periods Removing mechanical systems and their visible features from 1 other periods, such as a later elevator. Failing to remove or alter a visually -intrusive structural feature from another period, thereby confusing the depiction of the building's appearance from the restoration period. Documenting mechanical systems and features from other periods prior to their alteration or removal. If possible, selected examples of these features should be stored for future research. Failing to document structural features from other historic periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing feature of the mechanical system that existed during the restoration period based on documentary and physical evidence; for example, duplicating a heating vent or lighting fixture. Constructing a mechanical system or feature that was part of the original design for the building but was never actually built, or constructing a feature which was thought to have existed during the restoration period but cannot be documented. MECHANICAL SYSTEMS 203 RESTORATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving a floor plan and inte- rior spaces, features, and finishes from the restoration period. Significant spatial characteristics include the size, configuration, proportion, and relationship of rooms and corridors; the relation- ship of features to spaces; and the spaces themselves, such as lobbies, lodge halls, entrance halls, parlors, theaters, auditori- ums, gymnasiums, and industrial and commercial interiors. Color, texture, and pattern are important characteristics of features and finishes, which can include such elements as columns, plaster walls and ceilings, flooring, trim, fireplaces and mantels, panel- ing, light fixtures, hardware, decorative radiators, ornamental grilles and registers, windows, doors, and transoms; plaster, paint, wallpaper and wall coverings, and special finishes, such as marbleizing and graining; and utilitarian (painted or unpainted) features, including wood, metal, or concrete exposed columns, beams, and trusses and exposed load -bearing brick, concrete, and wood walls. Altering a floor plan, interior spaces (including individual rooms), features, or finishes from the restoration period. Failing to document interior spaces, features, and finishes from the restoration period, which may result in their loss. Applying paint, plaster, or other coatings to surfaces that have been unfinished historically, if the work cannot be documented. Changing the type of finish or the color, such as painting a his- torically-varnished wood feature from the restoration period, or removing paint from a historically -painted feature from the restora- tion period and staining and varnishing it, unless the work can be substantiated by physical or historic documentation. Stripping paint to bare wood rather than repainting, or not reapply - ing documented grained or marbled finishes from the restoration period to features, such as doors and paneling. Removing restoration -period interior features (such as mantels, woodwork, doors, windows, light fixtures, or radiators) or other deco- rative materials from the restoration period. Protecting and maintaining interior spaces, and materials, fea- tures, and finishes from the restoration period through appropri- ate surface treatments, such as cleaning, paint removal, and reapplication of protective coating systems. Failing to protect interior features and finishes from the restoration period when working on the interior. Protecting interior features and finishes from the restoration period against arson and vandalism before project work begins by covering broken windows and boarding open doorways, while ensuring adequate ventilation, and by installing fire alarm sys- tems keyed into local protection agencies. Leaving the building unprotected with broken windows and open doorways before restoration begins so that the interior features and finishes from the restoration period can be damaged by exposure to weather and vandalism. 204 INTERIOR SPACES, FEATURES, AND FINISHES RESTORATION INTERIOR SPACES, FEATURES, AND FINISHES RECOMMENDED NOT RECOMMENDED Protecting interior features from the restoration period (such as a staircase, mantel, flooring, or decorative finishes) from damage during project work by covering them with plywood, heavy canvas, or plastic sheeting. Failing to protect interior features and finishes from the restoration period when working on the interior. Removing damaged or deteriorated paint and finishes from the restoration period only to the next sound layer, using the gentlest method possible, prior to repainting or refinishing using compat- ible paint or other coating systems based on historical documen- tation. Using potentially damaging methods, such as open -flame torches or abrasive techniques, to remove paint or other coatings. Removing paint that is firmly adhered to interior surfaces. Repainting with colors that are documented to the building's restoration period. Using paint colors that are inappropriate to the building's restora- tion period. [13] (a) In the 1990s the Missing Soldier's Office —established by Clara Barton at the end of the Civil War —was discovered still extant on the third floor of a building in Washington, DC, that was slated for demolition. The office was restored to its historic appearance using physical and documentary evidence. The original numeral'9' is still on the door to the office, and wall paper was reproduced from scraps found on the walls (b-d). INTERIOR SPACES, FEATURES, AND FINISHES 205 RESTORATION INTERIOR SPACES, FEATURES, AND FINISHE RECOMMENDED NOT RECOMMENDED Using abrasive cleaning methods only on the interior of industrial or warehouse buildings with utilitarian, unplastered masonry walls from the restoration period and where wood features are not finished, molded, beaded, or worked by hand. Low-pressure abra- sive cleaning (e.g., sandblasting or other media blasting) should only be considered if test patches show no surface damage and after gentler methods have proven ineffective. Using abrasive methods anywhere but utilitarian and industrial interior spaces or when there are other methods that are less likely to damage the surface of the material. Evaluating the overall condition of interior materials, features, and finishes from the restoration period to determine whether more than protection and maintenance, such as repairs to fea- tures and finishes, will be necessary. Failing to undertake adequate measures to ensure the protection of interior materials, features, and finishes from the restoration period. Repairing Interior features and finishes from the restoration Replacing an interior feature from the restoration period or a finish period by patching, splicing, consolidating, or otherwise reinforc- when repair of materials and limited replacement of deteriorated or ing the materials using recognized preservation methods. Repair may include the limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of interior features when there are surviving pro- totypes (such as stairs, balustrades, wood paneling, columns, decorative wall finishes, or pressed -metal or plaster ceilings) or when the replacement can be based on physical or historic documentation. The new work should match the old in material, design, scale, color, and finish. missing components are feasible. 206 INTERIOR SPACES, FEATURES, AND FINISHES RESTORATION [14] When the 1931 Fox Theater in Spokane, WA, was rehabilitated as a performing arts center, the auditorium was restored to its original Art Deco splendor. INTERIOR SPACES, FEATURES, AND FINISHES 207 RESTORATION RECOMMENDED NOT RECOMMENDED Replacing in kind an entire interior feature from the restoration period that is too deteriorated to repair (if the overall form and detailing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples could include wainscoting, window and door surrounds, or interior stairs. If using the same kind of material is not feasible, then a compatible substitute material may be considered. The new work may be unobtrusively dated to guide future research and treatment. Removing a feature or finish from the restoration period that is unrepairable and not replacing it, or replacing it with a new feature or finish that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving components of the restoration -period interior feature or finish or that is physically incompatible. The following Restoration work is highlighted to indicate that it involves the that would be retained in Preservation and Rehabilitation treatments; and the tion period using all new materials. removal or alteration of existing historic interior spaces, features, and finishes replacement of missing interior spaces, features, and finishes from the restora- Removing Existing Features from Other Historic Periods Removing or altering interior spaces, features, or finishes from other historic periods, such as a dropped ceiling or wood panel- i ng. Failing to remove an interior space, feature, or finish from another historic period, thereby confusing the depiction of the building's appearance from the restoration period. Documenting materials and features dating from other periods prior to their alteration or removal. If possible, selected exam- ples of these features or materials should be stored for future research. Failing to document interior spaces, features, and finishes from other periods that are removed from the building so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating an interior space or a missing feature or finish from the restoration period based on documentary and physical evi- dence; for example, duplicating a mantel or a staircase. Creating an interior space, adding a feature, or applying a finish that was part of the original design for the building but was never actually built, or adding a feature which was thought to have existed during the restoration period but cannot be documented. 208 INTERIOR SPACES, FEATURES, AND FINISHES RESTORATION RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving features of the building site from the restoration period. Site features may include walls, fences, or steps; circulation systems, such as walks, paths, or roads; vegetation, such as trees, shrubs, grass, orchards, hedges, windbreaks, or gardens; landforms, such as hills, terracing, or berms; furnishings and fixtures, such as light posts or benches; decorative elements, such as sculpture, statuary, or monuments; water features, such as fountains, streams, pools, lakes, irrigation ditches; and subsurface archeological resources, other cultural or religious features, or burial grounds which are also important to the restoration period of the site. Altering buildings and their features or site features from the resto- ration period. Failing to document building and site features from the restoration period, which may result in their loss. Reestablishing the relationship between buildings and the land- scape on the site that existed during the restoration period. Retaining non -restoration period buildings or landscape features on the site, thereby confusing the depiction of the restoration -period appearance of the site. Protecting and maintaining buildings and site features from the restoration period by providing proper drainage to ensure that water does not erode foundation walls, drain toward a building, or damage or erode the landscape. Failing to ensure that site drainage is adequate so that build - ings and site features from the restoration period are damaged or destroyed. Or, alternatively, changing the site grading so that water does not drain properly. Minimizing disturbance of the terrain around buildings or else- where on the site, thereby reducing the possibility of destroying or damaging important landscape features from the restoration period or archeological resources, other cultural or religious fea- tures, or burial grounds. Using heavy machinery or equipment in areas where it may disturb or damage important landscape features from the restoration period or archeological resources, other cultural or religious features, or burial grounds. BUILDING SITE 209 RESTORATION [15] (a) Cherry Hill House and Farm (c.1845) in Falls Church, VA, was the site of encampments during the Civil War. Outbuildings on the property, such as the corn crib (b) in the foreground which was the source of provisions for the soldiers, are important in interpreting its role during the war. 210 BUILDING SITE RESTORATION BUILDING SIT 1 RECOMMENDED NOT RECOMMENDED Surveying and documenting areas of the site where the terrain will be altered during restoration work to determine the poten- tial impact to important landscape features from the restoration period or archeological resources, other cultural or religious features, or burial grounds from the restoration period. Failing to survey the building site prior to beginning restoration work, which can result in damaging or destroying landscape fea- tures from the restoration period, or archeological resources, other cultural or religious features, or burial grounds. Protecting (e.g., preserving in place) important site features, archeological resources, other cultural or religious features, or burial grounds. Failing to protect site features from the restoration period, or archeological resources, other cultural or religious features, or burial grounds when working on the site. Planning and carrying out any necessary investigation before res- toration of the site begins, using professional archeologists and methods, when preservation in place is not feasible. Allowing unqualified personnel to perform data recovery on archeo- logical resources, which can result in damage or loss of important archeological material. Preserving important landscape features from the restoration period through regularly -scheduled site maintenance of historic plant material. Allowing important landscape features from the restoration period to be lost or damaged due to lack of site maintenance. Protecting the building site and landscape features from the restoration period against arson and vandalism before restoration work begins by erecting temporary fencing and by installing alarm systems keyed into local protection agencies. Leaving the property unprotected and subject to vandalism before work begins so that the building site and landscape features from the restoration period, or archeological resources, other cultural or religious features, or burial grounds can be damaged or destroyed. Removing site features from the restoration period, such as fencing, paths or walkways, masonry balustrades, or plant material. Installing protective fencing, bollards, and stanchions on a build- ing site, when necessary for security, that are as unobtrusive as possible. Installing protective fencing, bollards, and stanchions on a build- ing site, when necessary for security, without taking into consider - ation their location and visibility so that they negatively impact the restoration -period character of the site. BUILDING SITE 211 RESTORATION 1 RECOMMENDED NOT RECOMMENDED Providing continued protection and maintenance of buildings and landscape features from the restoration -period of the site through appropriate grounds and landscape management. Failing to protect and maintain materials and features from the restoration period on a cyclical basis so that deterioration of the site results. Protecting buildings and site features from the restoration period when working on the site. Failing to protect buildings and landscape features from the restora- tion period when working on the site or failing to repair damaged or deteriorated site features. Evaluating the overall condition of materials and features from the restoration period to determine whether more than protection and maintenance, such as repairs to site features, will be necessary. Failing to undertake adequate measures to ensure the protection of site features from the restoration period. Repairing site features from the restoration period which have been damaged, are deteriorated, or have missing components to reestablish the whole feature and to ensure retention of the integrity of the historic materials. Repair may include limited replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of site fea- tures when there are surviving prototypes, such as paving, railing, or individual plants within a group (e.g., a hedge), or when the replacement can be based on physical or historic documentation. Replacing an entire site feature from the restoration period (such as a fence, walkway, or drive) when repair of materials and limited replacement of deteriorated or missing components are feasible. Replacing in kind an entire restoration -period feature of the site that is too deteriorated to repair (if the overall form and detail- ing are still evident) using the physical evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. Examples could include a walkway or fountain, a land form or plant materials. If using the same kind of material is not feasible, then a compatible substitute material may be used. The new work may be unobtrusively dated to guide future research and treatment. Removing a site feature from the restoration period that is unrepair- able and not replacing it, or replacing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving site feature from the restoration period or that is physically incompatible. Adding conjectural landscape features to the site (such as period reproduction light fixtures, fences, fountains, or vegetation) that cannot be documented, thereby confusing the depiction of the restoration -period appearance of the building site. 212 BUILDING SITE RESTORATION BUILDING SITE 1 RECOMMENDED NOT RECOMMENDED The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing visible features of the building site that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing visible features of the mechanical system from the restoration period using all new materials. Removing Existing Features from Other Historic Periods Removing site features from other historic periods, such as an outbuilding, paved road, or overgrown trees. Documenting features of the building site dating from other peri- ods prior to their removal. Failing to remove a site feature from another historic period, thereby confusing the depiction of the site's appearance from the restoration period. Failing to document site features from other periods that are removed during restoration so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing site feature from the restoration period based on documentary and physical evidence; for example, dupli- cating a no -longer extant terrace, gazebo, fencing, or a hedge. [16] Archeological investigation of the property was undertaken to ensure accuracy of the restoration of Montpelier. Photo: Courtesy of The Montpelier Foundation. Constructing a feature of the building or site that was part of the original design but was never actually built, or constructing a fea- ture which was thought to have existed during the restoration period but cannot be documented. BUILDING SITE 213 RESTORATION SETTING (DISTRICT / NEIGHBORHOOD) RECOMMENDED NOT RECOMMENDED Identifying, retaining, and preserving building and landscape Altering restoration -period building and landscape features in the features from the restoration period in the setting. These features can include circulation systems, such as roads and streets; fur- nishings and fixtures, such as light posts or benches; vegetation, gardens, and yards; adjacent open space, such as fields, parks, commons, or woodlands; and important views or visual relation- ships. setting. Failing to document restoration -period buildings and landscape features in the setting, which may result in their loss. Retaining or reestablishing the relationship between buildings Retaining non -restoration period buildings or landscape features and landscape features in the setting that existed during the in the setting, thereby confusing the depiction of the restoration - restoration period. period appearance of the setting. [17 a-b] The cobblestone street, brick sidewalks, and stone stoops of these houses are important restoration - period features of the late 18th- through the 19th-century restoration period of this historic district. (a) 214 SETTING (DISTRICT / NEIGHBORHOOD) RESTORATION SETTING (DISTRICT / NEIGHBORHOOD) RECOMMENDED NOT RECOMMENDED Protecting and maintaining features from the restoration period Failing to protect and maintain materials in the setting on a cycli- in the setting through regularly -scheduled maintenance and cal basis so that deterioration of buildings and landscape features grounds and landscape management. results. Removing restoration -period building or landscape features in the setting, such as porches, fencing, walkways, or plant material. Installing protective fencing, bollards, and stanchions in a set- ting, when necessary for security, that are as unobtrusive as Installing protective fencing, bollards, and stanchions in a setting, when necessary for security, without taking into consideration their possible. location and visibility so that they negatively impact the historic character of the setting. (b) SETTING (DISTRICT / NEIGHBORHOOD) 215 RESTORATION RECOMMENDED NOT RECOMMENDED Protecting buildings and landscape features from the restoration period when undertaking work in the setting. Failing to protect buildings and landscape features from the restora- tion period when working in the setting. Evaluating the overall condition of restoration -period materi- als and features in the setting to determine whether more than protection and maintenance, such as repairs to materials and features, will be necessary. Failing to undertake adequate measures to ensure the protection of materials and features in the setting from the restoration period. Repairing restoration -period features in the setting by reinforcing the historic materials. Repair may include the replacement in kind or with a compatible substitute material of those extensively deteriorated or missing components of features from the restora- tion period when there are surviving prototypes, such as porch balustrades, paving materials, or trees. Replacing an entire building or landscape feature from the resto- ration period in the setting when repair of materials and limited replacement of deteriorated or missing components are feasible. Replacing in kind an entire restoration -period building or land- scape feature in the setting that is too deteriorated to repair (if the overall form and detailing are still evident) using the physi- cal evidence as a model to reproduce the feature or when the replacement can be based on historic documentation. If using the same kind of material is not feasible, then a compatible sub- stitute material may be considered. The new work may be dated to guide future research and treatment. Removing a restoration -period feature of the building or landscape in the setting that is unrepairable and not replacing it, or replacing it with a new feature that does not match. Using a substitute material for the replacement that does not convey the same appearance of the surviving restoration -period building or landscape feature in the setting or that is physically or ecologically incompatible. 216 SETTING (DISTRICT / NEIGHBORHOOD) RESTORATION RECOMMENDED NOT RECOMMENDED The following Restoration work is highlighted to indicate that it involves the removal or alteration of existing historic features of the setting that would be retained in Preservation and Rehabilitation treatments; and the replacement of missing restoration period features of the setting using all new materials. Removing features of the building or landscape in the setting from other historic periods, such as a road, sidewalk, or fence. Failing to remove a feature of the building or landscape in the setting from another period, thereby confusing the depiction of the setting's appearance from the restoration period. Documenting features of the building or landscape in the setting dating from other periods prior to their removal. Failing to document features of the building or landscape features in the setting from other periods that are removed during restoration so that a valuable portion of the historic record is lost. Recreating Missing Features from the Restoration Period Recreating a missing feature of the building or landscape in the setting that existed during the restoration period based on documentary and physical evidence; for example, duplicating a non -longer extant path or park bench. Constructing a feature of the building or landscape that was part of the original design for the setting but was never actually built, or constructing a feature which was thought to have existed during the restoration period but cannot be documented. SETTING (DISTRICT / NEIGHBORHOOD) 217 RESTORATION RECOMMENDED NOT RECOMMENDED Sensitive solutions to meeting accessibility and life -safety code requirements are site. Thus, work that must be done to meet use -specific code requirements in the restoration period of the historic building and site. an important part of protecting the restoration period of the building and treatment Restoration must also be assessed for its potential impact on the Acc-ssjbi ity Identifying the restoration -period exterior features, interior spaces, features, and finishes, and features of the site and set- ting which may be affected by accessibility code -required work. Undertaking accessibility code -required alterations before identify - ing the exterior features, interior spaces, features, and finishes, and features of the site and setting from the restoration period and, therefore, must be preserved. Complying with barrier -free access requirements in such a manner that the restoration -period exterior features, interior spaces, features, and finishes, and features of the site and set- ting are preserved or impacted as little as possible. Altering, damaging, or destroying the exterior features, interior spaces, features, and finishes, or features of the site and setting from the restoration period while complying with accessibility requirements. Working with specialists in accessibility and historic preservation to determine the most sensitive solutions to comply with access requirements in a restoration project. Making changes to historic buildings and their sites without first consulting with specialists in accessibility and historic preservation to determine the most appropriate solutions to comply with acces- sibility requirements in a manner that will preserve the character of the restoration period. Providing barrier -free access that promotes independence for the user while preserving significant features from the restoration period. Making access modifications that do not provide independent, safe access while preserving restoration -period features. Finding solutions to meet accessibility requirements that mini- mize the impact of any necessary alteration on the restoration period of the building, its site, and setting, such as compatible ramps, paths, and lifts. Making modifications for accessibility without considering the impact on the restoration period of the building, its site, or setting. Using relevant sections of existing codes regarding accessibil- ity for historic buildings that provide alternative means of code compliance when code -required work would otherwise negatively impact the restoration -period character of the property. 218 CODE -REQUIRED WORK I ACCESSIBILITY RESTORATION CODE -REQUIRED WORK RECOMMENDED NOT RECOMMENDED Minimizing the visual impact of accessibility ramps by install- ing them on secondary elevations when it does not compromise accessibility or by screening them with plantings. Adding a gradual slope or grade to the sidewalk, if appropriate, to access the entrance rather than installing a ramp that would be more intrusive to the historic character of the restoration period of the building and the district. [18 a-b] The historic Chapel of Our Lady in Cold Spring, NY, is situated on a rocky promontory overlooking the Hudson River. Installing an accessible ramp would greatly compromise the character of the building and the site. However, an audio-visual program available in a separate building —located where it would not impact the character of the site, such as this small pavilion at the rear of the property —could provide visitors otherwise unable to access the Chapel an opportunity to experience the site. CODE -REQUIRED WORK I ACCESSIBILITY 219 RESTORATION RECOMMENDED NOT RECOMMENDED Installing a lift as inconspicuously as possible when it is neces- sary to locate it on a primary elevation of the historic building. Considering placing accessible facilities needed for visitors to the restored property (e.g., restrooms) in a separate building, such as a visitor center, that is located away from the historic struc- ture rather than in the historic building if their installation would negatively impact character -defining spaces, features, or finishes from the restoration period. Installing accessible facilities inside or on the exterior of the his - toric building that are incompatible with the character of the resto- ration period or would damage or destroy character -defining spaces, features, or finishes from the restoration period. Devising non -permanent or temporary adaptive treatments that meet accessibility requirements to preserve the restoration -period character of the building, its site, and setting. Developing and providing virtual tours to help interpret the restored property when it is not feasible or it is physically impos- sible to make the building or its site accessible without damaging or obscuring character -defining building and landscape features in the setting from the restoration period. 11 glIM Identifying the restoration -period exterior features, interior spaces, features, and finishes, and features of the site and set- ting which may be affected by life -safety code -required work. Undertaking life -safety code -required alterations before identifying the exterior features, interior spaces, features, and finishes, and features of the site and setting from the restoration period and, therefore, must be preserved. Complying with life -safety codes (including requirements for impact -resistant glazing, security, and seismic retrofit) in such a manner that the restoration -period exterior features, interior spaces, features, and finishes, and features of the site and set- ting are preserved or impacted as little as possible. Altering, damaging, or destroying the restoration -period exterior features, interior spaces, features, and finishes, or features of the site and setting from the restoration period while making modifica- tions to a building, its site, or setting to comply with life -safety code requirements. Removing building materials from the restoration period only after testing has been conducted to identify hazardous materials, and using only the least damaging abatement methods. Removing building materials from the restoration period without testing first to identify any hazardous materials, or using potentially - damaging methods of abatement without considering less -invasive methods of abatement. 220 CODE -REQUIRED WORK I ACCESSIBILITY AND LIFE SAFETY RESTORATION RECOMMENDED NOT RECOMMENDED Providing workers with appropriate personal equipment for pro- tection from hazards on the worksite. Removing hazardous or toxic materials without regard for work- ers' health and safety or environmentally -sensitive disposal of the materials. Working with code officials and historic preservation specialists to investigate systems, methods, or devices to make the building compliant with life -safety codes to ensure that necessary altera- tions will be compatible with the restoration -period character of the building. Making life -safety code -required changes to the building without consulting code officials and historic preservation specialists, with the result that alterations negatively impact the restoration -period character of the building. Using relevant sections of existing codes regarding life safety for historic buildings that provide alternative means of compliance when life -safety code -required work would otherwise negatively impact the restoration -period character of the building. Upgrading restoration -period stairways and elevators to meet life -safety codes so that they are not damaged or their historic character is not negatively impacted. Damaging or making inappropriate alterations to historic stairways or elevators or to adjacent features, spaces, or finishes from the res- toration period while complying with life -safety code requirements. Installing sensitively -designed fire -suppression systems, such as sprinklers, so that historic features and finishes from the restora- tion period are preserved. Covering wood features from the restoration period with fire-retar- dant sheathing, which results in altering their appearance. Applying fire -retardant coatings when appropriate, such as intumescent paint, to protect steel structural systems from the restoration period. Using fire -retardant coatings if they will damage or obscure charac- ter -defining features from the restoration period. CODE -REQUIRED WORK I LIFE SAFETY 221 RESTORATION RESILIENCE TO NATURAL HAZARDS 1 RECOMMENDED NOT RECOMMENDED Resilience to natural hazards should be addressed as part of a Restoration project. A historic building may have existing characteristics or features from the restoration period that help address or minimize the impacts of natural hazards. These should be used to best advantage and should be taken into consider- ation early in the planning stages of a restoration project before proposing any additional treatments. When new adaptive treatments are needed they should be carried out in a manner that will have the least impact on the restoration period character of the building its site, and setting. Identifying the vulnerabilities of the restoration -period property to the impacts of natural hazards (such as wildfires, hurricanes, or tornadoes) using the most current climate information and data available. Failing to identify and periodically reevaluate the potential vulner- ability of the restoration -period building, its site, and setting to the impacts of natural hazards. Assessing the potential impacts of known vulnerabilities on res- toration -period features of the building, its site, and setting; and reevaluating and reassessing potential impacts on a regular basis. [19] The 1951 Mies van der Rohe -designed Farnsworth House, Plano, IL, was built close to the Fox River, which is increasingly prone to floods. To preserve the house in its original location, historic preservation architects and engineers continue to explore ways to protect it from the flooding, including a possible system that would lift the house above the flood waters and lower it back to the ground. Photo: Courtesy Farnsworth, A Site of the National Trust for Historic Preservation. 222 RESILIENCE TO NATURAL HAZARDS RESTORATION RESILIENCE TO NATURAL HAZARDS 1 RECOMMENDED NOT RECOMMENDED Documenting the restoration -period character of the property as a record and guide for future repair work, should it be necessary, and storing the documentation in a weatherproof location. Failing to document the restoration -period character of the property with the result that such information is not available in the future to guide repair or reconstruction work, should it be necessary. Ensuring that historic resources inventories and maps are accu- rate, up to date, and accessible in an emergency. Maintaining the restoration -period building, its site, and setting in good repair, and regularly monitoring their condition. Failing to regularly monitor and maintain the restoration -period property and the building systems in good repair. Using and maintaining existing characteristics and features of the restoration -period building, its site, setting, and larger envi- ronment (such as shutters for storm protection or a site wall that keeps out flood waters) that may help to avoid or minimize the impacts of natural hazards. Allowing loss, damage, or destruction to occur to the restoration - period building, its site, or setting by failing to evaluate potential future impacts of natural hazards or to plan and implement adap- tive measures, when necessary to address possible threats. Undertaking work to prevent or minimize the loss, damage, or destruction of the historic property while retaining and preserving significant features and the overall restoration -period character of the building, its site, and setting. Carrying out adaptive measures intended to address the impacts of natural hazards that are unnecessarily invasive or will otherwise adversely impact the restoration -period character of the building, its site, or setting. Ensuring that, when planning work to adapt for natural hazards, all feasible alternatives are considered, and that the options requiring the least alteration to the restoration -period character of the property are considered first. Implementing local and regional traditions (such as elevating residential buildings at risk of flooding or reducing flammable vegetation around structures in fire -prone areas) for adapting build - ings and sites in response to specific natural hazards which would negatively impact the restoration -period character of the property. Using special exemptions and variances when adaptive treat- ments to protect buildings from known hazards would otherwise negatively impact the restoration -period character of the building, its site, or setting. RESILIENCE TO NATURAL HAZARDS 223 RESTORATION Sustainability Sustainability should be addressed as part of a Restoration project. Existing energy -efficient features from the restoration period should be retained and restored while those that are no longer extant but which were important in defining the restoration -period character of the building should be recreated. New sustainability treatments should only be undertaken if they will not impact the restoration - period character of the building. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. Although specifi- cally developed for the treatment Rehabilitation, the Sustainability Guidelines can be used to help guide the other treatments 224 SUSTAINABILITY RECONSTRUCTION STANDARDS FOR RECONSTRUCTION & GUIDELINES FOR RECONSTRUCTING HISTORIC BUILDINGS Reconstruction 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. 225 RECONSTRUCTION Standards for Reconstruction 1. Reconstruction will be used to depict vanished or non -surviving portions of a property when documentary and physical evidence is available to permit accurate reconstruction with minimal conjecture and such reconstruction is essential to the public understanding of the property. 2. Reconstruction of a landscape, building, structure or object in its historic location will be preceded by a thorough archeological investigation to identify and evaluate those features and artifacts which are essential to an accurate reconstruction. If such resources must be disturbed, mitigation measures will be undertaken. 3. Reconstruction will include measures to preserve any remaining historic materials, features, and spatial relationships. 4. Reconstruction will be based on the accurate duplication of historic features and elements substantiated by documentary or physical evidence rather than on conjectural designs or the availability of different features from other historic properties. A reconstructed property will re-create the appearance of the non -surviving historic property in materials, design, color and texture. 5. A reconstruction will be clearly identified as a contemporary re-creation. 6. Designs that were never executed historically will not be constructed. 226 GUIDELINES FOR RECONSTRUCTING HISTORIC BUILDINGS INTRODUCTION Reconstruction is different from the other treatments in that it is undertaken when there are often no visible historic materials extant or only a foundation remains. Whereas the treatment Restora- tion provides guidance on restoring historic building features, the Standards for Reconstruction and Guidelines for Reconstruct- ing Historic Buildings should be followed when it is necessary to recreate a non -surviving building using new material. But, like restoration, reconstruction also involves recreating a historic build- ing which appears as it did at a particular —and at its most signifi- cant —time in its history. Because of the potential for historical error in the absence of sound physical evidence, this treatment can be justified only rarely and, thus, is the least frequently undertaken of the four treatments. Reconstructing a historic building should only be considered when there is accurate documentation on which to base it. When only the appearance of the exterior of the building can be documented, it may be appropriate to reconstruct the exterior while designing a very simple, plain interior that does not attempt to appear historic or historically accurate. Signage and interpreta- tive aids should make it clear to visitors that only the exterior of the building is a true reconstruction. Extant historic surface and subsur- face materials should also be preserved. Finally, the reconstructed building must be clearly identified as a contemporary recreation. Research and Document Historical Significance The guidance for the treatment Reconstruction begins with researching and documenting the building's historical significance to determine whether its recreation is essential to the public under- standing of the property. In some instances, reconstruction may not be necessary if there is a historic building still existing on the site or in a setting that can explain the history of the property. Justifying a reconstruction requires detailed physical and documentary evidence to minimize or eliminate conjecture and to ensure that the recon- struction is as accurate as possible. Only one period of significance is generally identified; a building —as it evolved —is rarely recreated. If research does not provide adequate documentation for an accu- rate reconstruction, other interpretive methods should be consid- ered, such as an explanatory marker. Investigate Archeological Resources Investigating archeological resources is the next area of guidance in the treatment Reconstruction. The purpose of archeological research is to identify any remaining features of the building, site, and setting that are essential to an accurate recreation and must be reconstructed. Archeological resources that are not essential to the reconstruction should be left in place. The archeological findings, together with archival documentation, should be used to replicate the design, materials, and plan of the historic building. INTRODUCTION 227 RECONSTRUCTION Identify, Protect, and Preserve Extant Historic Features Closely aligned with archeological research, recommendations are given for identifying, protecting, and preserving extant features of the historic building. It is never appropriate to base a Reconstruction upon conjectural designs or on features from other buildings. Any remaining historic materials and features should be retained and incorporated into the reconstruction when feasible. Both the historic and new materials should be documented to assist in interpretation. Reconstruct Non -Surviving Building and Site After the research and documentation phases, guidance is given for Reconstruction work itself. Exterior and interior features are addressed in general, always emphasizing the need for an accurate depiction (i.e., careful duplication of the appearance of historic materials and features for interpretative purposes). While the use of traditional materials and finishes is always preferred, in some instances substitute materials may be used if they are able to convey the same appearance. Where non -visible features of the building are concerned, such as interior structural systems, contemporary materials and technology may be used. Recreating the features of the building site or setting based on archeological findings should also be an integral part of project work. Accessibility and Life Safety, Natural Hazards, and Sustainability Whereas preservation, rehabilitation, and restoration treatments usually necessitate retrofitting to meet code requirements and to address other issues (including natural hazards and sustainability), in this treatment it is assumed that the Reconstructed building will be essentially new construction. Thus, code -required work, treatments to reduce the potential impact of natural hazards, and ensuring that the reconstructed building is as sustainable as possible should be considered during the design phase —when appropriate to the particular Reconstruction project —so as not to negatively impact or detract from the reconstructed appearance of the building, its site, and setting. The fact that the non -surviving building was located in a floodplain or another area especially vulnerable to the impact of natural hazards is crucial to consider when determining whether the building should be reconstructed. The topic of sustainability is addressed in detail in The Secretary of the Interior's Standards for Rehabilitation & Illustrated Guidelines on Sustainability for Rehabilitating Historic Buildings. Although specifically developed for the treatment Rehabilitation, the Guidelines can be used to help guide the other treatments. Reconstruction as a Treatment. When a contemporary depiction is required to understand and interpret a property's historic value (including the re-creation of missing components in a historic district or site); when no other property with the same associative value has survived; and when sufficient historical documentation exists to ensure an accurate reproduc- tion, Reconstruction may be considered as a treatment. Prior to undertak- ing work, a documentation plan for Reconstruction should be developed. 228 INTRODUCTION 'Rill ri ,r.,,, IV, 446 1 1 _.L illtl !!!1!!!o ifi "II /..... ..w/(ysnr.fld.frr 7El.'r`Iq� IIIII� �� III PI!!!R� �fF Ff Illliil [1 a-b] Tyron Palace, New Bern, NC, was designed by John Hawks in 1767 for Governor William Tyron. It was completed in 1770, but destroyed by fire in1798.The palace was reconstructed in 1959 based on the original plans, and on its original foundation, which was found 5 feet below the street, with the help of the 1767 drawing. Photo: Courtesy Tyron Palace, New Bern, NC. Drawing: Courtesy of the State Archives of North Carolina. INTRODUCTION 229 RECONSTRUCTION [2] The Saugus Iron Works, Saugus, MA, a National Historic Site, was active from 1646 to about 1670 and was the first integrated iron works in North America. The forge and mill (shown here) are part of the site which was reconstructed based on archeological research and historic documents and opened in 1954. Photo: Daderot at the English language Wikipedia. 230 OVERVIEW 1 RECOMMENDED NOT RECOMMENDED Researching and documenting the property's historical signifi- cance, focusing on documentary and physical evidence which is needed to justify reconstruction of the non -surviving building. Undertaking a reconstruction based on insufficient research so that, as a result, a historically inaccurate building is created. Reconstructing a building unnecessarily when an existing build- ing adequately reflects or explains the history of the property, the historical event, or has the same associative value. Executing a design for a building that was never constructed. Investigating archeological resources to identify and evaluate those features and artifacts which are essential to the design and plan of the building. Failing to identify and evaluate archeological material prior to reconstruction, or destroying extant historic material not relevant to the reconstruction but which should be preserved in place. Minimizing disturbance of the terrain around buildings or elsewhere on the site, thereby reducing the possibility of destroy- ing or damaging important landscape features, archeological resources, other cultural or religious features, or burial grounds. Using heavy machinery or equipment in areas where it may disturb or damage important landscape features, archeological resources, cultural or religious features, or burial grounds. Identifying, retaining, and preserving extant historic features of the building, site, and setting, such as remnants of a foundation, chimney, or walkway. Beginning reconstruction work without first conducting a detailed site investigation to physically substantiate the documentary evi- dence. Basing a reconstruction on conjectural designs or on features from other historic buildings. [3] The Cathedral of Saint Michael the Archangel, built in the early 1840s in Sitka, AK, was devastated by fire in 1966. It was reconstructed using measured drawings done in 1961 by the Historic American Buildings Survey (NABS). While the original cathedral was built of logs covered on the exterior with wood siding, its replacement is a fire-resistant structure with concrete and steel walls that replicates the historic building's appearance. Photo: Barek at Wikimedia Commons. OVERVIEW 231 RECONSTRUCTION RECOMMENDED NOT RECOMMENDED Reconstructing a non -surviving building to depict the docu- mented historic appearance. Although the use of the original building materials (such as masonry, wood, and architectural metals) is preferable, substitute materials may be used as long as they recreate the historic appearance. Reconstructing features that cannot be documented historically or for which existing documentation is inadequate. Using substitute materials that do not convey the appearance of the historic building. Recreating the documented design of exterior features, such as the roof form and its coverings, architectural detailing, windows, entrances and porches, steps and doors, and their historic spatial relationships and proportions. Omitting a documented exterior feature, or rebuilding a feature but altering its historic design. Using inappropriate designs or materials that do not convey the historic appearance. Reproducing the appearance of historic paint colors and finishes based on documentary and physical evidence. Using paint colors that cannot be documented through research and investigation or using other undocumented finishes. Installing exterior electrical and telephone cables underground or in the least obtrusive location possible, unless they can be documented as having been aboveground historically. Attaching exterior electrical and telephone cables to the principal elevations of the reconstructed building, unless they can be docu- mented as having been there historically. Using signage to identify the building as a contemporary recreation. Failing to explain that the building is a reconstruction, thereby confusing the public's understanding of the property. 232 BUILDING EXTERIOR ,111.101111111111h : rr:111I1111I11 [4] The McLean House, where Robert E. Lee surrendered to Ulysses S. Grant, is located on the site of the battlefield —now part of Appomattox Courthouse National Historical Monument (VA). Several years after the end of the Civil War, measured drawings were made of the house before it was dismantled to be moved to Washington, DC, where it was to be reconstructed as a tourist attraction. This scheme never came to fruition, and the dismantled pieces gradually disappeared. The house was accurately reconstructed in 1949 on the original site based on the measured drawings. BUILDING EXTERIOR 233 RECONSTRUCTION RECOMMENDED NOT RECOMMENDED Recreating the appearance of visible features of the historic structural system, such as posts and beams, trusses, summer beams, vigas, cast-iron columns, above -grade masonry founda- tions, or load -bearing brick or stone walls. Contemporary methods and materials may be used for the actual structural system of the reconstructed building. Changing the documented appearance of visible features of the structural system. Recreating the historic floor plan and interior spaces, including the size, configuration, proportion, and relationship of rooms and corridors; the relationship of features to spaces; and the spaces themselves. Altering the documented historic floor plan, or relocating an important interior feature, such as a staircase, so that the historic relationship between the feature and the space is inaccurately depicted. Reconstructing the historic appearance of the interior without accu- rate documentation. Duplicating the documented historic appearance of the building's interior features and finishes (including columns, cornices, base- boards, fireplaces and mantels, paneling, light fixtures, hardware, and flooring); plaster, paint, and finishes (such as stenciling or marbleizing); and other decorative or utilitarian materials and features. Altering the documented appearance of the building's interior features and finishes so that, as a result, an inaccurate depiction of the historic building is created. For example, moving a feature from one area of a room to another, or changing the type or color of the finish. Installing mechanical systems and their components in the least obtrusive way possible so as not to impact the recreated interior spaces, features, or finishes while meeting user needs. Altering the historic plan or the recreated appearance unnecessarily when installing mechanical systems. Installing ducts, pipes, and cables in closets, service areas, and wall cavities. Installing ducts, pipes, and cables where they will intrude upon the historic appearance of the building. 234 BUILDING INTERIOR [5] The parlor of the McLean House was reconstructed to its appearance on the occasion of Robert E. Lee's surrender to Ulysses S. Grant in this room on April 9,1865. BUILDING INTERIOR 235 RECONSTRUCTION BUILDING SITE RECOMMENDED NOT RECOMMENDED Reconstructing building site features based on documentary and physical evidence. Reconstructing building site features without documentary and physical evidence. Inventorying the building site to determine the existence of Giving the building's site an inaccurate appearance by basing the aboveground remains and subsurface archeological resources, other cultural or religious features, or burial grounds, and using this evidence as corroborating documentation for the reconstruc- tion of related site features. These may include walls, fences, or steps; circulation systems, such as walks, paths, or roads; vegetation, such as trees, shrubs, grass, orchards, hedges, wind- breaks, or gardens; landforms, such as hills, terracing, or berms; furnishings and fixtures, such as light posts or benches; decora- tive elements, such as sculpture, statuary, or monuments; water features, including fountains, streams, pools, lakes, or irrigation d itches. reconstruction on conjectural designs or on features from other sites. Recreating the historic spatial relationship between buildings and Changing the historic spatial relationship between buildings and related site features. related site features, or reconstructing some site features but not others, thereby confusing the depiction of the reconstructed site. 236 BUILDING SITE [6] This lighthouse on Lake Ponchartrain in New Orleans was reconstructed after the historic 1890 lighthouse was destroyed by Hurricane Katrina. BUILDING SITE 237 RECONSTRUCTION SETTING (DISTRICT / NEIGHBORHOOD) 1 RECOMMENDED NOT RECOMMENDED Reconstructing features in the building's historic setting based on documentary and physical evidence. Reconstructing features in the setting without documentary and physical evidence. Inventorying the setting to determine the existence of above- Giving the building's setting an inaccurate appearance by basing ground remains and subsurface archeological resources, other the reconstruction on conjectural designs or on features from other cultural or religious features, or burial grounds, and using this evidence as corroborating documentation for the reconstruction of missing features of the historic setting. These may include circulation systems, such as roads and streets; furnishings and fixtures, such as light posts or benches; vegetation, gardens, and yards; adjacent open space, such as fields, parks, commons, or woodlands; and important views or visual relationships. locations. Recreating the historic spatial relationship between buildings and Changing the historic spatial relationship between buildings and landscape features in the setting. landscape features in the setting by reconstructing some features but not others, thereby confusing the depiction of the reconstructed setting. [7] The Muhlenberg Brigade Huts are reconstructions of nine log huts erected in 1777 at Valley Forge during the Revolutionary War. They have been reconstructed on the historic road with logs cut with modern power tools and finished with cement, unlike the original logs which were hand hewn and finished with traditional chinking. Photo: Rdsmith4 at Wikimedia Commons. 238 SETTING (DISTRICT/ NEIGHBORHOOD) [8] The Palace of Fine Arts was designed by Bernard Maybeck and built for the 1915 Panama -Pacific Exposition in San Francisco. The pavilion was intended to be temporary and, although it had a steel structure, the exterior was finished only with staff, an impermanent material composed of plaster and fiber. The building was not torn down after the exposition, and it eventually fell into ruin. In 1964, all but the steel structure was demolished, and the building was reconstructed with lightweight poured -in -place concrete. Photo: Kevinlcole at Wikimedia Commons. SETTING (DISTRICT/ NEIGHBORHOOD) 239 240 Design: Lloyd Greenberg Design, LLC U.S. Department of the Interior National Park Service Technical Preservation Services 1 Opinion of Probable Cost Estimate Owner: City of Miami Olympia Theater Adapative Use Boutique Hotel Miami, FL Prepared For: RJHA R.J. Heisenbottle Architects, P.A. 2199 Ponce de Leon Blvd. Suite 400 Coral Gables, FL 33134 Prepared By: R B U.S.COST runnmgtogether RIB U.S. COST 241 Garrison Road Suite 202 Stafford, Virginia 22554 June 30, 2022 C4 RgIttogetBher U.S.COST runnin TABLE OF CONTENTS Executive Summary Basis of Estimate Cost Summary and Detail Report C4 Rg tIBogetherU.S.COST runnin I. Executive Summary R.J. Heisenbottle Architects, P.A. 1 Olympia Theater Adaptive Use Boutique Hotel 1 Miami, Florida RIB U.S. COST was tasked with providing a cost estimate, utilizing the conceptual pricing submittal documents as a guide that were prepared by R.J. Heisenbottle Architects, P.A. for Olympia Theater Adaptive Use Boutique Hotel located in Miami, FL. The project includes the renovation of an existing apartment building and lobby of an existing theater. The Lobby area is being converted into a catering kitchen, jazz club, lobby reception area, and hotel entrance. The old apartment building space is being changed in to 8 stories of hotel rooms. The alternate #1 is proposed to create a speakeasy kitchen and club on the rooftop of the hotel. It is anticipated that this work will be performed in 8 hour shifts, Monday thru Friday, during normal business hours. The estimate assumes the project will be constructed under a CM at Risk with Gmax Contract. t R I B U.S.COST . running together Executive Cost Summary Base Bid: Hotel Rooms/ Jazz/ Lobby/ Catering $ 20,356,199 Alternate #1: Laundromat/ Speakeasy/ Roof Kitchen $ 4,338,176 Base Bid & Alternate #1 Total: $ 24,694,375 C4 RgIttogetBher U.S.COST runnin II. Basis of Estimate R.J. Heisenbottle Architects, P.A. I Olympia Theater Adaptive Use Boutique Hotel I Miami, Florida C4 RIBU.S.COST runningtogether PROJECT INFORMATION Client R.J. Heisenbottle Architects, P.A. Estimator RIB U.S. COST Owner City of Miami Project Name Olympia Theater Adaptive Use Boutique Hotel Project Location Miami, FL Date of Estimate Report June 30, 2022 Project Number 5419.002 Estimate Submission Opinion of Probable Cost Project Type Renovation Building Utilization Historical Theater Hotel ESTIMATING TEAM Estimating Team Lead/Project Manager Architectural Estimator Mechanical Estimator Electrical Estimator Leigh Shaw, CCP Leigh Shaw, CCP Steve Mills Phillipe Eustache COST BASIS The Basis of the Opinion of Probable Cost Estimate was established as follows: A quantity survey was performed as detailed as possible relative to the levels of design and documentation available. Where quantities are not available, assumptions and or allowances for cost or scope have been made based on the historical information from similar type or other projects recently estimated by RIB U.S. COST. The basis of the pricing used reflects the probable construction costs which can be obtained in the Miami, FL area for the project as understood by the estimators. This estimate assumes a competitive bid situation and is an opinion of probable costs based on fair market value. It is not a prediction of the anticipated low bid. RIB U.S. COST has no control over the cost of labor and materials, the prime contractor's or any subcontractor's method of determining price or competitive bidding, and market conditions. This opinion of probable costs of construction is made on the basis of the experience, qualifications and best judgment of the Cost Estimator. RIB U.S. COST cannot and does not guarantee that proposals, bid or actual construction costs will not vary from this or subsequent estimates. RIB U.S. COST has prepared this estimate in accordance with generally accepted cost estimating practices and standards. Estimate Class/Methodology (AACE-I RP 56R-08) Processing Software Work Breakdown Structure (WBS) Basis of Pricing Method of Measurement Currency General Conditions/Onsite Field Personnel Prime Contractor Home Office Overhead Bonds & Insurance Prime Contractor's Risk/Profit Prime Contractor's QA/QC Sub -Contractor Markups Anticipated Project Award/NTP Estimated Start of Construction Estimated Construction Duration Estimated Midpoint of Construction Escalation Rate to Midpoint of Construction Sales Tax Basis for Labor Rates Labor Burdens - Included with Labor Rates C4 RIBU.S.COST runningtogether Class 5 Success Estimator® Uniformat II RS Means/USC Historical Data; Estimator Judgment Imperial (US Standard) United States Dollar See Detailed Breakdown 5.00% 2.00% 10.00% Included in Field Personnel above 25% to 35% June, 2023 June, 2023 18 Months or 540 Days March, 2024 10.88% from Date of Estimate 7.00% RS Means 2022 Miami, FL PT&I Fringe WCI 12.07% Varies by Trade varies Contracting Methodology CM at Risk with Gmax Documents Used to Prepare Estimate Concept Plans dated 31 March 2022 Gross Building Areas (appr Orchestra Level Floor Plan Mezzanine Level Floor Plan 1st Balcony Floor Plan 2nd Balcony Floor Plan Attic Floor Plan Theater Roof Plan 7th - 10th Floor Apartment Roof Plan oximate measurement) Base Bid: 3,946 SF 105 SF 5,375 SF 5,375 SF 5,375 SF 5,375 SF 21,500 SF 651 SF Total 47,702 SF C4 RIBU.S.COST runningtogether Additional Mar up IMP The project includes 15% Direct Cost Development Allowance (DCDA). This markup has been included as a direct cost markup on every line item in the cost estimate. This should be considered a Project Cost that is to be re-evaluated with each subsequent design submittal. Typically, estimates will include a contingency to cover minor design changes, unknown project requirements, and unknown existing conditions, estimating omissions, and other unknowns. As the project moves through the design process and more information is available, the amount of contingency should be re-evaluated and typically reduced. In most cases, the estimated cost of the project rises with each design submittal and the contingency applied is reduced, keeping the total project cost within budget. Assumptions / Clarifications The estimate is an opinion of probable costs based on fair market value. The estimate is not a prediction of the anticipated low bid. Temporary Job Trailer or Storage Containers as required Storage and Staging Areas will be available to contractors in the proximity of the work area. The Prime Contractor will be responsible for construction schedule development. Twelve (18) Months of general conditions/requirements The Emergency Facade Restoration & Repair Project which is not included in this Cost Estimate, includes the demolition of the existing apartment building roofing and replacement with a single ply roofing membrane on new rigid insulation. Exclusions Demoliton of Existing Built-up Apartment Roof and New Replacement Roofing. Furniture Relocation/Staff Relocation or Temporary Swing Space Kitchen Appliances at Hotel Rooms Furniture, Fixtures, & Equipment Mini Golf Course & Games Exterior Landscaping at Rooftop Owner's Reserve Owner's Construction Contingency Temporary Utility Consumption Charges Hazardous Waste Removal and Disposal Mold Remediation Permits and Owner's Testing Design Fees Change Order Contingency Loose Furniture & Fixtures 44 RIBU.S.COST running together Market Conditions Adjustment Calcula ion Adjustment for Current Estimate Schedule Reference: Estimate Date: Estimated Start of Construction: Estimated Construction Duration: Estimated Midpoint: Item Adjustment Period 1 Jun-22 2 Jan-23 3 Jan-24 to to to Dec-22 Dec-23 Mar-24 TOTAL MONTHS AVG. MONTHLY PERCENTAGE CALCULATED TOTAL MARKET ADJUSTMENT 6.14.2022 Conference Call June 30, 2022 June 6, 2023 18 MONTHS March 2, 2024 Duration Unit 7 12 3 MONTH MONTH MONTH 22 MONTH 0.500% 10.88 % % per YEAR Compounding Cumulative 9.00% 0.750% 5.250% 5.250% 4.50% 0.375% 4.500% 9.750% 4.50% 0.375% 1.125% 10.875% % per MONTH Total/year from Date of Cost Estimate C4 RgIttogetBher U.S.COST runnin III. Cost Summary and Detail Report R.J. Heisenbottle Architects, P.A. City of Miami INDEPENDENT COST ESTIMATE Opinion of Probable Cost Estimate Olympia Theater Adaptive Use Boutique Hotel - Base Bid Cost Summary Olympia Hotel 47702 GSF Direct Trade Construction Cost A10 FOUNDATIONS $ 14,505 B10 SUPERSTRUCTURE $ 106,996 B20 EXTERIOR CLOSURE $ 207,302 B30 ROOFING $ 34,490 C10 INTERIOR CONSTRUCTION $ 1,942,040 C30 INTERIOR FINISHES $ 1,913,600 D10 CONVEYANCE SYSTEM $ 348,369 D20 PLUMBING $ 1,192,027 D30 HVAC $ 2,385,444 D40 FIRE PROTECTION SYSTEM $ 382,837 D50 ELECTRICAL $ 3,309,355 E10 EQUIPMENT $ 120,602 F20 SELECTIVE BUILDING DEMOLITION $ 416,535 SUB -TOTAL, DIRECT COST $ 12,374,102 190 DIRECT COST DEVELOPMENT 15.00% $ 1,856,115 ALLOWANCE 1 SUB -TOTAL, DIRECT COST, ADJUSTED (LINES A THRU I) $ 14,230,217 FIELD REQUIREMENTS OVERHEAD & PROFIT X10A FIELD OVERHEAD 6.70% $ 1,353,148 X10B BONDS. PERMITS, FEES, INSURANCE 2.00% $ 311,667 X20A HOME OFFICE OVERHEAD 5.00% $ 794,752 X2OB CONTRACTOR PROFIT 10.00% $ 1,668,978 2 SUB -TOTAL, FIELD REQUIREMENTS OVERHEAD & PROFIT (LINES X10 - X20) $ 4,128,545 3 SUB -TOTAL, CURRENT ESTIMATED CONSTRUCTION COST (LINES 1 + 2) $ 18,358,763 ESCALATION TO THE MIDPOINT OF 4 CONSTRUCTION (SD June 2023; MP 10.88% 1,997,436 March 2024) TOTAL ESTIMATED CONSTRUCTION COST AT AWARD (ECCA) $ 20,356,199 Cost per SF $ 427 OVERALL SUMMARY ECCA $/SF BUILDING - (A10 THRU F20) $20,356,199 $ 427 2j RIBU.S.COST RJ. Heisenbottle Architects, P.A. I Olympia Theater Adaptive Use Boutique Hotel I Miami, Florida Print Date: 6/30/2022 R.J. Heisenbottle Architects, P.A. City of Miami INDEPENDENT COST ESTIMATE Opinion of Probable Cost Estimate Olympia Theater Adaptive Use Boutique Hotel - Alternate #1 Cost Summary Olympia Hotel 2475 GSF Direct Trade Construction Cost A10 FOUNDATIONS $ 14,505 B10 SUPERSTRUCTURE $ 966,204 B20 EXTERIOR CLOSURE $ 175,029 B30 ROOFING $ 404,688 C10 INTERIOR CONSTRUCTION $ 180,654 C30 INTERIOR FINISHES $ 153,401 D10 CONVEYANCE SYSTEM $ 250,000 D20 PLUMBING $ 72,819 D30 HVAC $ 185,614 D40 FIRE PROTECTION SYSTEM $ 41,940 D50 ELECTRICAL $ 179,395 E10 EQUIPMENT $ 69,500 F20 SELECTIVE BUILDING DEMOLITION $ 12,808 SUB -TOTAL, DIRECT COST $ 2,706,557 190 DIRECT COST DEVELOPMENT 15.00% $ 405,984 ALLOWANCE 1 SUB -TOTAL, DIRECT COST, ADJUSTED (LINES ATHRU I) $ 3,112,541 FIELD REQUIREMENTS OVERHEAD & PROFIT X10A FIELD OVERHEAD 6.70% $ 208,480 X10B BONDS. PERMITS, FEES, INSURANCE 2.00% $ 66,420 X20A HOME OFFICE OVERHEAD 5.00% $ 169,372 X2OB CONTRACTOR PROFIT 10.00% $ 355,681 2 SUB -TOTAL, FIELD REQUIREMENTS OVERHEAD & PROFIT (LINES X10 - X20) $ 799,953 3 SUB -TOTAL, CURRENT ESTIMATED CONSTRUCTION COST (LINES 1 + 2) $ 3,912,494 ESCALATION TO THE MIDPOINT OF 4 CONSTRUCTION (SD June 2023; MP 10.88% 425,682 March 2024) TOTAL ESTIMATED CONSTRUCTION COST AT AWARD (ECCA) $ 4,338,176 Cost per SF $ 1,753 OVERALL SUMMARY ECCA $/SF BUILDING - (A10 THRU F20) $4,338,176 $ 1,753 2j RIBU.S.COST RJ. Heisenbottle Architects, P.A. I Olympia Theater Adaptive Use Boutique Hotel I Miami, Florida Print Date: 6/30/2022 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 A SUBSTRUCTURE $14,505 A10 FOUNDATIONS $14,505 A1030 SLAB ON GRADE $14,505 A103001 PITS AND BASES BL: Excavate for Elevator Pit 61.00 SF 20.00 1,220 BL: Structural concrete, in place, (4000 psi), placing and finishing - New 3.00 C.Y. 2,208.47 6,625 Service Elevator Slab at Pit BL: Elevator Pit Concrete Walls and Foundations 222.00 SF 20.00 4,440 BL: Waterproofing at Elevator Pit 222.00 SF 10.00 2,220 A103001 PITS AND BASES B102001 STRUCTURAL FRAME Steel framing elevator - New Service Elevator Roof Service Elevator: Angle framing, structural steel, 2"x2"x1/4", field fabricated, incl cutting & welding Roof Service Elevator: New roof joists and girders Roof Service Elevator: Roof Deck SUBTOTAL 1.00 EA $14,505 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B10 SUPERSTRUCTURE $106,996 B1020 ROOF CONSTRUCTION $106,996 13.20 280.00 3.00 61.00 Ton L.F. Ton S.F. 6,116.11 33.30 5, 431.04 10.58 80,733 9,325 16,293 646 B102001 STRUCTURAL FRAME SUBTOTAL 16.20 TONS $6,604.69 $106,996 B202002 STOREFRONTS OL: Storefront systems, aluminum frame, monumental grade, clear 3/8" plate glass, wall height to 12' high OL: Windows, solid vinyl replacement, silicone caulking at perimeter Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B20 EXTERIOR ENCLOSURE $207,302 B2020 EXTERIOR WINDOWS $177,728 1,353.00 S.F. 131.07 177,343 416.00 L.F. 0.93 385 B202002 STOREFRONTS SUBTOTAL 1,353.00 SF $131.36 $177,728 B203001 GLAZED DOORS OL: Doors & frames, aluminum, entrance, narrow stile, clear finish, 3'-0" x 7'- 0" opening, incl. standard hardware, excl. glass OL: Doors & frames, aluminum, entrance, narrow stile, clear finish, 6'-0" x 7'- 0" opening, incl. standard hardware, excl. glass Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B20 EXTERIOR ENCLOSURE $207,302 B2030 EXTERIOR DOORS $29,574 4.00 Ea. 2,696.60 10,786 1.00 P r. 5, 027.05 5,027 B203001 GLAZED DOORS SUBTOTAL 6.00 LEAF $2,635.57 $15,813 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B20 EXTERIOR ENCLOSURE $207,302 B2030 EXTERIOR DOORS $29,574 B203002 DOUBLE HM DOORS OL: Frames, steel, knock down, hollow metal, double, 16 ga., up to 8-3/4" 1.00 Ea. 503.99 504 deep,7'-0" h x 6'-0" w OL: Doors, hollow metal, commercial, steel, flush, full panel, hollow core, 1- 2.00 Ea. 802.07 1,604 3/8" thick, 20 ga., 3'-0" x 7'-0" OL: Paints & coatings, interior latex, doors, flush, both sides, roll & brush, 2.00 Ea. 129.45 259 primer + 2 coats, incl. frame & trim OL: Caulking & sealants, silicone, white, 1/4"x1/2" 20.00 L.F. 3.19 64 B203002 DOUBLE HM DOORS SUBTOTAL 2.00 LEAF $1,215.44 $2,431 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B20 EXTERIOR ENCLOSURE $207,302 B2030 EXTERIOR DOORS $29,574 B203003 OTHER DOORS OL: Double Metal Gate at Alley 1.00 Pair 10,000.00 10,000 B203003 OTHER DOORS B203004 EXTERIOR DOOR HARDWARE Door Hardware HM Pair SUBTOTAL 2.00 LEAF $5,000.00 $10,000 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B20 EXTERIOR ENCLOSURE $207,302 B2030 EXTERIOR DOORS $29,574 1.00 Door 1,329.39 1,329 B203004 EXTERIOR DOOR HARDWARE 83010 ROOF COVERINGS SUBTOTAL 1.00 EA $1,329 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 B SHELL $348,788 B30 ROOFING $34,490 Mobilization or demobilization, crane, truck -mounted, up to 55 ton, includes 2.00 Ea. 204.04 408 both mobilization/demobilization Hoisting roof materials 1.00 Day 7,858.56 7,859 Clay tile, scalloped edge flat shingle, terra cotta red, 145 pieces per 6.51 Sq. 1,831.85 11,925 square,14", incl. accessories Roof deck insulation, expanded polystyrene, 6" thick, R23.26, 1#/CF density, 651.00 S.F. 2.66 1,733 fastening excluded Terra cotta masonry, coping, split type, glazed, 9" wide, includes mortar, 135.00 L.F. 42.29 5,709 excludes scaffolding 2" x 4" miscellaneous wood blocking, to steel construction, per LF 135.00 L.F. 3.64 492 Copper gutters, half round, 16 ounce, stock units, 6" wide 135.00 L.F. 26.72 3,607 Copper downspouts, round, stock, 16 ounce, 4" diameter 96.00 L.F. 28.73 2,758 B3010 ROOF COVERINGS SUBTOTAL 651.00 SF $52.98 $34,490 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1010 PARTITIONS $706,237 C101001 EXISTING PARTITIONS OL: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' sheet, 4,675.00 S.F. 3" thick - Add to Existing Exterior Wall Framing OL: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 4,675.00 S.F. 1/2" thick - Add to Existing Exterior Wall Framing ML: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' sheet, 323.00 S.F. 3" thick - Add to Existing Exterior Wall Framing ML: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 323.00 S.F. 1/2" thick - Add to Existing Exterior Wall Framing 1BAL/3: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' 4,074.00 S.F. sheet, 3" thick - Add to Existing Exterior Wall Framing 1BAL/3: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 4,074.00 S.F. 1/2" thick - Add to Existing Exterior Wall Framing 2BAL/4-10: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' 23,177.00 S.F. sheet, 3" thick - Add to Existing Exterior Wall Framing 2BAL/4-10: Gypsum wallboard, on walls, standard, taped & finished (level 4 23,177.00 S.F. finish), 1/2" thick - Add to Existing Exterior Wall Framing 3.43 1.64 3.43 1.64 3.43 1.64 3.43 1.64 16,044 7,648 1,109 528 13,982 6,664 79,541 37,914 C101001 EXISTING PARTITIONS SUBTOTAL 32,249.00 SF $5.07 $163,430 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1010 PARTITIONS $706,237 C101002 ELEVATOR SHAFT PARTITIONS OL- ROOF Service Elevator: Shaft wall, cavity type on 25 ga. 6"J track & C-H 3,989.00 S.F. 9.91 39,527 studs, 24" OC, 1" thick coreboard wall liner on shaft side, 2 hour assembly w/double layer, 5/8" fire rated gypsum board on room side OL- ROOF Service Elevator: Shaft wall, for taping & finishing, add per side 7,978.00 S.F. 0.65 5,153 OL- ROOF Service Elevator: Paints & coatings, walls & ceilings, interior, 3,389.00 S.F. 0.89 3,006 concrete, drywall or plaster, zero voc latex, 3 coats, smooth finish, spray Roof Service Elevator Penthouse: Stucco at Ext Walls 600.00 S.F. 25.00 15,000 Roof Service Elevator Penthouse: Paints & coatings, high build, water proof, one 600.00 S.F. 0.81 488 coat system, stucco, spray C101002 ELEVATOR SHAFT PARTITIONS C101003 NEW DRYWALL PARTITIONS SUBTOTAL 3,989.00 SF $15.84 $63,173 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1010 PARTITIONS $706,237 OL: Metal stud partition, non -load bearing, galvanized, up to 12'high, 3-5/8" 616.00 S.F. 3.34 wide, 20 gauge, 16" OC, includes top & bottom track OL: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' sheet, 616.00 S.F. 3.43 3" thick - Add to Existing Exterior Wall Framing OL: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 1,232.00 S.F. 1.64 1/2" thick - Add to Existing Exterior Wall Framing 2,059 2,114 2,015 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1010 PARTITIONS $706,237 C101003 NEW DRYWALL PARTITIONS 1BAL/3: Metal stud partition, non -load bearing, galvanized, up to 12'high, 3- 6,092.00 S.F. 5/8" wide, 20 gauge, 16" OC, includes top & bottom track 1BAL/3: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' 6,092.00 S.F. sheet, 3" thick - Add to Existing Exterior Wall Framing 1BAL/3: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 12,184.00 S.F. 1/2" thick - Add to Existing Exterior Wall Framing 2BAL/4 -10: Metal stud partition, non -load bearing, galvanized, up to 12'high, 39,263.00 S.F. 3-5/8" wide, 20 gauge, 16" OC, includes top & bottom track 2BAL/4 -10: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' 39,263.00 S.F. x8' sheet, 3" thick - Add to Existing Exterior Wall Framing 2BAL/4 -10: Gypsum wallboard, on walls, standard, taped & finished (level 4 78,526.00 S.F. finish), 1/2" thick - Add to Existing Exterior Wall Framing 3.34 3.43 1.64 3.34 3.43 1.64 20,360 20,907 19,931 131,219 134,747 128,456 C101003 NEW DRYWALL PARTITIONS SUBTOTAL 45,971.00 SF $10.05 $461,808 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1010 PARTITIONS $706,237 C101004 GLAZED PARTITIONS & STOREFRONTS OL: Storefront systems, aluminum frame, monumental grade, clear 3/8" plate 136.00 S.F. 131.07 17,826 glass, wall height to 12' high C101004 GLAZED PARTITIONS & STOREFRONTS C102001 STANDARD INTERIOR DOORS SUBTOTAL 136.00 SF $131.07 $17,826 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1020 INTERIOR DOORS $537,590 OL: Single Door & Frame w/ hardware 3.00 Ea. 2,209.21 6,628 OL: Double Door & Frame w/ hardware 3.00 Pair 4,596.75 13,790 OL: Paints & coatings, interior latex, doors, flush, both sides, roll & brush, 9.00 Ea. 129.45 1,165 primer + 2 coats, incl. frame & trim OL: Paints & coatings, interior latex, doors, flush, both sides, roll & brush, 1.00 Ea. 129.45 129 primer + 2 coats, incl. frame & trim - Paint Existing Door ML: Paints & coatings, interior latex, doors, flush, both sides, roll & brush, 1.00 Ea. 129.45 129 primer + 2 coats, incl. frame & trim - Paint Existing Door 1BAL/3: Paints & coatings, interior latex, doors, flush, both sides, roll & 2.00 Ea. 129.45 259 brush, primer + 2 coats, incl. frame & trim - Paint Existing Door 1BAL/3: Single Door & Frame w/ hardware 15.00 Ea. 2,209.21 33,138 1BAL/3: Paints & coatings, interior latex, doors, flush, both sides, roll & 15.00 Ea. 129.45 1,942 brush, primer + 2 coats, incl. frame & trim 2BAL/4-10: Paints & coatings, interior latex, doors, flush, both sides, roll & 14.00 Ea. 129.45 1,812 brush, primer + 2 coats, incl. frame & trim - Paint Existing Door 2BAL/4-10: Single Door & Frame w/ hardware 70.00 Ea. 2,209.21 154,645 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1020 INTERIOR DOORS $537,590 C102001 STANDARD INTERIOR DOORS 2BAL/4-10: Paints & coatings, interior latex, doors, flush, both sides, roll & 70.00 Ea. 129.45 9,061 brush, primer + 2 coats, incl. frame & trim Penthouse/Gen: Paints & coatings, interior latex, doors, flush, both sides, roll 4.00 Ea. 129.45 518 & brush, primer + 2 coats, incl. frame & trim - Paint Existing Door C102001 STANDARD INTERIOR DOORS C102002 GLAZED INTERIOR DOORS SUBTOTAL 94.00 LEF $2,374.65 $223,217 Shower doors, folding, tempered glass, aluminum frame, excludes plumbing Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1020 INTERIOR DOORS $537,590 80.00 Ea. 776.22 62,097 C102002 GLAZED INTERIOR DOORS C102004 SLIDING & FOLDING DOORS SUBTOTAL 80.00 LEF $776.22 $62,097 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1020 INTERIOR DOORS $537,590 1 BAL/3: Ceiling support, structural framing, heavy folding partitions, direct 32.00 L.F. 487.06 15,586 support at pocket track, shop fabricated, excl door track & hardware 1 BAL/3: Doors, wood, residential, pocket, pine/fir, 1-3/8" x 2'-8" x 6'-8", 8.00 Ea. 796.60 6,373 frame 1 BAL/3:Door hardware, pocket 8.00 Ea. 360.02 2,880 1 BAL/3: Paints & coatings, interior latex, doors, flush, both sides, roll & 8.00 Ea. 129.45 1,036 brush, primer + 2 coats, incl. frame & trim 2 BAL/4-10: Ceiling support, structural framing, heavy folding partitions, 280.00 L.F. 487.06 136,376 direct support at pocket track, shop fabricated, excl door track & hardware 2 BAL/4-10: Doors, wood, residential, pocket, pine/fir, 1-3/8" x 2'-8" x 6'- 70.00 Ea. 796.60 55,762 8",frame 2 BAL/4-10: Door hardware, pocket 70.00 Ea. 360.02 25,201 2 BAL/4-10: Paints & coatings, interior latex, doors, flush, both sides, roll 70.00 Ea. 129.45 9,061 &brush, primer + 2 coats, incl. frame & trim C102004 SLIDING & FOLDING DOORS SUBTOTAL 78.00 LEF $3,234.31 $252,276 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 C103002 TOILET & BATH ACCESSORIES 1Ba1/3: Grab Bars, straight, stainless steel, 36" long - B5806x36 2.00 Ea. 65.71 131 1Ba1/3: Grab Bars, straight, stainless steel, 42" long - B5806x42 2.00 Ea. 69.00 138 1 Bal/3: Sanitary Napkin Disposal - B-4354 2.00 Ea. 439.74 879 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 C103002 TOILET & BATH ACCESSORIES 1BaI/3: Serenity LED Lighted Mirror -24"x36" 2.00 Ea. 1,938.34 3,877 1 BaI/3: Robe hook, regular, single - B7671 2.00 Ea. 25.89 52 1 BaI/3: Toilet Seat Cover Dispenser - B-221 2.00 Ea. 76.02 152 1BaI/3: Toilet accessories, dispenser units, towel dispenser & waste receptacle, 2.00 Ea. 553.98 1,108 18 gallon capacity 1 BaI/3: Toilet accessories, soap dispenser, stainless steel, recessed, liquid 2.00 Ea. 279.38 559 1 BaI/3: Toilet accessories, toilet tissue dispenser, stainless steel, surface 2.00 Ea. 55.32 111 mounted, double roll 1 Bal/ 3-10 Rooms: Toilet accessories, towel bar, stainless steel, 18" long 88.00 Ea. 79.52 6,997 1 Bal/ 3-10 Rooms: Robe hook, regular, single - B7671 80.00 Ea. 25.89 2,071 1 BaI/3 Rooms: Serenity LED Lighted Mirror - 24" x 36" 121.00 Ea. 1,938.34 234,539 1 BaI/3 Rooms: Toilet accessories, toilet tissue dispenser, stainless steel, 80.00 Ea. 55.32 4,426 surface mounted, double roll C103002 TOILET & BATH ACCESSORIES C103004 IDENTIFYING DEVICES Signage and Wayfnding Allowance - Interior SUBTOTAL 391.00 EA $652.28 $255,040 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 47,702.00 SF 1.00 47,702 C103004 IDENTIFYING DEVICES C103005 LOCKERS SUBTOTAL 47,702.00 EA $1.00 $47,702 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 1BAL/3: Lockers, steel, baked enamel, single tier box, 18" x 15" x 72" 11.00 Ea. 714.12 7,855 Locker, bench, laminated maple, top only 5.00 L.F. 119.03 595 Locker, bench, pedestals, steel pipe 8.00 Ea. 118.60 949 C103005 LOCKERS SUBTOTAL 11.00 EA $854.48 $9,399 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 C103007 FIRE EXTINGUISHER CABINETS Fire equipment cabinets, portable extinguisher, single, steel box, recessed, 22.00 Ea. 406.99 8,954 D.S. glass in door, stainless steel door & frame, 8" x 12" x 27", excludes equipment Fire extinguishers, dry chemical, pressurized, standard type, portable, painted, 21.00 Ea. 50.98 1,071 5 lb Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL C103007 FIRE EXTINGUISHER CABINETS Fire extinguishers, dry chemical, pressurized, ABC all purpose type, portable, 5 lb Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 1.00 Ea. 42.82 43 C103007 FIRE EXTINGUISHER CABINETS SUBTOTAL 22.00 EA $457.60 $10,067 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 C103008 COUNTERS OL: Jazz Bar Support and Frame Countertops 49.00 L.F. 462.01 22,638 OL: Solid surface countertop, acrylic polymer, patterned colors, pricing for 49.00 L.F. 133.69 6,551 orders of 100 LF or more, 25" wide (Jazz Bar Countertops) OL: 2" x 4" miscellaneous wood blocking @ Casework 49.00 L.F. 3.33 163 C103008 COUNTERS C103009 CABINETS SUBTOTAL 49.00 LF $599.03 $29,352 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 1BAL/3: Base Cabinet at Conference 5.00 L.F. 618.57 3,093 1BAL/3: Solid surface countertop, acrylic polymer, patterned colors, pricing for 5.00 L.F. 133.69 668 orders of 100 LF or more, 25" wide 1BAL/3: Staff Countertop 16.00 L.F. 462.01 7,392 1BAL/3: Solid surface countertop, acrylic polymer, patterned colors, pricing for 16.00 L.F. 133.69 2,139 orders of 100 LF or more, 25" wide (Restroom Countertop) 1BAL/3: Vanity at Restrooms 34.00 L.F. 618.57 21,031 1BAL/3: Solid surface countertop, acrylic polymer, patterned colors, pricing for 34.00 L.F. 133.69 4,545 orders of 100 LF or more, 25" wide 2BAL/4-10: Vanity at Restrooms 245.00 L.F. 618.57 151,549 2BAL/4-10: Solid surface countertop, acrylic polymer, patterned colors, 245.00 L.F. 133,69 32,754 pricingfor orders of 100 LF or more, 25" wide 2" x 4" miscellaneous wood blocking @ Casework 600.00 L.F. 3.33 1,998 C103009 CABINETS C103010 CASEWORK Lobby Hotel Front Desk Stage and Stairs with Finish at Jazz Club SUBTOTAL 300.00 LF $750.57 $225,170 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 35.00 SF 450.00 15,750 132.00 SF 85.00 11,220 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL C103010 CASEWORK New Bar and Countertop at Lobby Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 83.00 SF 375.00 31,125 C103010 CASEWORK SUBTOTAL 250.00 SF $232.38 $58,095 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 C103011 CLOSETS 1 BAL/3: Toilet accessories, curtain rod, stainless steel, 1" diameter x 5' long 6.00 Ea. 80.45 483 - at closet 2 BAL/4-10: Toilet accessories, curtain rod, stainless steel, 1" diameter x 5' 56.00 Ea. 80.45 4,505 long - at closet C103011 CLOSETS C103012 FIRESTOPPING PENETRATIONS Firestopping Penetrations Allowance SUBTOTAL 62.00 EA $80.45 $4,988 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 1.00 LS 20,000.00 20,000 C103012 FIRESTOPPING PENETRATIONS C103090 OTHER INTERIOR SPECIALTIES Space Seperation Curtain at Laundry SUBTOTAL 1.00 LS $20,000 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C10 INTERIOR CONSTRUCTION $1,910,040 C1030 SPECIALTIES $666,213 160.00 SF 40.00 6,400 C103090 OTHER INTERIOR SPECIALTIES C201090 STAIR HANDRAILS, GUARDRAILS AND ACCESSORIES SUBTOTAL 160.00 SF $40.00 $6,400 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C20 STAIRS $32,000 C2010 STAIR CONSTRUCTION $32,000 OL-ML: Stair painting - Paint Railings Stair #113 2.00 ea 2,000.00 4,000 3-10: Stair painting - Paint Railings Stair #239 8.00 ea 2,000.00 16,000 Ext Fire Escape: Stair painting - Paint Railings Stair 6.00 ea 2,000.00 12,000 C201090 STAIR HANDRAILS, GUARDRAILS AND ACCESSORIES SUBTOTAL 16.00 EA $2,000.00 $32,000 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C30 INTERIOR FINISHES $1,913,600 C3010 WALL FINISHES OL: Interior Finish - Wall Coverings/ Tile at Existing Walls that are Refinished 3,649.00 SF 6.48 23,646 OL: Interior Finish - Wall Coverings - New Partitions 1,232.00 SF 6.48 7,983 OL & ML: Paints & coatings, walls, concrete masonry units (CMU), porous, first 1,128.00 S.F. 0.49 549 coat, latex, roller - at Stairwell #113 ML: Interior Finish - Wall Coverings/ Tile at Existing Walls that are Refinished 323.00 SF 6.48 2,093 1 BAL/ 3: Interior Finish - Wall Coverings/ Tile at Existing Walls that are 4,074.00 SF 6.48 26,400 Refinished 1 BAL/3: Interior Finish - Wall Coverings - New Partitions 12,184.00 SF 6.48 78,952 1 BAL/3: Paints & coatings, walls, concrete masonry units (CMU), porous, first 553.00 S.F. 0.49 269 coat, latex, roller - at Stairwell #239 2 BAL/ 4-10: Interior Finish - Wall Coverings/ Tile at Existing Walls that are 23,177.00 SF 6.48 150,187 Refinished 2 BAL/ 4-10: Interior Finish - Wall Coverings - New Partitions 78,526.00 SF 6.48 508,848 2 BAL/ 4-10: Paints & coatings, walls, concrete masonry units (CMU), porous, 3,150.00 S.F. 0.49 1,533 first coat, latex, roller - at Stairwell #239 6th: Paints & coatings, walls, concrete masonry units (CMU), porous, first coat, 1,043.00 S.F. 0.49 508 latex, roller - at Electrical Room 11th: Paints & coatings, walls, concrete masonry units (CMU), porous, first 450.00 S.F. 0.49 219 coat, latex, roller - at Stairwell #239 11th: Paints & coatings, walls, concrete masonry units (CMU), porous, first 1,296.00 S.F. 0.49 631 coat, latex, roller - at Gen/ Penthouse Room C3010 WALL FINISHES C3020 FLOOR FINISHES SUBTOTAL 131,176.00 SF $6.11 $801,818 OL: Leveling Compound for OL Outdoor Floor Areas, Now interior Floor OL: Moisture Mitigation Primer@ SOG Areas OL: Interior Finish Allowance - Flooring ML: Interior Finish Allowance 3rd - 10th: Interior Finish Allowance Penthouse Stair/ Gen: Wall base, rubber, straight or cove, standard colors, 6" high, 1/8" thick Penthouse Stair/ Gen: Sealed Concrete (Ashford) Exterior Stair: Sealed Concrete (Ashford) Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C30 INTERIOR FINISHES $1,913,600 181.00 3,946.00 2,973.00 105.00 39, 472.00 227.00 651.00 441.00 S.F. S.F. S.F. S.F. S.F. L.F. S.F. S.F. 6.66 4.84 15.22 15.22 15.22 4.48 0.46 0.46 1,205 19,093 45,249 1,598 600,764 1,016 302 204 C3020 FLOOR FINISHES C3030 CEILING FINISHES OL: Interior Finish Allowance - Ceilings ML: Interior Finish Allowance - Ceilings SUBTOTAL 43,642.00 SF $15.34 $669,432 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C30 INTERIOR FINISHES $1,913,600 3,946.00 SF 10.00 39,460 105.00 SF 10.00 1,050 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 C INTERIORS $3,855,640 C30 INTERIOR FINISHES $1,913,600 C3030 CEILING FINISHES 3rd - 10th Hotel : Interior Finish Allowance - Ceilings 39,472.00 SF 10.00 394,720 Roof Penthouse : Interior Finish Allowance - Ceilings 651.00 SF 10.00 6,510 Service Elevator : Interior Finish Allowance - Ceilings 61.00 SF 10.00 610 C3030 CEILING FINISHES D1010 ELEVATORS AND LIFTS SUBTOTAL 44,235.00 SF $10.00 $442,350 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D10 CONVEYING $348,369 Interior Cab Finishes allowance - Refurbish Cab at Existing Hotel Elevators 2.00 Ea. 25,000.00 50,000 Interior Cab Finishes allowance - Service Elevator 1.00 Ea. 25,000.00 25,000 Traction elevator, 11 stop 1.00 Ea. 225,000.00 225,000 D1010 ELEVATORS AND LIFTS D109003 LINEN, TRASH, AND MAILCHUTES Trash Chute Stainless Steel Chute 12' floor height SUBTOTAL 11.00 STP $27,272.73 $300,000 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D10 CONVEYING $348,369 D1090 OTHER CONVEYING SYSTEMS $48,369 20.00 Floor 2,418.45 48,369 D109003 LINEN, TRASH, AND MAILCHUTES D201001 WATERCLOSETS SUBTOTAL 1.00 LS $48,369 Water closet, tank type, vitreous china, floor mounted, close coupled, two piece, includes seat, supply pipe with stop and piping connections Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2010 PLUMBING FIXTURES $1,051,637 80.00 Ea 4, 467.89 357,431 D201001 WATERCLOSETS SUBTOTAL 80.00 EA $4,467.89 $357,431 D201003 LAVATORIES Lavatory, wall hung, porcelain enamel on cast iron, white, single bowl, 22" x 19", includes trim and piping connections Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2010 PLUMBING FIXTURES $1,051,637 121.00 Ea. 2,878.40 348,286 D201003 LAVATORIES SUBTOTAL 121.00 EA $2,878.40 $348,286 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL D201004 SINKS Sink for Catering Kitchen, includes water and sewer connections Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Sink for Jazz Club / Lobby Area Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2010 PLUMBING FIXTURES $1,051,637 1.00 Ea. 8,170.03 8,170 1.00 Ea. 4,367.55 4,368 D201004 SINKS SUBTOTAL 2.00 EA $6,268.79 $12,538 SHOWERS/TUBS Level Note Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Bath, fiberglass tub and shower complete w/ valves, head, trim and piping connections Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2010 PLUMBING FIXTURES $1,051,637 80.00 Ea. 3,680.57 294,446 Bath,complete w/valves, head, trim and piping connections 8.00 Ea. 4,866.99 38,936 SHOWERS/TUBS SUBTOTAL 88.00 EA $3,788.43 $333,382 D202003 DOMESTIC WATER EQUIPMENT Water heater, residential, electric, glass lined tank, double element, 5 year, 30 gallon, includes piping connections Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2020 DOMESTIC WATER DISTRIBUTION $123,206 60.00 Ea. 2,053.43 123,206 D202003 DOMESTIC WATER EQUIPMENT D204001 PIPE & FITTINGS SUBTOTAL 60.00 EA $2,053.43 $123,206 New Roof Drain System for service elevator tower Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Rework Roof Drains on Roof Top Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D20 PLUMBING $1,192,027 D2040 RAIN WATER DRAINAGE $17,184 1.00 Ea. 12,022.79 12,023 1.00 Ea. 5,161.30 5,161 D204001 PIPE & FITTINGS SUBTOTAL 1.00 EA $17,184 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL D303001 CHILLED WATER SYSTEMS Packaged water chiller, scroll, liquid chiller, packaged unit with integral aircooled condenser, 40 ton cooling, includes standard controls, pumps and piping connections Water chiller, centrifugal liquid chiller, packaged unit, water cooled, 360 ton, includes standard controls, pumps and piping connections Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3030 COOLING GENERATING SYSTEMS $511,593 1.00 Ea. 75,203.93 75,204 1.00 Ea. 266,722.91 266,723 D303001 CHILLED WATER SYSTEMS SUBTOTAL 400.00 TONS $854.82 $341,927 D303099 OTHER COOLING GENERATING SYSTEMS Cooling tower, packaged unit, galvanized steel, axial fan, induced draft, 360 ton, includes standard controls, includes pumps and piping Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Cooling tower, packaged unit, galvanized steel, axial fan, induced draft, 150 ton, includes standard controls, includes pumps and piping Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3030 COOLING GENERATING SYSTEMS $511,593 1.00 Ea. 102,122.09 1.00 Ea. 67,543.90 102,122 67,544 D303099 OTHER COOLING GENERATING SYSTEMS D304001 AIR DISTRIBUTION, HEATING & COOLING SUBTOTAL 510.00 TONS $332.68 $169,666 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3040 DISTRIBUTION SYSTEMS $1,482,039 Ductwork for apartment building corridors 4,000.00 Lb. 12.40 49,601 Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Ductwork for apartments 7,000.00 Lb. 12.40 86,802 Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. OA Metal ductwork, fabricated rectangular, galvanized steel, 2000 to 5000 Ib., 2,200.00 Lb. 11.66 25,649 incl fittings, joints, supports & allow for a flexible connections field sketches, excludes as -built drawings and insulation Duct thermal insulation, board, mineral wool, 10 Ib. density, 1-1/2" thick, non- 2,720.00 S.F. 5.79 15,751 combustible, semi -rigid, plain, 1200<F Duct thermal insulation, pipe covering (price copper tube one size Tess than 3,600.00 S.F. 14.32 51,541 I.P.S.), finishes, .010" thick, for stainless steel jacket, add Duct Cleaning of existing 2.00 Ea. 9,432.84 18,866 D304001 AIR DISTRIBUTION, HEATING & COOLING SUBTOTAL 7,700.00 LBS $32.23 $248,209 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3040 DISTRIBUTION SYSTEMS $1,482,039 D304007 EXHAUST SYSTEMS Fans, centrifugal, ventilation, includes louvers 1.00 Ea. 9,410.43 9,410 D304007 EXHAUST SYSTEMS D304008 AIR HANDLING UNITS SUBTOTAL 1.00 EA $9,410 2-ton, WSHP for Apartment, includes piping connections Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Air -handling unit, built-up, horizontal/vertical, constant volume, single zone,300 ton, with cooling/heating coil section, filters, mixing box Central station air handling unit, packaged indoor, variable air volume, 25 ton, cooling coils may be chilled water or DX, heating coils may be hot water, steam or electric Central station air handling unit, packaged indoor, variable air volume, 15 ton, cooling coils may be chilled water or DX, heating coils may be hot water, steam or electric Central station air handling unit, packaged indoor, variable air volume, 60 ton, cooling coils may be chilled water or DX, heating coils may be hot water, steam or electric Make-up air unit, rooftop unit, 1,500 cfm, includes standard controls Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3040 DISTRIBUTION SYSTEMS $1,482,039 74.00 Ea. 6,552.46 484,882 1.00 Ea. 458,010.69 458,011 1.00 Ea. 70,049.85 70,050 1.00 Ea. 37,112.18 37,112 1.00 Ea. 130,645.40 130,645 1.00 Ea. 43,719.06 43,719 D304008 AIR HANDLING UNITS D306001 HVAC CONTROLS SUBTOTAL 189,600.00 MCFM $6.46 $1,224,419 Building ATC Controls Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3060 CONTROLS & INSTRUMENTATION $353,715 47,702.00 SF 7.42 353,715 D306001 HVAC CONTROLS SUBTOTAL 1.00 EA $353,715 D307001 WATER SIDE TESTING & BALANCING - HEATING & COOLING Level Note Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Water Balancing Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3070 SYSTEMS TESTING & BALANCING $38,098 1.00 Ea. 12,784.96 12,785 D307001 WATER SIDE TESTING & BALANCING - HEATING & SUBTOTAL 1.00 EA $12,785 COOLING Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL D307002 AIR SIDE TESTING & BALANCING - HEATING, COOLING & EXHAUST Level Note Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Air Balancing Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3070 SYSTEMS TESTING & BALANCING $38,098 1.00 Ea. 16,848.88 16,849 D307002 AIR SIDE TESTING & BALANCING - HEATING, COOLING SUBTOTAL 1.00 EA $16,849 EXHAUST D307003 HVAC COMMISSIONING Level Note Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Commisioning Assistance Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D30 HVAC $2,385,444 D3070 SYSTEMS TESTING & BALANCING $38,098 1.00 Ea. 8,463.74 8,464 D307003 HVAC COMMISSIONING D401002 SPRINKLER WATER SUPPLY EQUIPMENT AND PIPING SUBTOTAL 1.00 EA $8,464 Reconfigure existing Sprinkler System layouts Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D40 FIRE PROTECTION $382,837 D4010 SPRINKLERS $382,837 47,702.00 SF 8.03 382,837 D401002 SPRINKLER WATER SUPPLY EQUIPMENT AND PIPING SUBTOTAL 47,702.00 SF $8.03 $382,837 D501001 POWER DISTRIBUTION SYSTEM Power Distribution System - Power Distribution Equipment, Panels, Transformers and Secondary Feeders Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5010 ELECTRICAL SERVICE & DISTRIBUTION $607,111 47,702.00 S.F. 5.64 268,995 D501001 POWER DISTRIBUTION SYSTEM SUBTOTAL 47,702.00 SF $5.64 $268,995 D501001 EMERGENCY POWER SYSTEM Remove Existing Generator set, 3 phase 4 wire, 277/480 V, electrical demolition, remove, incl accessories Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5010 ELECTRICAL SERVICE & DISTRIBUTION $607,111 1.00 Ea. 7,659.37 7,659 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5010 ELECTRICAL SERVICE & DISTRIBUTION $607,111 D501001 EMERGENCY POWER SYSTEM Generator set, diesel, 3 phase 4 wire, 277/480 V, incl battery, charger, 47,702.00 SF 6.93 330,456 muffler, & day tank, excl conduit, wiring, & concrete D501001 EMERGENCY POWER SYSTEM D502001 BRANCH WIRING SUBTOTAL 47,702.00 SF $7.09 $338,115 Convinience Power and Branch Wiring - Wirirng Devices and Branch Wiring Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5020 LIGHTING & BRANCH WIRING $1,169,686 47,702.00 S.F. 9.38 447,248 D502001 BRANCH WIRING SUBTOTAL 47,702.00 SF $9.38 $447,248 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5020 LIGHTING & BRANCH WIRING $1,169,686 D502002 LIGHTING EQUIPMENT Lighting Equipment and Branch Lighting 47,702.00 S.F. 9.68 461,760 Lighting on/off control system, 5 fixtures per 1000 SF 47,702.00 S.F. 1.92 91,430 D502002 LIGHTING EQUIPMENT D502003 MOTOR & EQUIPMENT FEEDERS AND CONNECTIONS Motor & Equipment Feeders and Connections SUBTOTAL 47,702.00 SF $11.60 $553,191 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5020 LIGHTING & BRANCH WIRING $1,169,686 47,702.00 S.F. 3.55 169,248 D502003 MOTOR & EQUIPMENT FEEDERS AND CONNECTIONS SUBTOTAL 47,702.00 SF $3.55 $169,248 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5030 COMMUNICATIONS & SECURITY $1,532,558 D503001 FIRE ALARM SYSTEMS Fire alarm control panel, electrical demolition, remove 4.00 Ea. 659.85 2,639 Re -install, fire alarm control panel, excluding wires & conduits 4.00 Ea. 3,164.68 12,659 Dedicated Power Circuit for Fire Alarm Panel 4.00 Ea. 715.64 2,863 Outlet boxes, pressed steel, 4" square 64.00 Ea. 47.10 3,014 Outlet boxes, pressed steel, covers, blank, 4" square 64.00 Ea. 15.53 994 Electric metallic tubing, 3/4" diameter, to 10' high, includes 11 couplings 6,400.00 L.F. 4.98 31,851 per100' EMT couplings, compression, steel, 3/4" diameter, to 15' H 192.00 Ea. 15.64 3,003 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL D503001 FIRE ALARM SYSTEMS Fire alarm cable, FEP teflon, 150 V, to 200 Deg.C, #18, 1 pair Fire alarm cable, FEP teflon, 150 V, to 200 Deg.C, #14, 1 pair Expand Fire Alarm System to Service Elevator & Laundromat Area Expand Fire Alarm System to Catering Kitchen Area Expand Fire Alarm System to Jazz Club and Lobby Area Expand Fire Alarm System to Service Elevator & Dreesing Room Mezzanine Area Expand Fire Alarm System to Apartment Third Floor Area Expand Fire Alarm System to Apartment Fourth Floor Area Expand Fire Alarm System to Apartment Fith Floor Area Expand Fire Alarm System to Apartment Sixth Floor Area Expand Fire Alarm System to Apartment Seventh Floor Area Expand Fire Alarm System to Apartment Eight Floor Area Expand Fire Alarm System to Apartment Nineth Floor Area Expand Fire Alarm System to Apartment Tenth Floor Area Expand Fire Alarm System to Apartment Roof Floor Area Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5030 COMMUNICATIONS & SECURITY $1,532,558 70.40 70.40 1,760.00 1,030.00 3,670.00 280.00 6,090.00 5,530.00 6,530.00 6,670.00 6,670.00 6,670.00 6,670.00 6,670.00 770.00 C.L.F. C.L.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. S.F. 219.85 904.23 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 9.38 15,477 63,658 16,502 9,657 34,409 2,625 57,099 51,849 61,224 62,537 62,537 62,537 62,537 62,537 7,219 D503001 FIRE ALARM SYSTEMS D503003 TELECOMMUNICATIONS SYSTEMS Telecommunications System - Service Elevator & Laundromat Area SUBTOTAL 47,702.00 EA $14.45 $689,427 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5030 COMMUNICATIONS & SECURITY $1,532,558 47,702.00 S.F. 4.91 234,331 D503003 TELECOMMUNICATIONS SYSTEMS D503004 PUBLIC ADDRESS SYSTEMS Public Address System SUBTOTAL 47,702.00 SF $4.91 $234,331 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5030 COMMUNICATIONS & SECURITY $1,532,558 47,702.00 S.F. 4.52 215,489 D503004 PUBLIC ADDRESS SYSTEMS SUBTOTAL 47,702.00 SF $4.52 $215,489 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 D SERVICES $7,618,033 D50 ELECTRICAL $3,309,355 D5030 COMMUNICATIONS & SECURITY $1,532,558 D503008 SECURITY SYSTEMS Access Control System 47,702.00 Closed Circuit TV System 47,702.00 S.F. 5.96 284,195 S.F. 2.29 109,116 D503008 SECURITY SYSTEMS SUBTOTAL 47,702.00 SF $8.25 $393,311 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL E109002 FOOD SERVICE EQUIPMENT Catering Kitchen Metal Rack Allowance Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 E EQUIPMENT & FURNISHINGS $120,602 E10 EQUIPMENT $15,000 E1090 OTHER EQUIPMENT $15,000 1.00 LS 15,000.00 15,000 E109002 FOOD SERVICE EQUIPMENT E201002 WINDOW TREATMENTS Mecho Shades - 126 Each - 36 SF windows at Hotel Rooms SUBTOTAL 1.00 LS $15,000 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 E EQUIPMENT & FURNISHINGS $120,602 E20 FURNISHINGS $105,602 E2010 FIXED FURNISHINGS $105,602 4,536.00 S.F. 23.28 105,602 E201002 WINDOW TREATMENTS SUBTOTAL 4,536.00 SF $23.28 $105,602 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 F201001 SUBSTRUCTURE & SUPERSTRUCTURE OL: Selective demolition, cutout, concrete, slab on grade, bar reinforced, to 6" 61.00 S.F. 22.34 1,363 thick - For New Service Elevator Opening ML: Demolish Concrete on Top of Metal Decking - For New Service Elevator Opening 61.00 S.F. 13.59 829 1 Bal/3: Demolish Concrete on Top of Metal Decking - For New Service Elevator 61.00 S.F. 13.59 829 Opening 2Ba1/4: Demolish Concrete on Top of Metal Decking - For New Service Elevator 61.00 S.F. 13.59 829 Opening Attic/5: Demolish Concrete on Top of Metal Decking - For New Service Elevator 61.00 S.F. 13.59 829 Opening Theater/6: Demolish Concrete on Top of Metal Decking - For New Service 61.00 S.F. 13.59 829 ElevatorOpening Apartment/ 7-10: Demolish Concrete on Top of Metal Decking - For New Service 244.00 S.F. 13.59 3,316 Elevator Opening Roof: Demolish Concrete on Top of Metal Decking - For New Service Elevator 61.00 S.F. 13.59 829 Opening F201001 SUBSTRUCTURE & SUPERSTRUCTURE F201002 EXTERIOR CLOSURE SUBTOTAL 1.00 LS $9,653 OL: Selective demolition, saw cutting, masonry walls, block, solid, per inch ofdepth OL: Selective demolition, masonry, concrete block walls, reinforced alternate courses, 6" thick OL: Selective demolition, masonry, veneers, brick, hard mortar, remove Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 60.00 L.F. 15.53 126.00 S.F. 2.09 84.00 S.F. 5.84 931 263 491 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 F201002 EXTERIOR CLOSURE OL: Storefront demolition 1,620.00 S.F. 3.69 5,969 OL: Door demolition, special doors, storefront swing door, remove 6.00 Ea. 385.24 2,311 OL: Demo Exterior Gate 1.00 Pair 750.00 750 F201002 EXTERIOR CLOSURE F201003 ROOFING SUBTOTAL 1.00 LS $10,715 Selective demolition, thermal and moisture protection, roofing, modified bitumen - at Rooftop Gen/ Stair Existing Bldg. Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 6.51 Sq. 294.55 1,918 F201003 ROOFING F201004 INTERIOR CONSTRUCTION & FINISHES SUBTOTAL 1.00 LS $1,918 Estimate Rollup Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 OL: Flooring demolition, carpet or resilient, bonded, includes surface scraping 3,198.00 S.F. 0.56 1,779 OL: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, remove 3,198.00 S.F. 0.77 2,446 OL: Walls and partitions demolition, drywall, one layer, nailed or screwed - 4,841.00 S.F. 1.39 6,731 Remove from Existing Walls OL: Walls and partitions demolition, metal or wood studs, finish two sides, 1,230.00 S.F. 3.25 3,991 fiberboard OL: Demo Existing Mailbox Millwork 1.00 LS 2,500.00 2,500 OL: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, remove 2.00 Ea. 27.81 56 OL: Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 2.00 Ea. 30.87 62 ML: Selective demolition, masonry, concrete block walls, unreinforced, 8" thick 296.00 S.F. 1.04 309 ML: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, remove 1.00 Ea. 27.81 28 ML: Flooring demolition, carpet or resilient, bonded, includes surface scraping 226.00 S.F. 0.56 126 ML: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, remove 226.00 S.F. 0.77 173 1Ba1/3: Flooring demolition, carpet or resilient, bonded, includes surface 5,375.00 S.F. 0.56 2,989 scraping 1Ba1/3: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, 5,375.00 S.F. 0.77 4,110 remove 1 Bal/3: Walls and partitions demolition, drywall, one layer, nailed or screwed - 5,990.00 S.F. 0.69 4,164 Remove from Existing Walls 1Ba1/3: Selective demolition, masonry, concrete block walls, unreinforced, 8" 6,377.00 S.F. 0.49 3,103 thick 1 Bal/3: Selective demolition, millwork and trim, wood base cabinets 43.00 L.F. 13.90 598 1 Bal/3: Selective demolition, millwork and trim, wood wall cabinets 62.00 L.F. 13.90 862 1 Bal/3: Selective demolition, millwork and trim, wood Vanity cabinets - Retrooms 19.00 L.F. 13.90 264 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rolluo Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 F201004 INTERIOR CONSTRUCTION & FINISHES 1 Bal/3: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, 22.00 Ea. 27.81 612 remove 1 Bal/3: Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 11.00 Ea. 30.87 340 1 Bal/3: Door demolition, interior door, double, 6' x 7' high, 1-3/8" thick, 1.00 Ea. 34.76 35 remove 1 Bal/3: Specialties demolition, Appliances - Stoves 9.00 Ea. 69.52 626 1 Bal/3: Specialties demolition, Appliances - Refrigerators 9.00 Ea. 69.52 626 1 Bal/3: Selective Demolition of Closet Shelving 53.00 L.F. 6.95 368 2Ba1/4: Flooring demolition, carpet or resilient, bonded, includes surface 5,375.00 S.F. 0.56 2,989 scraping 2Ba1/4: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, 5,375.00 S.F. 0.77 4,110 remove 2Ba1/4: Walls and partitions demolition, drywall, one layer, nailed or screwed - 5,990.00 S.F. 0.69 4,164 Remove from Existing Walls 2Ba1/4: Selective demolition, masonry, concrete block walls, unreinforced, 8" 7,200.00 S.F. 0.49 3,504 thick 2Ba1/4: Selective demolition, millwork and trim, wood base cabinets 55.00 L.F. 13.90 765 2Ba1/4: Selective demolition, millwork and trim, wood wall cabinets 78.00 L.F. 13.90 1,085 2Ba1/4: Selective demolition, millwork and trim, wood Vanity cabinets - Retrooms 23.00 L.F. 13.90 320 2Ba1/4: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, 26.00 Ea. 27.81 723 remove 2Ba1/4: Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 14.00 Ea. 30.87 432 2Ba1/4: Door demolition, interior door, double, 6' x 7' high, 1-3/8" thick, 1.00 Ea. 34.76 35 remove 2Ba1/4: Specialties demolition, Appliances - Stoves 11.00 Ea. 69.52 765 2Ba1/4: Specialties demolition, Appliances - Refrigerators 11.00 Ea. 69.52 765 2Ba1/4: Selective Demolition of Closet Shelving 72.00 L.F. 6.95 501 Attic/5: Flooring demolition, carpet or resilient, bonded, includes surface 5,375.00 S.F. 0.56 2,989 scraping Attic/5: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, 5,375.00 S.F. 0.77 4,110 remove Attic/5: Walls and partitions demolition, drywall, one layer, nailed or screwed- 5,990.00 S.F. 0.69 4,164 Remove from Existing Walls Attic/5: Selective demolition, masonry, concrete block walls, unreinforced, 8" 7,200.00 S.F. 0.49 3,504 thick Attic/5: Selective demolition, millwork and trim, wood base cabinets 55.00 L.F. 13.90 765 Attic/5: Selective demolition, millwork and trim, wood wall cabinets 78.00 L.F. 13.90 1,085 Attic/5: Selective demolition, millwork and trim, wood Vanity cabinets - 23.00 L.F. 13.90 320 Retrooms Attic/5: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, 26.00 Ea. 27.81 723 remove Attic/5: Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 14.00 Ea. 30.87 432 Attic/5: Door demolition, interior door, double, 6' x 7' high, 1-3/8" thick, 1.00 Ea. 34.76 35 remove Attic/5: Specialties demolition, Appliances - Stoves 11.00 Ea. 69.52 765 Attic/5: Specialties demolition, Appliances - Refrigerators 11.00 Ea. 69.52 765 Attic/5: Selective Demolition of Closet Shelving 72.00 L.F. 6.95 501 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL Estimate Rolluo Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 F201004 INTERIOR CONSTRUCTION & FINISHES Theater/6: Flooring demolition, carpet or resilient, bonded, includes surface 5,375.00 S.F. 0.56 2,989 scraping Theater/6: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, 5,375.00 S.F. 0.77 4,110 remove Theater/6: Walls and partitions demolition, drywall, one layer, nailed or 5,990.00 S.F. 0.69 4,164 screwed - Remove from Existing Walls Theater/6: Selective demolition, masonry, concrete block walls, unreinforced, 8" 7,200.00 S.F. 0.49 3,504 thick Theater/6 : Selective demolition, millwork and trim, wood base cabinets 55.00 L.F. 13.90 765 Theater/6 : Selective demolition, millwork and trim, wood wall cabinets 78.00 L.F. 13.90 1,085 Theater/6 : Selective demolition, millwork and trim, wood Vanity cabinets - 23.00 L.F. 13.90 320 Retrooms Theater/6 : Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, 26.00 Ea. 27.81 723 remove Theater/6 : Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 14.00 Ea. 30.87 432 Theater/6 : Door demolition, interior door, double, 6' x 7' high, 1-3/8" thick, 1.00 Ea. 34.76 35 remove Theater/6 : Specialties demolition, Appliances - Stoves 11.00 Ea. 69.52 765 Theater/6:Specialties demolition, Appliances - Refrigerators 11.00 Ea. 69.52 765 Theater/6: Selective Demolition of Closet Shelving 72.00 L.F. 6.95 501 7-10: Flooring demolition, carpet or resilient, bonded, includes surface 21,500.00 S.F. 0.56 11,958 scraping 7-10: Ceiling demolition, suspended ceiling, mineral fiber, 2 x 2 or 2 x 4, 21,500.00 S.F. 0.77 16,442 remove 7-10: Walls and partitions demolition, drywall, one layer, nailed or screwed - 23,960.00 S.F. 0.69 16,657 Remove from Existing Walls 7-10: Selective demolition, masonry, concrete block walls, unreinforced, 8" 28,800.00 S.F. 0.49 14,016 thick 7-10: Selective demolition, millwork and trim, wood base cabinets 220.00 L.F. 13.90 3,059 7-10: Selective demolition, millwork and trim, wood wall cabinets 312.00 L.F. 13.90 4,338 7-10: Selective demolition, millwork and trim, wood Vanity cabinets - Retrooms 92.00 L.F. 13.90 1,279 7-10: Door demolition, interior door, single, 3' x 7' high, 1-3/8" thick, remove 104.00 Ea. 27.81 2,892 7-10: Door demolition, interior bi-fold door, 6' x 6' - 8" high, remove 56.00 Ea. 30.87 1,729 7-10: Door demolition, interior door, double, 6' x 7' high, 1-3/8" thick, remove 4.00 Ea. 34.76 139 7-10: Specialties demolition, Appliances - Stoves 44.00 Ea. 69.52 3,059 7-10:Specialties demolition, Appliances - Refrigerators 44.00 Ea. 69.52 3,059 7-10: Selective Demolition of Closet Shelving 288.00 L.F. 6.95 2,002 F201004 INTERIOR CONSTRUCTION & FINISHES SUBTOTAL 1.00 LS $177,997 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $12,374,104 QTY UNIT UNIT COST TOTAL F201005 MECHANICAL SYSTEMS HVAC demo, misc items Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Plumbing demo, misc items Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 1.00 Ea. 20,395.71 20,396 1.00 Ea. 14,398.50 14,399 F201005 MECHANICAL SYSTEMS F201006 ELECTRICAL SYSTEMS Selective Existing Electrical Demolition Demo Telecom Lines on Roof SUBTOTAL 1.00 LS $34,794 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 47,702.00 S.F. 1.21 57,774 1.00 LS 5,000.00 5,000 F201006 ELECTRICAL SYSTEMS F201007 WASTE HANDLING & DISPOSAL SUBTOTAL 1.00 LS $62,774 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 F2010 BUILDING ELEMENTS DEMOLITION $321,131 Selective demolition, rubbish handling, 0'-50' haul, load, haul, dump and 220.00 C.Y. 46.37 10,202 return, wheeled, including 21-40 riser stairs Selective demolition, dump charges, typical urban city, building construction 130.00 Ton 100.60 13,078 materials, includes tipping fees only F201007 WASTE HANDLING & DISPOSAL F2020 HAZARDOUS COMPONENTS ABATEMENT Abatement of Lead Containing Paint Allowance SUBTOTAL 1.00 LS $23,279 Estimate Rollun Costs BASE BID $12,374,104 Olympia Hotel: Jazz Club/ Lobby/ Hotel Rooms / Service Elevator $12,374,104 F SPECIAL CONSTRUCTION & DEMOLITION $416,535 F20 SELECTIVE BUILDING DEMOLITION $416,535 47,702.00 SF 2.00 95,404 F2020 HAZARDOUS COMPONENTS ABATEMENT SUBTOTAL 1.00 LS $95,404 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $1,353,148 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $1,353,148 General Conditions $1,353,148 Project Management and Coordination General Superintendent 18.00 MON 16,491.22 296,842 Project Manager 13.50 MON 11,700.00 157,950 Project/Field Engineer 13.50 MON 11,798.60 159,281 Common Building Laborers, for cleanup, continuous, per day, during construction 13.50 MON 7,888.80 106,499 ID Badges 12.00 Ea. 20.00 240 Pick Up Truck, Gen Super 18.00 MON 695.50 12,519 Tablets 3.00 Ea. 1,177.00 3,531 Cell Phone 18.00 MON 160.50 2,889 Office Support Staff 9.00 MON 5,800.00 52,200 Project Management and Coordination SUBTOTAL 18.00 MO $43,997.28 $791,951 Estimate Rollun Costs BASE BID $1,353,148 General Conditions $1,353,148 Construction Progress Documentation As Built Drawings 3.00 SET 1,605.00 4,815 Base -Line Construction Schedule 1.00 Ea. 2,428.80 2,429 Construction Photographs 18.00 MON 107.00 1,926 Scheduling, computer -update 18.00 MON 2,500.00 45,000 Construction Progress Documentation Quality Control Field testing for building SUBTOTAL 18.00 MO $3,009.43 $54,170 Estimate Rollun Costs BASE BID $1,353,148 General Conditions $1,353,148 100.00 Hrs 192.15 19,215 Quality Control Temporary Utilities SUBTOTAL 18.00 MO $1,067.50 $19,215 Temporary Utilities, temporary construction power bill per month, average Temporary Utilities, temporary construction water bill per month, average Estimate Rollup Costs BASE BID $1,353,148 General Conditions $1,353,148 18.00 MON 214.00 3,852 18.00 MON 53.50 963 Temporary Utilities Construction Facilities SUBTOTAL 18.00 MO $267.50 $4,815 Estimate Rollup Costs BASE BID $1,353,148 General Conditions $1,353,148 Field Office with furnishing (1 Trailer) 18.00 MON 1,250.00 22,500 Land Line Phone/internet 18.00 MON 150.00 2,700 Office Supplies 18.00 MON 107.00 1,926 Construction Facilities SUBTOTAL 18.00 MO $1,507.00 $27,126 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $1,353,148 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs BASE BID $1,353,148 General Conditions $1,353,148 Construction Aids Fire Extinguishers 2.00 Ea. 45.00 90 First Aid Equipment 1.00 Ea. 1,070.00 1,070 Hard Hats/Golves/Safety Harness 12.00 Ea. 214.00 2,568 Ice Water & Cups (bottled water) 18.00 MON 214.00 3,852 Work Plans 2.00 Set 1,500.00 3,000 Construction Aids SUBTOTAL 18.00 MO $587.78 $10,580 Estimate Rollup Costs BASE BID $1,353,148 General Conditions $1,353,148 Temporanr Barriers and Scaffolding Temporary protection, flooring, taped seams, 1/8" tempered hardboard 1,000.00 S.F. 1.00 1,003 Site Protection and Scaffolding 1.00 LS 400,000.00 400,000 Temporary Barriers and Scaffolding Project Identification Project Sign Safety Signage SUBTOTAL 18.00 MO $22,277.93 $401,003 Estimate Rollun Costs BASE BID $1,353,148 General Conditions $1,353,148 1.00 Ea. 3,210.00 3,210 4.00 Ea. 107.00 428 Project Identification SUBTOTAL 18.00 MO $202.11 $3,638 Estimate Rollup Costs BASE BID $1,353,148 General Conditions $1,353,148 Cleaning and Waste Management Cleaning up, cleanup of floor area, final by GC at end of job 26.20 M.S.F. 78.86 2,066 Selective demolition, rubbish handling, dumpster, 10 C.Y., 3 ton capacity, 72.00 Week 513.60 36,979 weekly rental Cleaning and Waste Management Closeout Submittals SUBTOTAL 18.00 MO $2,169.18 $39,045 Estimate Rollup Costs BASE BID $1,353,148 General Conditions $1,353,148 O&M Manuals 1.00 Ea. 1,605.00 1,605 Closeout Submittals SUBTOTAL 18.00 MO $89.17 $1,605 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 A SUBSTRUCTURE $14,505 A10 FOUNDATIONS $14,505 A1030 SLAB ON GRADE $14,505 A103001 PITS AND BASES BL: Excavate for Elevator Pit 61.00 SF 20.00 1,220 BL: Structural concrete, in place, (4000 psi), placing and finishing - New 3.00 C.Y. 2,208.47 6,625 Speakeasy Elevator Slab at Pit BL: Elevator Pit Concrete Walls and Foundations 222.00 SF 20.00 4,440 BL: Waterproofing at Elevator Pit 222.00 SF 10.00 2,220 A103001 PITS AND BASES B102001 KITCHEN/SPEAKEASY- STRUCTURAL FRAME Roof Speakeasy: Steel Framing Roof Speakeasy: Angle framing, structural steel, 2"x2"x1/4", field fabricated,incl cutting & welding Roof Speakeasy: New roof joists and girders Roof Speakeasy: Roof Deck SUBTOTAL 1.00 EA $14,505 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B10 SUPERSTRUCTURE $966,204 B1020 ROOF CONSTRUCTION $966,204 5.00 169.00 10.68 887.00 Ton L.F. Ton S.F. 14, 471.62 33.30 13,176.47 10.58 72,358 5,628 140,725 9,387 B102001 KITCHEN/ SPEAKEASY - STRUCTURAL FRAME SUBTOTAL 15.68 TONS $14,547.05 $228,098 B102002 ELEVATOR - STRUCTURAL FRAME Steel framing elevator - New Speakeasy Elevator Roof Speakeasy Elevator: Angle framing, structural steel, 2"x2"x1/4", field fabricated, incl cutting & welding Roof Speakeasy Elevator: New roof joists and girders Roof Speakeasy Elevator: Roof Deck Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B10 SUPERSTRUCTURE $966,204 B1020 ROOF CONSTRUCTION $966,204 13.20 280.00 3.00 61.00 Ton L.F. Ton S.F. 6,116.11 33.30 5,431.04 10.58 80,733 9,325 16,293 646 B102002 ELEVATOR - STRUCTURAL FRAME B102003 ALLOWANCE TO STRENGTHEN ROOF DECK Structural Support Existing Roof Concrete Deck for Speakeasy SUBTOTAL 16.20 TONS $6,604.69 $106,996 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B10 SUPERSTRUCTURE $966,204 B1020 ROOF CONSTRUCTION $966,204 4,907.00 S.F. 105.00 515,235 B102003 ALLOWANCE TO STRENGTHEN ROOF DECK SUBTOTAL 4,907.00 SF $105.00 $515,235 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL B102004 RETRACTABLE ROOF Retractable Roof Allowance Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B10 SUPERSTRUCTURE $966,204 B1020 ROOF CONSTRUCTION $966,204 515.00 SF 225.00 115,875 B102004 RETRACTABLE ROOF B201001 EXTERIOR CLOSURE SUBTOTAL 515.00 SF $225.00 $115,875 Speakeasy/ Rest: Metal stud partition, non -load bearing, galvanized, up to 12'high, 3-5/8" wide, 20 gauge, 16" OC, includes top & bottom track Speakeasy/ Rest: Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' x 8' sheet, 3" thick Speakeasy/ Rest: Gypsum wallboard, on walls, standard, taped & finished (level 4 finish), 1/2" thick Speakeasy/ Rest: Paints & coatings, walls & ceilings, interior, concrete, drywall or plaster, zero voc latex, 3 coats, smooth finish, spray Roof Speakeasy: Stucco at Ext Walls Roof Speakeasy: Paints & coatings, high build, water proof, one coat system, stucco, spray Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2010 EXTERIOR WALLS $143,592 2,080.00 S.F. 2,080.00 S.F. 4,160.00 S.F. 2,080.00 S.F. 2,080.00 S.F. 2,080.00 S.F. 3.34 3.43 1.64 0.89 25.00 0.81 6,951 7,138 6,805 1,845 52,000 1,691 B201001 EXTERIOR CLOSURE B201002 PERIMETER WALL SUBTOTAL 2,080.00 SF $36.75 $76,431 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2010 EXTERIOR WALLS $143,592 Roof Perimeter Wall: 8" CMU Wall 5' tall 1,545.00 SF 25.00 38,625 Pipe Railing on top of Perimeter Wall 259.00 L.F. 103.58 26,827 Paints & coatings, misc. exterior, metal railings, brushwork, zinc chromate, 259.00 L.F. 6.60 1,709 primer, 1" rail, 1/2" sq. verticals, 6" OC B201002 PERIMETER WALL SUBTOTAL 1,545.00 SF $43.47 $67,161 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2030 EXTERIOR DOORS $31,437 B203001 SINGLE NM DOORS Frames, steel, knock down, hollow metal, single, 16 ga., up to 8-3/4" deep, 3'- 2.00 Ea. 514.05 0"x7'-0" Doors, hollow metal, commercial, steel, flush, full panel, hollow core, 1-3/8" 2.00 Ea. 802.07 thick, 20 ga., 3'-0" x 7'-0" Paints & coatings, interior latex, doors, flush, both sides, roll & brush, 2.00 Ea. 129.45 primer + 2 coats, incl. frame & trim 1,028 1,604 259 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL B203001 SINGLE HM DOORS Caulking & sealants, silicone, white, 1/4"x1/2" Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2030 EXTERIOR DOORS $31,437 68.00 L.F. 3.19 217 B203001 SINGLE HM DOORS SUBTOTAL 2.00 EA $1,554.13 $3,108 B203004 OVERHEAD AND ROLL -UP DOORS Doors, rolling service, steel, manual, 20 gauge, 10' x 10' high, incl. hardware Doors, rolling service, steel, manual, motor operators Goal Post Support for Door Mounting Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2030 EXTERIOR DOORS $31,437 4.00 Ea. 3,172.61 12,690 4.00 Ea. 1,948.68 7,795 4.00 EA 1,500.00 6,000 B203004 OVERHEAD AND ROLL -UP DOORS B203008 EXTERIOR DOOR HARDWARE Door Hardware HM Single SUBTOTAL 40.00 SF $662.13 $26,485 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B20 EXTERIOR ENCLOSURE $175,029 B2030 EXTERIOR DOORS $31,437 2.00 Door 921.56 1,843 B203008 EXTERIOR DOOR HARDWARE SUBTOTAL 2.00 EA $921.56 $1,843 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B30 ROOFING $404,688 83010 ROOF COVERINGS Entire Apartment Roof: Porecelain Tile Pedestal System at Courtyard 4,256.00 S.F. 17.13 72,916 Entire Apartment Roof: Water proofing 4,256.00 S.F. 31.84 135,495 Entire Apartment Roof: BR Structural fabric method, epoxy and carbon fiber 4,256.00 S.F. 32.97 140,338 fabric Entire Apartment Roof: BR Structural fabric method, apply filling/leveling paste 4,256.00 S.F. 2.27 9,638 Mobilization or demobilization, crane, truck -mounted, up to 55 ton, includes 2.00 Ea. 204.04 408 both mobilization/demobilization Hoisting roof materials 4.00 Day 7,858.56 31,434 Speakeasy Elevator Roof: Clay tile, scalloped edge flat shingle, terra cotta 0.61 Sq. 1,831.85 1,117 red, 145 pieces per square, 14", incl. accessories Speakeasy Elevator Roof: Roof deck insulation, expanded polystyrene, 6" thick, 61.00 S.F. 2.66 162 R23.26, 1#/CF density, fastening excluded Speakeasy Elevator Roof: Terra cotta masonry, coping, split type, glazed, 9" 32.00 L.F. 42.29 1,353 wide, includes mortar, excludes scaffolding Speakeasy Elevator Roof: 2" x 4" miscellaneous wood blocking, to steel 32.00 L.F. 3.64 117 construction, per LF Speakeasy Elevator Roof: Copper gutters, half round, 16 ounce, stock units, 6" 32.00 L.F. 26.72 855 wide Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL 83010 ROOF COVERINGS Speakeasy Elevator Roof: Copper downspouts, round, stock, 16 ounce, 4" diameter Roof Kitchen/ Rest: Thermoplastic-polyolefn roofing (TPO), 60 mils, heat welded seams, fully adhered Roof Kitchen/ Rest: Roof deck insulation, expanded polystyrene, 6" thick, R23.26, 1#/CF density, fastening excluded Roof Kitchen/ Rest: 2" x 4" miscellaneous wood blocking, to steel construction,per LF Roof Kitchen/ Rest: Sheet metal flashing, aluminum, flexible, mill finish, .040" thick, including up to 4 bends Roof Kitchen/ Rest: Cast iron drain body and high dome Roof Kitchen/ Rest: Cast iron clamping ring Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 B SHELL $1,545,921 B30 ROOFING $404,688 44.00 L.F. 8.87 Sq. 887.00 S.F. 338.00 L.F. 169.00 S.F. 3.00 Ea. 3.00 Ea. 28.73 253.84 2.66 3.64 10.24 564.40 107.72 1,264 2,252 2,361 1,231 1,730 1,693 323 B3010 ROOF COVERINGS SUBTOTAL 948.00 SF $426.89 $404,688 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1010 PARTITIONS $68,507 C101001 FIXED PARTITIONS Speakeasy/ Rest: Metal stud partition, non -load bearing, galvanized, up to 531.00 S.F. 3.34 1,775 12'high, 3-5/8" wide, 20 gauge, 16" OC, includes top & bottom track Speakeasy/ Rest:Wall insulation, rigid, isocyanurate, foil faced, both sides, 4' 531.00 S.F. 3.43 1,822 x 8' sheet, 3" thick - Add to Existing Exterior Wall Framing Speakeasy/ Rest: Gypsum wallboard, on walls, standard, taped & finished (level 4 1,062.00 S.F. 1.64 1,737 finish), 1/2" thick - Add to Existing Exterior Wall Framing C101001 FIXED PARTITIONS C101002 ELEVATOR SHAFT PARTITIONS SUBTOTAL 531.00 SF $10.05 $5,334 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1010 PARTITIONS $68,507 OL- ROOF Speakeasy Elevator: Shaft wall, cavity type on 25 ga. 6"J track & C-H 3,989.00 S.F. 9.91 39,527 studs, 24" OC, 1" thick coreboard wall liner on shaft side, 2 hour assembly w/double layer, 5/8" fire rated gypsum board on room side OL- ROOF Speakeasy Elevator: Shaft wall, for taping & finishing, add per side 7,978.00 S.F. 0,65 5,153 OL- ROOF Speakeasy Elevator: Paints & coatings, walls & ceilings, interior, 3,389.00 S.F. 0.89 3,006 concrete, drywall or plaster, zero voc latex, 3 coats, smooth finish, spray Roof Speakeasy Elevator Penthouse: Stucco at Ext Walls 600.00 S.F. 25.00 15,000 Roof Speakeasy Elevator Penthouse: Paints & coatings, high build, water proof, 600.00 S.F. 0.81 488 one coat system, stucco, spray C101002 ELEVATOR SHAFT PARTITIONS SUBTOTAL 3,989.00 SF $15.84 $63,173 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $2,706,558 QTY UNIT UNIT COST TOTAL C102001 KITCHEN SWING INTERIOR DOORS Doors, industrial, double acting, swing, stainless steel, 3/4", 4'-0" x 7"- 0",incl. frame, closure, hardware and vision panel Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1020 INTERIOR DOORS $7,375 2.00 Ea 3,687.53 7,375 C102001 KITCHEN SWING INTERIOR DOORS SUBTOTAL 2.00 LEF $3,687.53 $7,375 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 C103002 TOILET & BATH ACCESSORIES 1BaI/3: Grab Bars, straight, stainless steel, 36" long - B5806x36 2.00 Ea. 65.71 131 1BaI/3: Grab Bars, straight, stainless steel, 42" long - B5806x42 2.00 Ea. 69.00 138 1 BaI/3: Sanitary Napkin Disposal - B-4354 2.00 Ea. 439.74 879 1BaI/3: Serenity LED Lighted Mirror -24"x36" 2.00 Ea. 1,938.34 3,877 1 BaI/3: Robe hook, regular, single - B7671 2.00 Ea. 25.89 52 1 BaI/3: Toilet Seat Cover Dispenser - B-221 2.00 Ea. 76.02 152 1BaI/3: Toilet accessories, dispenser units, towel dispenser & waste receptacle, 2.00 Ea. 553.98 1,108 18 gallon capacity 1 BaI/3: Toilet accessories, soap dispenser, stainless steel, recessed, liquid 2.00 Ea. 279.38 559 1 BaI/3: Toilet accessories, toilet tissue dispenser, stainless steel, surface 2.00 Ea. 55.32 111 mounted, double roll C103002 TOILET & BATH ACCESSORIES C103004 IDENTIFYING DEVICES Signage and Wayfnding Allowance - Interior SUBTOTAL 18.00 EA $389.26 $7,007 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 2,475.00 SF 4.00 9,900 C103004 IDENTIFYING DEVICES SUBTOTAL 2,475.00 SF $4.00 $9,900 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 C103007 FIRE EXTINGUISHER CABINETS Fire equipment cabinets, portable extinguisher, single, steel box, recessed, 2.00 Ea. 406.99 814 D.S. glass in door, stainless steel door & frame, 8" x 12" x 27", excludes equipment Fire extinguishers, dry chemical, pressurized, standard type, portable, painted, 2.00 Ea. 50.98 102 5 Ib Fire extinguishers, dry chemical, pressurized, ABC all purpose type, portable, 5 1.00 Ea. 42.82 43 Ib Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 C103007 FIRE EXTINGUISHER CABINETS C103007 FIRE EXTINGUISHER CABINETS SUBTOTAL 3.00 EA $319.59 $959 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 C103010 CASEWORK OL: Island Wall A4 Partition wall, interior, standard, taped both sides, 205.00 S.F. 4.99 1,022 installed on & incl. 25 ga, NLB metal studs, 3-5/8" wide, 16" OC, 5/8" gypsum drywall OL: Island Countertop 83.00 SF 88.36 7,334 OL: Laundry Front Desk 19.00 SF 325.00 6,175 Roof Speakeasy: New Bar and Countertop/ Display at Speakeasy 153.00 SF 375.00 57,375 C103010 CASEWORK C103012 FIRESTOPPING PENETRATIONS Firestopping Allowance SUBTOTAL 460.00 SF $156.32 $71,906 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C10 INTERIOR CONSTRUCTION $180,654 C1030 SPECIALTIES $104,772 1.00 LS 15,000.00 15,000 C103012 FIRESTOPPING PENETRATIONS C3010 WALL FINISHES SUBTOTAL 1.00 LS $15,000 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C30 INTERIOR FINISHES $153,401 OL: Interior Finish - Wall Coverings/ Tile at Existing Walls that are Refinished 1,026.00 SF 6.48 6,648 at Laundry Mat & Elevator Lobby Roof Speakeasy/Kitchen: Interior Finish - Wall Coverings/ Tile at New Wall 2,080.00 SF 6.48 13,478 Roof Speakeasy/Kitchen: Interior Finish - Wall Coverings/ Tile at Peimeter Wall 1,545.00 SF 6.48 10,012 Roof Speakeasy/Kitchen: Interior Finish - Wall Coverings/ Tile at Interior Wall 1,062.00 SF 6.48 6,882 C3010 WALL FINISHES SUBTOTAL 5,713.00 SF $6.48 $37,020 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C30 INTERIOR FINISHES $153,401 C3020 FLOOR FINISHES OL: Interior Finish Allowance - Flooring 973.00 Speakeasy Roof: Interior Finish Allowance - Flooring 1,463.00 S.F. 15.22 14,809 S.F. 15.22 22,267 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL C3020 FLOOR FINISHES Speakeasy Roof: Exterior Finish Allowance - Flooring Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C30 INTERIOR FINISHES $153,401 2,793.00 S.F. 25.00 69,825 C3020 FLOOR FINISHES C3030 CEILING FINISHES Speakeasy Kitchen/Rest : Interior Finish Allowance - Ceilings SUBTOTAL 5,229.00 SF $20.44 $106,901 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 C INTERIORS $334,055 C30 INTERIOR FINISHES $153,401 948.00 SF 10.00 9,480 C3030 CEILING FINISHES SUBTOTAL 948.00 SF $10.00 $9,480 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D10 CONVEYING $250,000 D1010 ELEVATORS AND LIFTS Interior Cab Finishes allowance - Speakeasy Elevator 1.00 Ea. 25,000.00 25,000 Traction elevator, 11 stop 1.00 Ea. 225,000.00 225,000 D1010 ELEVATORS AND LIFTS D201001 WATERCLOSETS SUBTOTAL 11.00 STP $22,727.27 $250,000 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2010 PLUMBING FIXTURES $37,019 Water closet, tank type, vitreous china, floor mounted, close coupled, two piece, includes seat, supply pipe with stop and piping connections Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 2.00 Ea. 4,467.89 8,936 D201001 WATERCLOSETS D201003 LAVATORIES SUBTOTAL 2.00 EA $4,467.89 $8,936 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2010 PLUMBING FIXTURES $37,019 Lavatory, wall hung, porcelain enamel on cast iron, white, single bowl, 22" x 2.00 Ea. 2,878.40 5,757 19", includes trim and piping connections D201003 LAVATORIES SUBTOTAL 2.00 EA $2,878.40 $5,757 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2010 PLUMBING FIXTURES $37,019 D201004 SINKS Sink, stainless steel, speakeasy bar area, includes piping connections Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 4.00 Ea. 5,581.52 22,326 D201004 SINKS D202001 PIPES & FITTINGS SUBTOTAL 4.00 EA $5,581.52 $22,326 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2020 DOMESTIC WATER DISTRIBUTION $16,455 Domestic Water Connections for Laundromat 6.00 Ea. 2,579.51 15,477 Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Domestic Water Connections for Speakeasy 1.00 Ea. 978.01 978 Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. D202001 PIPES & FITTINGS D203001 WASTE PIPE & FITTINGS SUBTOTAL 6.00 EA $2,742.51 $16,455 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2030 SANITARY WASTE $19,168 Sanitary Waste Connections for Laundromat Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 6.00 Ea. 2,143.60 12,862 D203001 WASTE PIPE & FITTINGS SUBTOTAL 6.00 EA $2,143.60 $12,862 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2030 SANITARY WASTE $19,168 D203004 SANITARY AND VENT EQUIPMENT Sump Pump for Speakeasy Elevator 1.00 Ea. 6,306.15 6,306 D203004 SANITARY AND VENT EQUIPMENT D204001 PIPE & FITTINGS SUBTOTAL $6,306 New Roof Drain System for Speakeasy Elevator Tower/ Kitchen / Restrooms Structures Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2040 RAIN WATER DRAINAGE $178 1.00 Ea. 177.79 178 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST RIoBU.S.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D20 PLUMBING $72,819 D2040 RAIN WATER DRAINAGE $178 D204001 PIPE & FITTINGS D204001 PIPE & FITTINGS D304001 AIR DISTRIBUTION, HEATING & COOLING Ductwork for laundry room area Note: Based on referenced RSM line item. scope. Ductwork for Jazz Club / lobby area Note: Based on referenced RSM line item. scope. Ductwork for Catering Kitchen area Note: Based on referenced RSM line item. scope. SUBTOTAL Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3040 DISTRIBUTION SYSTEMS $132,462 Adjusted labor hours and material cost based on current Adjusted labor hours and material cost based on current Adjusted labor hours and material cost based on current 1,000.00 2,400.00 500.00 Lb. Lb. Lb. 13.13 12.40 13.13 $178 13,134 29,761 6,567 D304001 AIR DISTRIBUTION, HEATING & COOLING SUBTOTAL 3,900.00 LBS $12.68 Estimate Rollup Costs $49,462 ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3040 DISTRIBUTION SYSTEMS $132,462 D304007 EXHAUST SYSTEMS Level Note Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. Exhaust Fan for laundry area Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 1.00 Ea. 5,691.64 5,692 D304007 EXHAUST SYSTEMS D304008 AIR HANDLING UNITS SUBTOTAL 2,000.00 MCF $2.85 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3040 DISTRIBUTION SYSTEMS $132,462 AHU w/ OA for laundry area Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. AHU w/ OA for jazz club / lobby area AHU w/OA for Catering Kitchen 1.00 Ea. 19,501.15 1.00 Ea. 25,204.12 1.00 Ea. 5,892.07 $5,692 19,501 25,204 5,892 D304008 AIR HANDLING UNITS SUBTOTAL 10,000.00 MCFM $5.06 $50,597 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rollun Costs ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3040 DISTRIBUTION SYSTEMS $132,462 D304099 OTHER DISTRIBUTION SYSTEMS $26,712 GAS PIPING Gas Connections for Laundry Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 9.00 Ea. 2,967.95 26,712 GAS PIPING SUBTOTAL 9.00 Ea. $2,967.95 $26,712 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3060 CONTROLS & INSTRUMENTATION $44,669 D306001 HVAC CONTROLS Building ATC Controls 6,024.00 SF 7.42 44,669 D306001 HVAC CONTROLS SUBTOTAL 1.00 EA $44,669 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3070 SYSTEMS TESTING & BALANCING $8,483 1 AIR SIDE TESTING & BALANCING - HEATING. COOLING & EXHAUST Air Balancing 1.00 Ea. 4,251.52 4,252 1 AIR SIDE TESTING & BALANCING - HEATING, COOLING & SUBTOTAL 1.00 EA $4,252 EXHAUST Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D30 HVAC $185,614 D3070 SYSTEMS TESTING & BALANCING $8,483 D307003 HVAC COMMISSIONING Commisioning Assistance 1.00 Ea. 4,231.72 4,232 D307003 HVAC COMMISSIONING D401002 SPRINKLER WATER SUPPLY EQUIPMENT AND PIPING SUBTOTAL 1.00 EA $4,232 Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D40 FIRE PROTECTION $41,940 D4010 SPRINKLERS $41,940 New sprinkler piping system for renovated areas Note: Based on referenced RSM line item. Adjusted labor hours and material cost based on current scope. 4,800.00 SF 8.74 41,940 D401002 SPRINKLER WATER SUPPLY EQUIPMENT AND PIPING SUBTOTAL 4,800.00 SF $8.74 $41,940 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): 1. $2,706,558 QTY UNIT UNIT COST TOTAL D5010 ELECTRICAL FOR NEW SPEAKEASY ELEVATOR Level Note Allowance for 2 Elevator Speakeasy Elevator - Feeder and Connection Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D50 ELECTRICAL $179,395 2.00 Ea. 11,044.00 22,088 D5010 ELECTRICAL FOR NEW SPEAKEASY ELEVATOR SUBTOTAL 2,475.00 SF $8.92 $22,088 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D50 ELECTRICAL $179,395 D5010 NEW POWER FOR KITCHEN 7 BAR AREA New Power for Kitchen and Restrooms and Bar Area 6,024.00 Note: Includes Power Distribution, Lighting, Convinience Power and Motor and Equipment Feeders and Connection. Ea. 24.52 147,713 D5010 NEW POWER FOR KITCHEN 7 BAR AREA SUBTOTAL 2,475.00 SF $59.68 $147,713 D5010 RUN POWER TO CINEMA WALL AND PHOTO/DJ BOOTH Level Note Allowance for Dedicated Power Circuits for the Cinema Wall and the Photo and DJ Booth Run Power to Cinema and Photo/DJ Booth Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 D SERVICES $729,769 D50 ELECTRICAL $179,395 1.00 Ea. 9,594.72 9,595 D5010 RUN POWER TO CINEMA WALL AND PHOTO/DJ BOOTH SUBTOTAL 2,475.00 SF $3.88 $9,595 E109001 FOOD SERVICE EQUIPMENT Food Service Equipment Allowance - Kitchen Estimate Rollun Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 E EQUIPMENT & FURNISHINGS $69,500 E10 EQUIPMENT $69,500 E1090 OTHER EQUIPMENT $69,500 1.00 LS 50,000.00 50,000 E109001 FOOD SERVICE EQUIPMENT E109002 AUDIO-VISUAL EQUIPMENT Cinema Projection Screen DJ / Photo Booth Allowance SUBTOTAL 1.00 LS $50,000 Estimate Rollup Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 E EQUIPMENT & FURNISHINGS $69,500 E10 EQUIPMENT $69,500 E1090 OTHER EQUIPMENT $69,500 1.00 EA 4,500.00 4,500 1.00 LS 15,000.00 15,000 E109002 AUDIO-VISUAL EQUIPMENT SUBTOTAL 2.00 EA $9,750.00 $19,500 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST 4Lj RIBUS.COST DESCRIPTION Olympia Theater Adaptive Use Boutique Hotel DETAIL REPORT_DIRECT COST Report Total (Direct Cost): a $2,706,558 QTY UNIT UNIT COST TOTAL Estimate Rolluo Costs ALTERNATE $2,706,558 ALT #1: Olympia Hotel: Restaurant, Speakeasy, Laundromat, & Elevator $2,706,558 F SPECIAL CONSTRUCTION & DEMOLITION $12,808 F20 SELECTIVE BUILDING DEMOLITION $12,808 F2010 BUILDING ELEMENTS DEMOLITION $12,808 F201001 SUBSTRUCTURE & SUPERSTRUCTURE OL: Selective demolition, cutout, concrete, slab on grade, bar reinforced, to 6" 61.00 S.F. 22.34 1,363 thick - For New SpeakEasy Elevator Opening ML: Demolish Concrete on Top of Metal Decking - For New SpeakEasy Elevator 61.00 S.F. 13.59 829 Opening 1 Bal/3: Demolish Concrete on Top of Metal Decking - For New SpeakEasy Elevator 61.00 S.F. 13.59 829 Opening 2Ba1/4: Demolish Concrete on Top of Metal Decking - For New SpeakEasy Elevator 61.00 S.F. 13.59 829 Opening Attic/5: Demolish Concrete on Top of Metal Decking - For New SpeakEasy 61.00 S.F. 13.59 829 ElevatorOpening Theater/6: Demolish Concrete on Top of Metal Decking - For New SpeakEasy 61.00 S.F. 13.59 829 Elevator Opening Apartment/ 7-10: Demolish Concrete on Top of Metal Decking - For New SpeakEasy 244.00 S.F. 13.59 3,316 Elevator Opening Roof: Demolish Metal Decking - For New SpeakEasy Elevator Opening 61.00 S.F. 10.39 634 Selective demolition, rubbish handling, 0'-50' haul, load, haul, dump and 18.00 C.Y. 46.37 835 return, wheeled, including 21-40 riser stairs Selective demolition, dump charges, typical urban city, building construction 25.00 Ton 100.60 2,515 materials, includes tipping fees only F201001 SUBSTRUCTURE & SUPERSTRUCTURE SUBTOTAL 1.00 LS $12,808 Miami, FL. Opinion of Probable Cost Estimate R.J. Heisenbottle Architects, P.A. SuccessEstimator 06/30/2022 DETAIL REPORT_DIRECT COST C4 RgIttogetBher U.S.COST runnin END OF COST REPORT