 Yeah, let's go and get started. All right. Hello, everyone. Welcome to the Preservation Priorities Task Force Forum webinar. I'm Natalie Hinshaw, Director of the Campaign for Historic Trades with Preservation Maryland and a member of the PPTF. Today's webinar is titled, How to Incorporate Preservation Training into Your Construction Project. Before we begin, there's a few technical logistics that we'll go over. We will take questions from the audience during the webinar. We send the questions via the Q&A function directly to the panelists that's below down on the screen. It says Q&A. You're welcome to submit at any point during the webinar, but we will be waiting till the Q&A section to answer the questions after each of the panelists have presented. You're encouraged to communicate to all the participants in the webinar through the chat function, which is next to the Q&A. The close captioning function is enabled for this webinar. You can enable it and disable it either through the controls at the bottom of your Zoom screen or through your audio settings depending on what version of Zoom you are using. Following the program, we will send out a recording today of today's webinar directly to the email you used to register. It will also be posted on the Preservation Priorities website. Okay. Next slide, please. So some background on the Preservation Priorities Task Force. The Task Force is a partnership of the National Trust for Historic Preservation and the National Preservation Partners Network, an independent nonprofit serving local and statewide organizations. The two groups joined forces in 2020 to help these organizations address four urgent issues in preservation. This is one of the working groups for the Preservation Priorities Task Force focused on preservation trades and workforce development. Next slide, please. Before priority issues are affordable housing and density, diversity, inclusion, and racial justice, preservation trades and workforce development, and sustainability and climate action. These aren't issues new to preservation. Many groups around the US have found great ways to address them. And we wanted to collect this learning and shared and practical ways that advocates can tailor to their own communities anywhere in the country. Next slide, please. So this is a two-year partnership with the four working groups, one for each issue, and each is chaired by experts in the field that work closely with the Steering Committee of Representatives from the Partners Network and the National Trust, and all more than 50 preservation advocates from across the US are volunteering their time and expertise. Next slide, please. The working groups are assembling tools, strategies, and ideas to address specific challenges. This project alone certainly won't solve the problems, but it can help. And our goal is to coordinate the efforts, align communication, develop resources, and multiply impact, which can ultimately strengthen the movement. Next slide, please. In the first phase of the project, the working groups combine their own expertise with research and outreach nationwide. The Steering Committee created a website for easy access to resources and updates on the Moe Family Fund for statewide and local partners or to grants to six organizations to preserve innovative projects in those four priority areas listed earlier. Next slide, please. And each working group produced an issue brief summarized in the key challenges and opportunities in their target area. And you can go to preservationpriorities.org to read of those. It's just linked right now in the chat. And you can also download them and share them outward. Next slide. Thank you. This year, we're using what we learned to create practical tools and resources, one of which is this webinar. We have no shortage of ideas beyond even these, and the details will change over the coming months, but we're excited to get the resources like this into your hands as soon as possible, starting right now with this webinar. Okay, so that's in background on both the partners network and the national trust, as well as the PPTF. So let's get started with the main program. We have four wonderful panelists who are very kind to come here today and share their expertise, and they'll be presenting this afternoon. Next slide, please. First up is Roy N'Grafia, the National Director of Industry Development for the International Masonry Institute, IMI. Roy directs IMI's Marketing, Industry Development, Research and Technical Services programs nationwide. In his leadership role, Roy manages all aspects of day-to-day operations and long-term partnerships and initiatives. As an architectural conservator with technical expertise in design and contracting capacities, his professional work has a primarily focused on the preservation of historic masonry structures through research of traditional materials and methods and development of contemporary restoration techniques. He is an Associate of the American Institute of Architects, a professional associate of the American Institute for Conservation of Historic and Artistic Works, and a recognized professional of the Association for Preservation Technology International. In addition to his work with IMI, Roy teaches the Masonry Conservation Seminar with the Graduate Program in Historic Preservation at the University of Pennsylvania. Next slide, please. Next we will have Jessica Bomert. Jessica Bomert is the Executive Director of the Woodland Cemetery in West Philadelphia. She has a degree in Historic Preservation from the Savannah College of Art and Design and fell in love with historic cemeteries as a 21-year-old learning to repair 200-year-old headstones. After graduating, Jessica followed her love of preservation to Philadelphia. For 10 years, she helped care for the historic structures of Philadelphia's Fairmount Park and avid fan of gardening, public spaces, and old stuff. Jessica knew she would be able to bring big changes to the woodlands. She took over the organization in the fall of 2011 and has been creating programs like the nationally renowned Grave Gardeners ever since. She has increased yearly visitorship to over 150,000 people and has cultivated a renewed sense of community within the 54-acre necropolis. Next slide, please. Joining Jessica is Claire Donato, Senior Associate with Mark B. Thompson Associates. Claire attended the University of Pennsylvania from 1982 to 86 and from 1986 to 89, whereas she received her undergraduate degree and Master of Architecture and solidified her lifelong connection to the city of Philadelphia in its rich architectural history. Professionally, Claire Donato is a registered architect and lead accredited professional with more than 30 years experience with programming, planning, and developing complex projects for both nonprofit and public institutions. Claire has developed an expertise with projects requiring rigorous technical solutions through the rehabilitation and adaptive reuse of existing structures, including historic and national historic landmark properties. Claire has been privileged to be involved with the planning and architectural projects for some of our nation's most significant cultural resources and historic settings, including the Fairmount Waterworks, the Scoogle River Villas, historic houses of Philadelphia, including the Woodlands, Belmont Mansion, Woodford, Strawberry Mansion, and Lemon Hill. Other sites in Philadelphia, including Eastern State Penitentiary and Wick Historic House, Garden, and Farm, and the West Point Campus of the U.S. Military Academy in New York. Claire enjoys learning deeply about the background and unique qualities of each project that she works on and creating a collaborative process with the stewards and leadership of the properties, the design team, and the hands-on builders and conservators that make the preservation of these resources a reality for today's users and for future generations. Next slide, please. And last but not least is Manny Sarah. Mr. Sarah is a seasoned stone contractor with 39 years of industry experience. As president of Lorten Stone, Mr. Sarah has led the company to become one of the leading stone contractors in the D.C. area, performing work on iconic buildings and monuments, such as the U.S. Capitol, the Washington Monument, and the Washington National Cathedral. His insight of the stone construction industry qualifies him as an expert on both new stone and restoration work. As president of Lorten Stone, he provides leadership to advance the company's objectives to promote profitability and growth. He oversees and ensures production efficiency and cost-effective management of resources. The company has secured a multitude of awards for quality and craftsmanship under his outstanding leadership. And now, I will hand off the program to Roy. Great. Thank you so much, Natalie. All right. So, let's get started. Every time they show that picture of me, I realize I need to update it post-COVID, but we'll get there. There's always opportunities. Anyway, I just wanted to thank the Preservation Priorities Task Force, NPPN, as well as the National Trust for hosting us today. This is a topic that we love to talk about. We're actively involved in a lot of different programs surrounding masonry preservation and preservation of other materials and workforce development. So, I thought I'd take some time here to explain a little bit who IMI is, talk a little bit about our training capacity, and then pass it off to some of the other folks here. Next slide, please. So, IMI, International Masonry Institute, and our sister organization, the International Masonry Training and Education Foundation, are organizations that are strategic partners with the bricklayers and allied craft workers, as well as the contractors that are signed with the BAC. Next slide. Again, I'll be showing you lots of friendly faces throughout this portion of the presentation. This is just a group of some of our recent apprentices, and again, this is the next generation of masons and tile setters out there. And so, again, what we do in our day-to-day jobs, we are constantly thinking about these folks and opportunities for these folks, both learning opportunities and working opportunities as well. Next slide. So, IMI, we collaborate with the bricklayers and allied craft workers. IMI and MTF have over 60 training centers around the country. These are the centers where we provide our apprenticeship training for a variety of different trades, which I'll discuss in a little bit, as well as learning opportunities to bring in design professionals, contractors to explore Masonry materials and assemblies. Next slide. So, at these training centers, we implement our standardized curriculum. The curriculum that's developed at our national headquarters in Bowie, Maryland is implemented locally throughout the country, along with our certified instructors. We have an instructor certification program that is a five-year program for our instructors located at the local level. And then we also offer these continuing education or upgrade training opportunities for journey-level masons. Folks who have gone out of their apprenticeship program have done 6,500 hours of on-the-job training and classroom training and have graduated into that journey-level worker position. Next slide. So, what are some of the crafts and trades that we represent? We represent bricklayers, obviously. Next slide. As well as block masons. Next slide. Tile setters and tile finishers, as well as terrazzo installers, like you see here. Stone masons, whether it be rubble or decorative stone. And we'll see lots of pictures of that when Manny has his portion of the presentation. Next slide. I mentioned tile setters and tile finishers, and we've been one of the organizations that has brought about the advanced certification for tile installers. Again, just raising the bar in terms of qualifications that design professionals can specify in terms of really showcasing the higher quality on their projects. Next slide. And of course, we represent restoration masons as well. Next slide. So, in addition to restoration work, we obviously, some of the other things that you see here on the slide, we represent plasters, both contemporary plaster systems, as well as decorative plaster systems, rain screen installation. And we really, at our training centers, that's really the first place where we instill safety into the craft workers through their apprenticeship and into their journey level work. Next slide. So, again, what we're here to do is really work with our union partners, the members and the contractors to make sure that they have the resources and the training necessary in order to implement projects safely on time and on budget. Next slide. The IMI side of things, MTF really is the component of our organization that really handles the craft worker training and the IMI side of things. We're involved in a lot of other different sort of industry advancement opportunities. So, we provide technical assistance. We are a, our team is made up of architects, engineers, contractors, craft workers, conservators, construction managers. And so, we, on our staff, we bring a lot of valuable expertise to certain projects. Next slide. We work a lot with school groups, doing hands-on exercises for architecture students, and in this case, preservation students as well. Next slide. We do drawing and specification review for projects. And all the things that I'm mentioning here are free services. We provide these services at no cost to the design community in hopes that the folks who are working on projects obviously want to make sure that they are working with qualified individuals on their projects. Next slide. We do a lot of research and testing on new materials and methods. You know, for instance here, you're seeing a lot more of the robotics entering into the construction industry. Next slide. And we're working very closely to understand and disseminate information as it relates to energy and sustainability, focusing quite a bit on currently on resilience as it relates to seismic design, impact resistance, storm, shelter safety, and fire safety. Next slide. As well as things like prefabrication of masonry, which can obviously speed up some of the construction processes. Next slide. We have our detailing series which is on our website. Again, this is a long-standing resource that we put together, critical details as it relates to a variety of the new installation techniques that we've just been talking about. Next slide. More specifically to this group, we've been delving into historic masonry detailing. So when it comes to architectural terracotta, for instance, you know, some of the resources that the design community has been leaning on over the years have been the 1914 and 1927 terracotta standards, which obviously during that time, these were put out to the design community as new construction resources, but now we're looking back on them as restoration resources. Next slide. So we've taken some critical details from this collection. We've redrawn them in SketchUp as they would have been, and then we've actually worked with Gladding McBean in Boston Valley terracotta to showcase two different scenarios of repair, one in hand-pressed terracotta and the other, what you see here on the front here, extruded terracotta, two of the materials that are now still available to us. Next slide. One of the things that some of our other panelists will be talking about today is our ability to work with them prior to a project in order to select contractors to do pre-job training, pre-job conferences in order to make sure that the entire team from design professionals down to the craft workers doing the work are well aware of the goals of the project and making sure that they're active part of that project team. Next slide. And of course if a union contractor is on a project, we are there to provide technical support for jobs like troubleshooting or any questions that might come up during the course of a project. Next slide. So the program that we really have, it's been a pleasure to work on and develop over the last 10 years, has been our Historic Masonry Preservation Certificate Program. And again, all of the training that you've just been introduced to is, you know, doesn't come at any additional cost to the project or your project team. This is training that the craft workers, the union members are being provided, they're being provided their training at no cost to them and through our training network. And so the programs, this program in particular that I'm mentioning is something that you can easily specify on a project and it will come at no additional cost to your project. This program has been established to meet the current ASTM standards for certificate programs and we've collaborated with practicing design professionals, seasoned Masonry craft workers in order to make sure that the information is cohesive. The program, the coursework that I teach at Penn, this program correlates directly to that. So the same information that I'm presenting and educating the graduate students in Historic Preservation is the same information that's being conveyed to the craft worker, but just on two different levels based on the information that's relevant to their individual tasks. Next slide. So we have our core modules are typically our classroom sessions. These focus on fundamentals of Historic Preservation and Conservation. Again, we want these craft workers to know that they are part of the preservation process. They are preservationists. For too long, I think we've sort of disenfranchised a lot of our craft workers who are doing this work. The work it's designed, it gets bit out to a contractor and the craft workers just come on the site and they're told to install a material, but they're not really told about the project, about what the ultimate goals are, the history of the building, the importance of their role in providing quality craft skills to the project to make sure that that building is preserved well into the future. Next slide. We do an introduction to architecture and building technology, making sure that everyone recognizes that a building built in the 1880s and a building built in the 1920s and a building from the 1960s and the 1990s are very different buildings. They represent very different periods in architectural technology. Next slide. We provide coursework on materials, masonry materials, historic masonry materials, how they were manufactured, what are some of the reasons why they might deteriorate. So again, they have a better sense of what they're looking at when they're asked to tackle building. Next slide. We also go into the process of showcasing to the craft workers what goes into historic structure report, what goes into a building condition survey, what are some of the tests that take place? What is involved in a project prior to them coming onto the project site? Because as we know, these projects take years of fundraising and development and investigation in order to really come to fruition. And it's important for the craft workers to understand their role in that timeline. Next slide. So we invite practicing preservation professionals. We invite architects and engineers and conservators to come in and teach this component of the course to the craft workers directly. And again, this is a program that is not, we're not going to teach people how to become masonry preservation craft workers in a week-long period. This is a five and a half day course. What we're trying to do is we're trying to elevate the level of craft on a project by taking folks who already have an established skill set and established experience and track work record and feed them information that will allow them to better understand the things that they've been doing and the materials that they've been working with and its context within the preservation movement. Next slide. And obviously one of the big focuses of our classroom work is historic mortars. Understanding the differences between mortar technology over the last 150 to 2,000 years. To making sure that they can appreciate the difference between Portland cement mortars versus line putty mortars and things to that effect. So all these core modules, again, are more of the classroom-based programming that we offer. And then that segues into our hands-on training. Next slide. So again, we piggyback the classroom sessions on historic mortars with actually implementing historic mortar repairs, mixing up a variety of different historic mortar formulations, having the masonry craft workers install them with varying degrees of joint profiles. Next slide. We also focus on brick restoration and terracotta restoration. Next slide. Focusing on stone repair, Dutchman repair exercises. Next slide. Focusing on masonry cleaning and showcasing newer technologies in this instance, laser cleaning of masonry. Next slide. So all of the training modules that we've just discussed, as well as the core coursework, are standalone program. They are our HMPCR historic masonry preservation certificate program. We run it throughout the country, usually during the winter months, as it relates because typically work is slower during that time period. Craft workers have the ability to take advantage of some of this training opportunities. Contractors have the ability to send folks in to get these sort of advanced qualifications. But we can also pull out, we can also run this program relative to a specific project, and then we can also pull out components or modules as it relates to certain projects. So if you have a project, for instance, that involves wanting to run a workshop on Guastavino training like we did for the Ford Michigan rail station, which is being restored in Detroit, you can do that. Next slide. We worked with the contractor. We worked with some consultants. Kent D. Bolt from Vertical Access was a great consultant for us here. And we ran a three-day training with the crew to make sure that they understood we built Guastavino vaulting, and then we had them repair the Guastavino vaulting so that they understood the construction, the original construction techniques, as well as the repair methods prior to coming onto the project site. Next slide. Similarly, if you have a project that requires a more in-depth view on or take on terracotta repair, in that process of updating the details, we worked with our partners to develop mock-ups. And so we again, we have two different mock-ups here. We have extruded material, and we have hand-pressed material. Next slide. And we developed mock-ups, and Boston Valley and Gladding McBean manufactured these mock-ups, shipped them to several hard training centers around the country where we have a high density of craft workers working on terracotta repairs. And we use these mock-ups to run exercises for specialized training. So we had a contractor who is working on a building down in Puerto Rico right now. It's all terracotta. And so we ran training for the crew so that prior to arriving on site in Puerto Rico, they were able to familiarize themselves with proper anchorage and repair techniques. Next slide. Similarly, these are just coping details part of those same mock-ups. Next slide. One more click, and then we should be good. So if you go on our website, if you're interested in learning more about how to specify this training into your projects, you can go to our website under technical resources and specification language. You'll get a little bit more information on our training programs, how they're implemented, to what standards that they represent. Again, all of these programs are registered apprenticeship programs with the Department of Labor. So if you're looking to ensure that you have qualified contractor on your project, we have a language that you can certainly pull from, whether it's a division three concrete work, division four masonry, division nine more finished work. And we list all these in a variety of our different training programs so that you can see the variety that we have to offer. Many of these are geared towards new construction. So flashing training as it relates to New York cavity wall assemblies, but you can see here we have language relative to our preservation certificate program and some of the other programs that I mentioned earlier. We also have language associated with our supervisor certification program and industry manufacturer programs like all the safety training relative to OSHA or any manufacturer specific certifications as well. Next slide. So I figured before I hand it over to the other folks, I just wanted to run through a quick case study of how this training gets implemented. So this is an instance. This is a former police station in New York City that's currently being converted into a new public school. Next slide. You can see they've stabilized the exterior facade. They're going to rebuild new infrastructure behind that facade. Next slide. The architect wanted to make sure that the folks being selected for the project had our training or an equivalent. So they stipulated in the worker qualifications that the bidder must have our IMI preservation certificate or equal and provide evidence prior to the or as part of the bidding process essentially. Next slide. So typically what we do is we get contacted by the contractors who are bidding that project. And if they are a union contractor and accessible to our training network, then we provide a commitment letter and basically say if this contractor is awarded the project, we will provide the training. If the contractor hasn't already essentially had people go through the program as a standalone program. So in this instance, the contractor who was awarded the project did not have folks who had gone through this program. Next slide. So we set up training within a very short period of time. We were able to bring the entire crew in, get them up to speed as it related to some of the materials and methods utilized on this project and to make sure that they were qualified to do the work. Next slide. So this is the crew after they've completed the program. Next slide. Something that Manny will talk a little bit later. He and his team were involved in the Baltimore City Hall restoration. That project didn't necessarily require everyone in the project to have this certificate, but they did want the superintendent and the foreman to have this training under their belt so they could supervise with a better understanding. And fortunately, Lortenstone already had folks who had gone through the program and were able to successfully meet the qualifications. One of the things I want to showcase here is that on your projects, if you're interested in running this training, you should have a line item and say how much is the cost for running this project? And you ask the contractors to provide that cost. If it is a project requirement, you should also ask the contractor to compensate their crew for the time. Again, if you want to run a project-specific three-day training or the full HMPC course, which is a five-day training, it would be nice for those craft workers to be compensated for their time in terms of making sure that they're this as a part of the project team. Next slide. So, in addition to all the work that I'm on MTFDU in order to cultivate the apprenticeship program, I just wanted to mention that we are involved in other workforce development programs, international masonry institute holds the contract for any masonry entile and masonry restoration programs that are done through the job core program throughout the country. So, these are all the job core centers. These are separate from our IMI training centers. And again, providing craft worker training through job core. Next slide. And then we're also fortunate to have been to be partnered with World Monuments Fund and Woodlong Conservancy in the Bronx, Greenwood Cemetery in Brooklyn and Cave Hill Cemetery in Louisville, Kentucky, to run the Bridge to Crafts Careers program. Next slide. This is a 10-week training program that introduced young people to masonry preservation trades. Our instructors work with the participants. They get safety training, they get instruction, they work with social services organizations. And we encourage the folks who want to move forward to apply for the apprenticeship program through the bricklayers and ally craft workers. So, again, trying to come at preservation and equity and inclusion through a variety of different avenues as it relates to this. So, again, all of the things that I've just mentioned to you, if you're working with a union contractor, they come at no additional cost to the program. And just like we have partners in these variety of programs, we see you all as partners. The more that you encourage and make sure that these qualifications are built into projects, the more frequently we can run this training. The more craft workers we have who can execute the types of repairs that we're looking to achieve. And we can offer and grow the number of offerings that we have. So, again, thank you for the opportunity. And I'll turn it over now to Jessica Ballmer. Hi, all. Thank you so much for having us today. Claire and I are really excited to talk about a specific project that we worked with Roy on, the North Terrace and Cryptocorticus rehabilitation project at the Woodlands. And at the time that we were working on this project with Roy, the training program he just told us all about was just getting off the ground. We're excited to share how this program benefited us as the owners, as the owner, as the design team, and share with you how it benefited us. Next slide. Before we get into the project, a quick background of the Woodlands to give you some context of our project. The Woodlands is a 54-acre national historic landmark district, which includes remnants of the 600-acre 18th century estate of William Hamilton. It was then turned into a 19th century cemetery. And today, while still an active cemetery, the site serves the surrounding community as the largest open space in West Philadelphia. The site's open 365 days a year from dawn until dusk. And over 150,000 people visit the Woodlands annually and explore the grounds and historic buildings. In addition, the Woodlands has a robust public programming schedule that utilizes the national historic landmark district as a backdrop for art exhibitions, musical performances, flora, and fauna walks, and everything in between. Next slide. The Hamilton Mansion, which is where the Cryptocorticus and North Terrace project took place, is one of the remaining Hamilton-era buildings on the property that was built in phases between 1766 and 1789. The largest change to the structure was between 1786 and 89 upon William Hamilton's return home from a multi-year visit to England. While in England, he was inspired by the manner houses he visited and emulated much of what he saw there back here at the Woodlands. The house contains one of the preeminent neoclassical interiors in the United States, boasting what were likely the best finished and most sophisticated internal service spaces created at that time in Philadelphia and perhaps in the country as a whole. Next slide. The core 90 acres of the estate was repurposed as a rural cemetery in 1840, and the cemetery with its meandering pathways and ostentatious monuments developed around the federal era mansion. Next slide. The mansion became cemetery offices and was also used as a chapel and for viewings prior to burials. These 19th century views of the building showed the north facade, which was part of this construction project we're going to be getting into more detail talking about. Next slide. Fast forward 120 years to 2011, and after decades of disinvestment, the mansion truly looked like a haunted mansion in the middle of the cemetery. On the left, you can see peeling paint. That was the least of our problems as the north terrace, the entire front of the building, and the cryptocorticus below were starting to pull away from the rest of the building. This project was urgent and quickly moved to the top of our priority list. A conditions assessment and materials testing were completed and treatment approaches were determined. Funding was in place to move forward with this project. The cryptocorticus north terrace rehabilitation project was the first large project of many that would be completed on the structure over the next several years. Next slide. What you're looking at in the larger image of this slide is the completed cryptocorticus portion of this project, which is an arched passageway beneath the terrace that is one of those internal service spaces that was so critical to the design of this building. It was extremely important to us that we get this first project of many on the National Historic Landmark Mansion, correct, as we wanted to set a standard for all of the work to come on the building. Utilizing the training program is one way we were able to do this. Next slide. I'm now going to pass it over to Claire Donato, who was the lead of our design team to talk a bit about how we incorporated training into the bid process. Our participation in the training and the overall positive outcomes the training had on the project. Thank you, Jessica. Much of what I'm going to show you is building on Roy's presentation, sorry, but from the architect participant point of view and using the Woodlands project as a specific example. With the changing industry and increasing pressure for productivity, we welcomed the opportunity when Roy approached us to set aside time with the prospective builders to share details about the development of our project at the Woodlands and to describe how we got to the point where they would take the baton and carry our work forward and do the important work of making it real. Preservation projects benefit from an owner that is willing to take the time to create an environment that is conducive to high quality work and to encourage the trades to feel vested in the project and excited about preserving our cultural resources. Since we were partnering with IMI, our project example is a masonry intensive project, but IMI's approach can be replicated across many trades. We were fortunate to have a motivated group of invited bidders, but hopefully the benefits to the project outcomes will encourage many folks to try incorporating this type of training into their projects and to help make this more of a standard expectation for owners, architects and builders. Next slide please. For the Woodlands, we were at a point where the drawings and specifications were complete. As part of setting a high standard for the work, the Woodlands had already determined that a pre-qualification process was essential. Roy's template showed how to gave language for incorporating it directly into the specification. In our case, we used the request for qualifications, which proved to be a straightforward method to ensure participation in the IMI program. Next slide. As part of the certification training, IMI invited us to present a seminar on the design team's work. As we run through the slides today, I'll give examples of the type of information and level of detail that we shared. Next slide. The classroom sessions were integrated with hands-on shop training, as Roy described, to provide comprehensive exposure to the multi-layered aspects of preservation. Next slide. So real quickly, the Hamilton Mansion has a fairly complex construction chronology. We used the sequence of construction diagram to illustrate that historic buildings are routinely adapted and modified over time. An understanding of how, when, and why the building was built or modified impacts decisions about the period of significance and interpretation and informs which materials and portions of the building are preserved. Next slide. The condition of the cryptoporticus had reached a point where it was structurally failing and had been temporarily shored. Next slide. The next point we wanted to illustrate is that before we make any decisions as part of the design and documentation process, it is important to learn as much about the building as possible. This can include review of documentary evidence such as written descriptions, illustrations from the original period of construction, and historic photographs. It also involves physical investigations and testing. Next slide. The measurements of the deflected arch were graphically plotted. The types of failures were mapped and materials were tested. Next slide. The investigations revealed that the arch was constructed of only one brick course depth and that the foundation walls did not have adequate construction to resist the thrust at the crown. The slender profile of the arch in combination with the lateral drift of the foundation walls led to the failure. From the materials analysis, we learned that the original bricks were comparable to modern standards for compressive strength and absorption, making them suitable for reuse. Understanding what contributed to the failure and what performed well for generations allowed us to evaluate different levels of intervention and to propose multiple options that were reviewed with the owner's advisory group. Two of these options are illustrated on the right. During the training seminar, we went into more depth about what criteria we used to select the actual implementation mode method that was documented. Next slide. After settling on that approach, the design and engineering decisions were communicated to the builder with a set of construction drawings and specifications. We don't often have the opportunity to have the dedicated attention of the tradespeople who will be working on the project to provide this type of context to the drawings. The training program created that type of forum and approved to be an effective method for improving communication and setting expectations throughout the project. It also provided context for identifying the different periods of construction within the structure and for the trades folks to better understand the original materials that they would be working with. Next slide. The project included numerous brick masonry techniques, stone masonry and resetting and repair of original marble stones. Next slide. And here you see some of the work in progress. The center section of the arch had to be completely dismantled and reconstructed with a concealed structural tie system. Each brick miraculously was numbered carefully removed and put back into its original location. Next slide. Here again just some of the work in progress. And then next slide. Despite the complexity of the project it was a great success due in large part to the masonry preservation group and their commitment to working with the certification program and dedicating the required resources to a challenging project. The owner architect team, the pre-project training ensures a high level of qualifications and a commitment to expectations set by the owner. It cultivates a collaborative approach and a vested outcome for the builders as part of the team. It elevates the role of the mason as critical to the execution of the owner and architect's vision and goals for the project. It improves communications between all parties during execution of the work. For future projects we'd recommend engaging at this level with the builder earlier in the project whenever possible, exploring ways to build this type of program with other trades and other projects. This example is a bit unique. We were working with a single trade. We'd like to explore ways to facilitate training for general contractors that oversee and coordinate multiple trades all working together on a single restoration project. Thank you so much and at this time I'm going to pass it on to Manuel Sera. Good afternoon everyone. Unlike the rest of the participants I don't have any anything written so I'm more of a question and answer guide. Our company Lortenstone has been established in the DC metropolitan area for nearly 40 years. We currently have a workforce, the Performing Historical Preservation and monumental stonework of approximately 145 people in the field. Some of the customers that we are, value customers are National Park Service, General Service Administration, the Smithsonian Institute, the architect of the capital, National Cathedral amongst others. Over all these years we've relied on both the IMI and the local to help us with the training of our people. Aside from safety training it requires yearly training for different consolidation, patching the different motors. We've done carving at the IMI. We currently employ five master carvers. They're divided between the Baltimore City Hall and the US Capitol and other buildings in the US Capitol grounds. It's a constant effort, never ends. Without their help it's very difficult to do it on our own. Most of the training is done on site but a lot of training needs to be done in classroom in a controlled environment. So this is what we are, this is constant and we appreciate Roy's help, Matt's help, Paul now has taken over the apprenticeship program. At the same time, like Roy says, we do a lot of pro bono work with assigned groups through the initial stages of the design. They call on us for our opinions on what materials to specify, what details, especially monumental work and what I've been doing so now for since 1987 here. That said, we're going to show some slides of some of the work that we're going in right now if you can click onto the next one please. Some of the jobs that we are working on were not allowed to put the name of the job on the slide. So in this instance they're doing just cleaning with detergents. I had letters on these to help me determine which one was which but this is just general cleaning, the safety protective gear for the guys because we're using detergents. Next please. This is before and after at the U.S. Supreme Court. Over on the lines, some of these locations require five applications, copper stain removal and that's how we got to the after picture on the right hand side. Next please. That's laser cleaning. One of the projects that we're working on, we have about six people that are trained to laser clean. We haven't seen it too much but it's on and off a requirement and specification so we have people trained just in case. Next please. In here is just a re-pointing exercise, one of our projects. Next please. This is painting, structural painting of the of the medallion there. Everything is now because of silica regulations everything has to be with minor or no dust control. Minor dust, 20 years ago you walked a scaffold and it was littered with dust. Nowadays most of the jobs are some 100% clean but they're going to drill through this and then install a rod with epoxy. Next please. This is the same thing, this is one of our carvers. They've loosened it, they've loosened the piece, now they're going to drive fit it and eventually they're going to reattach with the same painting condition that in the previous picture. Next. Again this is one of our most experienced persons. This gentleman's been working at the U.S. Capitol Grounds now since 2001 non-stop. On 2001 he worked for the GSA, the Justice Department Headquarter for Innovation Project. He finished that and has been at the U.S. Capitol Grounds non-stop since 2001. He's performing a crack repair patch in this picture. Next. The same, this patching on the material, this element has been cleaned and now he's patching anchor holes that were used for bird deterrents. Next please. This is the Carnegie Library in Washington D.C. which is a new Apple store. We had to, there was a lot of damage. The building was owned by the D.C. for many years and they've signed, Apple signed a multi-year long-term lease from the city and as part of that lease they went ahead and did a major renovation interior and exterior. On the exterior it hadn't been shown any law for many, many years. In this instance we replaced the entire column base that was carved using Vermont marble and this was done by our carvers in-house in our shop. Next please. This is, again, this is the full replacement, the Capitol Dutchman full replacement. You see the before condition, the after condition, again this 100 percent this crawl was done 100 percent in-house by one of our carvers. They, they do the rough, they rough it in and then they bring it to the job and profile it to match adjacent surfaces. Next please. This one of our carvers in our yard working on that same element, this crawl for the U.S. Capitol and it's making the final touches in our shop, in our shed in the yard. Next, this was, as in our shop again, this is, if you look at the on the left, the pediment at the southeast pediment of the U.S. Capitol, there was an element of very, very fine element. The scaffolding company, I think it was during the installation, they broke the element. We then had to duplicate the gentleman on the left is the photographer from the U.S. Capitol and the one on the right is Manuel, one of our carvers duplicating that that element. Next please. Just an up close of the leaves. We have replaced, we have to, we're in the phase four of the U.S. Capitol renovation and we've now replaced, well in excess of 300 leaves. We're generally to start the balcony on the northwest and it's got, just along there is one over 100 leaves that need to be replaced and that's what this gentleman is doing. Next please. That's the modellines. We're fitting the modellines. This is the Russell Center office building. We're fitting a modelline underneath. A lot of these modellines have failed. So right now they get all threads stainless steel epoxy rod from the new element to the existing. They build the rig to set it at the correct elevation so they can slide it in and let the epoxy set before the rig is removed and go on to the next one. They replace hundreds of these. This is a column, a cap over at the Russell Center office building. We all these balusters underneath are brand new balusters that were carved to match existing. Next please. It's same. This is Russell Center office building. They're putting a lead tease onto the final product, the copings. Next please. This is a terrace at, oh, looks like the courtyard of Russell. They're resetting a stone terrace of salvage papers. Next please. That's it. So we value our relationship with IMI and with Roy. He's helped us out in the past. He's a great source of information. We've hired a couple of project managers through his input that have been with us for a while now. So I'll defer to someone else if they have any questions. Okay. Thank you all. Good afternoon everybody. I'm Molly Baker. I work with the National Toss for Historic Preservation and the Hope Crew Program and I'm lucky enough to work alongside Natalie in the Preservation Priorities Task Force. We know we're right at time. We wanted to make sure that we acknowledged how much we appreciate the questions being put in the question and answer box. Roy was right on it. He was able to answer the majority of the questions as we were going through the presentation. So please refer to the answered section in the Q&A box. I see that we do have one last question here. It says, is the architecture requiring you to use marble hand carved? Why don't you use 3D printing piece? I believe that question is from Manny. Would you be able to address that Manny? I do. We use a combination of scanning. We scan historical elements and then we use machines to get it to a specific point. The machines will never get it to the finished profile to match an adjacent piece. That needs to be done by a carver. No matter how good the scan is, you cannot profile to match an existing piece when the U.S. Capitol was built. They had hundreds of carvers working on it and no two elements are the same. So the final fitting on site has to be done on site and sometimes more economical for us to do with our own carvers as well. Fantastic. Thank you. Well, it looks like all the questions have been answered in the Q&A. I'll give just 30 seconds here if there are any other questions. I also want to take a moment just to say please refer to the chat. There's links to all of the wonderful work that our guests do. Please check that out at the respective websites. We really appreciate y'all joining us today and we love seeing the conversation of questions happening. I see one more question for Manny. I would like to know more about the laser cleaning technology. Thanks. That's from Vince. We, like I said, we have people that are certified. We work in conjunction with an outfit out of Philadelphia and we've helped us train our people. We've done three projects so far, two at the US Supreme Court and one at the Russell Center office building. We've started seeing laser in our specifications five years ago. We have to adapt to it. I personally think there's other ways to clean that are as good as laser but if the spec requires us, we have to accommodate the spec. In our experience, we can achieve the same level of cleanliness with non-aggressive cleaning delicate marble materials with other methods other than laser but laser does work. It's just tedious. It's time consuming and the people have to be trained. It's a safety concern. Wonderful. Thank you, Manny. I see we have one last question. I believe this would be for Roy. Do you have any recommendations for carvers? I imagine training recommendations for carvers in the Houston, Texas area. Roy, would you be able to make any recommendations for Mary? We can certainly put her in contact with some of the folks that we're involved with and try to work through our network to locate qualified carvers in that area. So not off the top of my head. I don't have everything in there but I'm glad to work with you to meet your project needs. Thanks, Roy. We'll go ahead and dismiss at this point. Thank you again so much for joining us. Thank you for our panelists. We really appreciate the time and effort you went into building this program and share your wonderful work with our guests today. So have a wonderful day and we look forward to seeing you at some of the upcoming preservation priorities task force webinars. Have a great day.