Selected Projects – John Leeke, Preservation Consultant

Wall of Windows, Maine College of Art and Design, Portland, Maine, (National Register)

The front façade of this early 1900s department store was refurbished in 1998. The work included the repair and restoration of 133 Chicago-style and arched-top windows. I surveyed and assessed conditions of all windows, recommended strategies, materials and methods to the architects, wrote specifications for the work and trained work crews in the special procedures and techniques needed for this specialized work.

The scale of a main street window restoration project can be daunting, but the results are worth the effort, according to an historic window specialist.

The historic five-story Porteous Building in Portland, Maine, features Chicago-style windows on the second through fourth floors. The fifth story above the cornice forms a fully developed “attic” with a row of arch-topped double-hung windows. When the Maine College of Art began restoring the building, it decided to rehabilitate the historic windows. (Photo: John Bald)

When the Maine College of Art began renovating the Porteous Building in Portland, Maine, the historic wood windows had fallen into a state of disrepair, and internal renovations had blocked natural light from penetrating the building. After briefly considering replacement windows, the decision was made to restore the original windows, while also renovating the interior to allow light into the building. The result not only brought back an historic building, but also enhanced the main street of Portland’s central shopping district.

Built in 1904-06 as a department store, the Porteous Building rises five stories above Congress Street in Portland. The front façade is richly decorated with terra cotta and wood in the Renaissance Revival style. The Chicago-style windows on the second through fourth floors are flanked by Classical pilasters. The fifth story above the cornice forms a fully developed “attic” with a row of arch-topped, double-hung windows. The original function of this wall of windows was to capture light and feed it deep into the building to illuminate the goods for sale. This was a time when natural light was considered more beneficial than the rudimentary electrical lighting of the day. The department store kept up with new merchandising methods as they developed throughout the 20th century, making use of improving artificial lighting and controlling the customers’ shopping experience. Several interior renovations eventually led to building partition walls just a few feet inside the front façade, excluding all natural light.

The Maine Historic Presrvation Commission had identified the front façade and its windows as making a significant contribution to the character of the building. The façade is built of terra cotta, wood and glass. This principle historic feature had remained largely unchanged over the decades.

Field notes provided information on the condition of each window. (Drawing: John Leeke)

Project Development
In 1993 the Maine College of Art began adapting the building to the new use of arts education. The project started with planning for interior renovations. Often, the planning and implementation of these projects are spread out over several years into phases as funding becomes available and as the program for building use develops. Working together, the college, the architect and the commission developed a separate phase of work with a strong historic preservation philosophy to save the architectural character of the front façade. The window work was done in 1998, as part of the façade project.

Natural light is of paramount importance in the visual arts. Because these windows were originally designed and built to maximize natural light, bringing that function back was a matter of peeling back the later renovations. The interior partitions were removed so natural light could once again fill the interior spaces. The existing windows had been largely ignored over the last half century, which was both good and bad. Good because all the original parts and systems were still there; bad because they were mostly inoperable. The one type of maintenance they had received was painting – many, many coats of paint – that had sealed most of the windows shut and was now failing and peeling away.

“Daylighting was also critical to the success of meeting energy-efficiency design requirements,” says Richard Renner, AIA, project architect, of Richard Renner Architects in Portland. “We could have replaced these windows with modern units that would have saved heating dollars, but the façade just would not have had anywhere near the character as with the original windows.” Keeping the continuing cost of building operations as low as possible was important to the college and saving the original windows leads to that goal by saving on the cost of electrical lighting. “Once we had arrived at the decision to save the old windows, we needed an expert opinion on the validity of doing that in general, and then in particular, how to do it,” says Renner.

John Leeke, Preservation Consultant, explains, “My work as the project’s historic window specialist was to assess conditions, suggest methods for refurbishing the windows and then help determine if that fit into the overall scheme of the project. Then I wrote detailed specifications for the window work, which the architects folded into their overall project manual.”

The transom lights on the windows for the second, third and fourth floors are filled with “Luxfer” prism glass with zinc and lead cames. These ribbed panes are designed to send the exterior light deep into the interior space. (Photo: John Leeke)

Assessing Conditions
I followed my standard practice of first determining what we had to work with before even thinking about what specific treatments should be used, giving each window individual consideration. I began with a quick survey of all windows to determine the types of windows and general conditions. This helped me focus my detailed comprehensive assessment, which included an inspection of every one of the 105 windows in the façade. The strategy that each window should be given separate consideration and individualized treatment has the most effect on project costs and success. Here is my assessment procedure:

1. Determine the windows’ construction type, details and materials.
2. Survey the condition of all the windows, considering each window separately.
3. Identify the types of deterioration, their location and extent.
4. Determine the causes of deterioration, which are usually related to moisture and movement.
5. Prioritize the windows into three groups according to their condition: poor, high priority; fair, medium priority; good, low priority.

The central lights of the Chicago-style windows are filled with thick plate glass and flanked with casement sash that operate on vertical pivot hinges. Transom lights above are filled with “Luxfer” prism glass in zinc and lead cames. These ribbed panes are designed to bend the exterior light as it passes through the window and send the light deep within the interior space. The fifth-floor arch-topped windows are double hung on chains and weights. Many of the sash were painted shut, and most of the sash chains were painted stiff. There was extensive paint and putty failure on the woodwork, with some limited broken and missing glass. Of course, the heavy paint buildup contained lead, which presented heath risks. But the woodwork of the windows was generally in good condition under all the paint. There were a few places where the windows had to be cut for installation of exterior lighting, flag poles, etc., and many very localized deteriorations such as pockets of decay and split wood near pivot hinges.

Planning
Once I knew the windows and their condition, I selected an approach that would contribute to the overall project objectives. These included: preserving the architectural character, providing effective lighting for art studio and library study needs and contributing to energy efficiency and long service life with effective maintenance options. I considered complete replacement (but not for long), spot repairs and maintenance (which would have a relative short maintenance cycle) and a few other approaches. It appeared all the windows would respond well to a round of complete refurbishing.

The general procedure to refurbish windows includes the following steps.

Removing most of the heavy paint buildup in place using lead-safe methods.
Removing sashes from frames and installing temporary weather panels .
Moving sashes to on-site or remote workshop.
Detailed cleanup of frame and sill.
Repairing sills, paint sills and frames.
De-glazing (remove glass) sash, removing paint and cleanup.
Milling out stock for replacement sash parts.
Cutting and fitting stock for each sash repair.
Repairing wood of sashes.
Re-glazing and painting sashes.
Moving sashes back to site and distributing to window locations.
Re-installing sashes in frame with weatherstripping and tuning up for proper operation.

Then I turned to developing the specific treatments and repairs and to writing specifications for the work. I know that it is standard practice for architects to “stand at arm’s length” from the work and simply specify products and not get involved in “means and methods.” Simply saying “install these products” may work for building construction in general, but it is no assurance of quality and success in window preservation work. Practically all of the success in window work comes from the knowledge and skill of the workers, their methods, procedures and the even nuances of each individual’s techniques. How can this be controlled to assure quality? One way is by sampling the work during a separate testing and development phase and then making the sample a formal part of the specification. Another is through the selection of a contractor with qualified workers.

Specifications showed where repairs were needed for each window. (drawing: John Leeke)

We wanted this window work to be done by knowledgeable tradespeople and contractors. One requirement commonly included in specifications is that the contractor has at least five years’ experience and can provide contacts for at least three similar projects. I like to go beyond that to consider how many windows and how many projects they have done. From my own past experience as a tradesman, I know that if I have done something once it only proves it can be done, and the results will be unpredictable at best. If I have done it 10 times, I know the procedure and have experienced a few, but not all, possible results. When I have done it 100 times, the immediate outcome is under my control. After 1,000 times, the long-term outcome is under my control. I call this “The Orders of Experience.” So, when assessing the abilities of tradespeople and contractors I ask simple questions: How many pieces of wood have you cut to size? How many sashes have you glazed? How many projects have you done? With these answers, I am better able to predict the outcome of their work.

Implementation
The project implementation was on a fast track. All of the local and statewide historic window specialists with this “order of experience” were booked months ahead and not available, which did not bode well for the project’s completion schedule. The contractor did have carpentry and painting crews available. Clearly, there were some on the crews with strong woodworking and painting skills, though none with historic window experience.

There were enough workers willing to learn something new that we set up a training component in the project. The window specifications not only listed the products, but I also rewrote sections with detailed procedures, and this became their training manual. I gave the workers formal training in the special methods needed, such as wood-epoxy repairs, and they picked right up on it. After training, I worked along with them for the first week or two, so they could see the rhythm of the work and step up their productivity. With this formal training and its repeated practice, I was able to bump the workers’ order of experience up to a level acceptable for this project. Effective methods and proven procedures are experienced by the workers with this sort of training so they actually take them to heart and develop their own effective techniques. By mind, hand and heart they learn the art.

The tradespeople, contractor, architect and owner were able to follow through and complete all the window work. Paul Attardo of Portland, ME, was the project manager.

The immediate outcome of the work was excellent. All the windows looked good and operated correctly. But the real story is always learned in the long-term performance. After eight years, I have returned to the Maine College of Art to examine the windows and determine how they have held up under the severe Maine coastal weather and demanding institutional use.

My first step was to interview the facilities manager, Doug Doring. “There have been no problems with the windows whatsoever,” he said. Amazing! I examined the windows myself and found some evidence of active use, a little wear and tear, but all the sashes were square; and the paint and putty were holding out the rain. Every window I tried opened and closed with ease. I did find that one 3-in. stop-block – which keeps the sash from opening too high – was split. Not too shabby – small damage out of 105 windows. I also interviewed a few art students, who were happy to have the natural light.

I asked Richard Renner what were the two things that have lead most directly to this success. He replied, “The intrinsic quality of the windows and that the work of their restoration was done so carefully to begin with.” He offers this advice to fellow architects and building owners: “Don’t have the reflex action to simply specify new windows. New windows would have radically altered the appearance of this building. If you’re willing to balance energy efficiency with the essential character of the building, it’s worth taking a close look at maximizing the performance of what’s there, rather than tearing the windows out.”

John Leeke has been restoring historic windows since 1971 and advising on window preservation projects since 1985, most notably at Carnegie Hall, NYC; Jefferson Building, Library of Congress, Washington DC; Philadelphia City Hall and at many other state and local sites. John shares his window knowledge in his Save America’s Windows book. He can be reached at 207-773-2306

Victoria Mansion (Morse-Libby Mansion, National Landmark), Portland, Me 1989-2026

The society that owns this high-style Italianate mansion operates it as an historic house museum. They asked me to help them care for the exterior woodwork and windows. I surveyed and reported on conditions, then developed a ten-year maintenance program and helped implement the program. I trained local tradespeople in the special skills needed to preserve woodwork and apply a special sanded-paint finish. (See my article in Old House Journal May 91, “Sanded Paint”). I continue to advise on window preservation, exterior paint and woodwork issues and supervise ongoing maintenance work.

Victoria Society of Maine
Portland, Maine 04101

April 10, 1995

To Whom It May Concern:

Reference for John Leeke:
John Leeke has provided restoration/conservation services to the Society since 1989. He has worked directly with the Mansion’s Restoration Committee and with me as Director to implement conservation and restoration of the exterior and interior wooden fabric of Victoria Mansion. His ability to conserve/stabilize original architectural elements of period structures is creditable, particularly so as he analyzes the variables of materials and structure to devise and test potential treatments preliminary to execution.

John’s work is thorough and well executed, always within contract budget and schedule, and has greatest predictable life of any similar work executed under my administration as a project manager.

John can be depended on for careful and accurate communication with staff, committees and trustees — he is articulate and patient. He does not deal in change orders and cost-overruns, his specifications and estimates are accurate and firm, and the quality of his project reflects the level of competence which he brings to a project.

It is a pleasure to recommend John Leeke as a vendor of conservation/restoration services, and I would welcome questions regarding his work.

Bruce T. Sherwood
(then) Director, Victoria Society of Maine

Morse Home, Payne, Ohio, 1996

The Morses realized their fine old home had a few major problems and several minor ones. They called me in to survey conditions and help them set priorities. One long-standing problem was peeling paint. I tracked down the cause–excessive moisture in the cellar. I helped the Morses understand how the moisture rises up through the house and passes out through the walls causing the paint to peel. I made drainage and ventilation recommendations to mitigate the moisture.

Then I revealed the original yellow-ochre paint colors on clapboards and trim by scraping down through the layers of paint and recommended specific paint materials and methods. After two years of implementing my recommendations they feel like they are back in control.

“Thanks again for your expert advice and guidance! We are able to work together now that my husband has become a “believer”, thanks to your expertise. You were very professional and helped us tremendously.”

— Nancy and John Morse, Payne, Ohio

Lincoln County Historical Association, Wiscasset, Maine, 2003

The timber-framed Pownalborough Court House was built in 1761. The Old Jail was built of granite blocks in 1811. I assessed conditions of both buildings and made prioritized recommendations for maintenance and preservation. This work was done under a grant from the Conservation Assessment Program (CAP) of Heritage Preservation.

Allard Home, Manchester, New Hampshire

March 5, 2001

Dear John,

Seven and a half years ago you assessed our prospective home. After actually walking us through, pointing out your findings, you produced a report that spelled out the features unique to our home that became the basis for our restoration. One of the most important things you did was advising us on the type of workmanship we should look for in bringing the home back to its original grandeur.

That consulting has paid for itself by educating us in being “savvy” old home owners. We followed your advice in keeping all the original touches in the home (both inside and outside) and at the same time we made choices to modernize the home without sacrificing its character Among other things, we brought new electrical service in underground, ran phone, speaker and video to most of the home’s 19 rooms and we added a generator as added security for my family when I travel.

We have brought everything up to date, there is no deferred maintenance left! We’ve loved our “mansion” and are ready now to capitalize on the improvements and the increase in value we’ve seen in our family’s major asset. Please feel free to use this information as a testimonial and please keep in touch.

Best regards,

John Allard

Parson Smith House, Windham, Me , 1991-92

This is a Mid-Georgian house built in 1764. Under contract to SPNEA, I did a conditions survey and wrote a report with specific treatments and recommendations and helped investigate the physical history of the house. I planned a project to upgrade the house so it could be sold and used as a private residence. I supervised heating, masonry, woodworking, window, landscaping, plaster and electrical contractors. (See my article, Old-House Journal, Sept. 1993, “High-tech help for Primitive Plaster”.

Carnegie Hall, New York City, 1999

Nine-hundred windows have been restored at this landmark building. I trained the woodworking crew in specialized window conservation techniques. Workers learned how to do wood/epoxy repairs on window sills and frames. Here the worker applies Abatron LiquidWood consolidant and Abatron WoodEpoxy paste filler to fill weather checks in the wooden sill.

Pejepscot Historical Society, Brunswick, Maine, 1999

The Skolfield-Whittier House is a 19th and early 20th century “time capsule,” complete with early furnishes, fixtures and the accumulations of daily life in those days. The Joshua Chamberlain House was built in the 1820s and renovated by Chamberlain in 1871. The Conservation Assessment was helpful in obtaining a Save America’s Treasures grant to implement CAP recommendations.

Taylor House, Waterboro Center, Me 1991-92

This 1850’s Greek Revival house has been preserved and developed as an historical education center by the Town of Waterboro. I surveyed the interior decorative features and identified the historic importance of early wallpapers and decorative faux painting. An additional general survey of conditions and historic character helped the committee develop a maintenance program. I wrote specifications for a porch reconstruction project and supervised structural repairs to the barn.

Phiadelphia City Hall, 1999

Advised the architect on methods and materials for the preservation of windows, and contributed to the window restoration project specifications.

Roof Down Training Site, National Park Service, 1999

I wrote and provided the technical content for an online training program for exterior woodwork and weather envelop issues.

From the Roof Down & Skin Deep: What Your Historic House Really Wants from You, is a new long-distance learning program targeted to help owners, developers, managers, and tradespeople understand the benefits of maintaining the exterior “skins” of historic buildings and the costly consequences of failing to do so. Sponsored by The National Park Service’s Technical Preservation Services, the innovative web class is free to all, and fun to use, too. You can log on to the Roof Down website with your internet browser at: http://www2.cr.nps.gov/tps/roofdown/index.htm

Federal Standards, 1995-2004

Several of my exterior woodwork and window repair methods have been specifically adopted and set as official standards by the U.S. Army Construction Engineering Research Laboratories, Cultural Resources Research Center, in their “Guide for Historic Window Repair and Replacement; and by the General Services Administration in their Historic Preservation Technical Procedures, which is part of their Historic Federal Buildings Program.

National Park Service, Technical Preservation Services Division, 2000-2003

As part of their Partnership Program I act as an outside expert to assist NPS staff in replying to technical questions from the public about exterior weather envelop issues and building preservation.

Jonathan Fisher House, Blue Hill, ME, 1993-96

Architects called me in to this project to plan structural repairs using traditional framing and modern wood/epoxy repairs methods. I surveyed building conditions, assessed structural conditions and helped assemble an effective team of specialists, engineers and contractors. Training of carpenters in traditional and epoxy repair methods was an important part of this work. See Old-House Journal, Sept. 1996, “Techniques for Two Timbers”.

Southern College, Chattanooga, TN 1988

The maintenance department was about to replace four 40′ tall wood columns on the administration building at a cost of $60,000. I made a trip to Tennessee to diagnose the problem and recommended repairs rather than replacement. The next season I returned to supervise replacement and repairs. I trained the carpentry and paint crews of the college maintenance department in the special woodworking and wood/epoxy repair skills needed. This approach saved at least $20,000. over replacement and gave the maintenance department new abilities for more effective maintenance on this and other buildings.

Blaine House (Governor’s Mansion), Augusta, Maine 1992-98

Surveyed roof conditions, determined sources of leaks and recommended an approach for project planning. Advised on restoration of exterior woodwork and gutters.

Weeks Brick House, (National Register) Greenland, NH, 1994-95

This early 18th Century brick building is owned by the Weeks Family Association which preserves the house for its historical significance. I assembled a team to survey conditions and determine architectural character. The result was a written analysis and report with color photography including a prioritized action list of recommendations to upgrade the condition of the building with a major corrective maintenance project and to establishing a cyclic maintenance program. A graphic brochure was developed to explain the recommendations to the board and to sell the recommendations to the membership at large.

A second contract provided consulting services to manage maintenance at the house for a year and manage the corrective maintenance project. I assessed the current maintenance program and help the building committee set maintenance goals and objectives. Maintenance programming and project development are currently under way.

In 1995 consulting services included the planning and management of a $50,000. project to carefully refurbish the house for residential tenancy. Work included training carpenters in special wood window refurbishment using epoxy materials for sill and sash treatments. This project was presented as part of the 1996 Strawbery Banke Preservation Field School.

Fort Western, Augusta, Me 1989

National Historic Landmark built in 1754, Inspected wood shingle roof to determine conditions and causes of deterioration. Also discovered serious deterioration of brick masonry chimneys. Fort Western is owned and operated as a museum by the City of Augusta.

Goodall House, Sanford, Me 1978-1989

I developed and implemented a maintenance program for this large French Second Empire residence built in 1871 and remodeled with an extensive Colonial Revival porch in 1910. The program identified and prioritized maintenance costs over several years. I wrote work orders and specifications for each project and helped the owner select tradesmen and contractors. I supervised work and evaluated results for the owner.

Fort Edgecomb, Edgecomb, ME 1996 (National Landmark)

Repaired door threshold and surveyed fort conditions and made recommendations for further conditions assessment and historical investigations for the State of Maine Department of Conservation.

Fort Knox, Bucksport, ME 1988

Granite fort built in 1844, consulted on salt-induced decay of woodwork in officer’s quarters caused by leaching water in masonry. Supervised chemical testing and prepared report for the State of Maine Department of Conservation.

Sabathday Lake Shakers, Maine (National Register) 1998

Preserved 14 windows at the Horse Barn, including complete sash refurbishment, traditional and wood-epoxy repairs, reglazing, conservation of historic glass, frame repairs, sill weather-check treatments, complete painting.

Thomas Jefferson Building, Library of Congress (National Landmark), Washington, DC 1991

I made an onsite inspection of wood decay problem on a project with 600 windows. Wood/epoxy repairs had deteriorated significantly after just 18 months of service. I took samples, performed chemical analysis to determine the cause of decay and advised the contractor on methods and materials for more effective treatment.

Henry Cobb residence, North Haven Island, Me. 1990

Advised architect-homeowner on maintenance of 18th century farm house.

Historic Northampton, Northampton, MA 1991-94

Under contract to SPNEA, I co-authored an Historic Structures Report for three houses. I surveyed and reported on conditions with recommendations for maintenance and gave a two day workshop on maintenance programming to the board and staff. I investigated the historical development of the buildings using a “building archeology” approach and documented the findings with photography and drawings. Measured drawings included complete floor plans and room elevations developed on a computerized drafting system. Follow up included developing a drainage program and review of maintenance procedures.

This project was partially funded by the Institute of Museum Services, Conservation Project Support Program.

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