 And to restore, they had to be at least one. So we had every, we had the information we needed for restoration. And that was, you know, that realization was incredibly comforting at the beginning of a very big project. Now, boy, the biggest issue with this project was figuring out what everything was because it's industrial goes out. And so it uses. Fasteners as a part of its decoration. So do you need this many minutes? And if you don't want that, you're only going to need maybe one fifth, one 10th, as many riddles as it is. And in fact, what's this? It's obviously cast iron. Well, they're fake, right? And then this piece up here, talking about the moment, but in other words, it was really, really interesting trying to figure out what everything was. You'd say, okay, well, we did get a list. We didn't have access to anything on the water side. We had to put scaffolding. And one of the issues that we had was that there were so many different materials. So you had, you had cast iron and steel. You had, obviously, this is sheet, no, it's sheet copper, right? It's sheet copper. And then you had the team and basically every time something fell off into the water, they gave the building another coat of paint. They didn't fix it with the phone, but it just gave it another coat of paint. Everything was painted this further screen, much of the same way. So it resembled elbow internals, which was all sheet copper. But these pieces are in fact sheet cup, standard sheet cup. This is riveted steel plate. This is sheet copper as well. These are cast iron, made to look like riveted steel plate. So we had copper riveted steel plate, cast iron, and on the inside, we actually had zinc and galvanized steel cladding on the inside of the arches where the boats pulled it, so you can galvanize steel. So I said, boy, came back to this battery on here, right? I said, you've got all these different metals sent into the salty water of New York Harbor. I said, this building is the perfect galvanic cell. I said, if you could just figure out where to put the wires, you could light half a magnet with these, and so at the jobbidder, at the jobbidder, I said, you've got these issues here, show them some slides, and I said, so I think you should change the name of the building from the Battery Maritime Building to the Maritime Battery Building, and I said, but I know, I'm really bad at positive things, but we got the job anyway, and so I got to work on the building, and the first thing that the, oh, one of the first things, we had everybody in our office except me, and one of the persons that graduated from Columbia, and I had a very detailed and oriented young woman who I said, you're going to be in charge of figuring out what everything is on this building and figure out what needs to be done. I said, but how will I tell what everything is? I said, well, we'll do that together, and I'll show you how you can find out what everything is. One of the issues was that you had, this cast iron is clearly cast iron. All right, you can even see the bowl walls, right, where it is, so that's all cast iron, that's easy to see, but on the water side, you have cast iron here, and you can see the cast iron coming apart with the clips, so you know that's cast iron, right, you know, this is of course an applied piece, this is an applied piece, but this is still cast iron. And this, it's obviously, the angle here, the rivets here, this is, I mean, 10 times as many rivets as they need, but it's obviously riveted steel, steel angle riveted steel plate. That turns out to be copper. What about this? Why? That's, those are all false rivets. These are 800 pound, six foot tall pieces of cast iron made to look like raw iron. It's just amazing, absolutely amazing. So, you had steel plate, riveted steel plate, you had cast iron made to look like riveted steel plate, then you had cast iron made to look like raw iron, you know, this was pretty amazing. And in this particular case, on the street side, riveted steel plate, cast iron and fake rivets, what's that extra piece? Well, it turns out that these are 1000 pound monolithic pieces of cast iron, these large ones, the large ones to support the corners, there's smaller ones back here as well, but these ones are all cast iron. This is the course that's riveted steel. So, figuring out what everything was was sometimes, did I miss one? No, I didn't miss one, but yeah, did I miss that? Did I go past that? Yes. Yes. Okay. So, these are the arches underneath that must have been a wall of the looser in the front. And this we couldn't quite figure out what it was, but it turns out that it's all riveted steel plate, it just has three different sizes of rivets. And so they actually pierced and cut. I thought that this would clearly be casting itself, but it's not. It's riveted steel plate, but very, very ornamental. And these, it's clearly cast iron, but it's cast iron with false rivet and it's made to look like riveted steel plate. And these, I thought we had these figured out. The big ones were cast iron, entirely cast iron. These are the ones that took all the weight and they took all the weight because the big ones were only set like every 30 feet. They were there for design purposes. The small ones were the ones that I actually supported. And so they were all riveted steel because they could take and they could take an oblique load, they could take a tensile load. And I figured, okay, they're all, we went out there and scratched around a little bit. We said, okay, they're all riveted steel, riveted steel plates on plate. And when we got into construction, we found that that was right. Except this tiny little round piece here, which had a curvature that was too tight for them to roll, was in fact a casting that had been added to the rest of the assembly. So it didn't take any weight, but it was there for one of the purposes. Oh, okay. So, you know, nothing for the city. Everything goes very quickly. All right, we were working for the, what's worse, we were working for the DMT via the EDC, Economic Development Corporation. And so the first thing we could do the conditions survey of the street side from the left, although we got lots of permits for that at the water side. How do we get out there? Right. Well, we had a red scaffolding. It took 18 months to get permission to a red scaffolding because the building is touched on top of two subway tunnels. Though the two of the three and they are in the end tunnels are directly underneath the building. So we couldn't put weight on anything except portions of the portions of the original building. So it took 18 months to get the scaffolding over. Anyway, you'll, if you work in New York, you'll get used to this. So that young woman dear to ask me, how am I going to tell what everything is? I said, okay. Our dear, if it's steel impact rusts makes a little kind of a feel of rust, and then just disintegrates, especially on this building, which hasn't been, which hasn't been attended to. So you're going to find a lot of materialism like this that if you look at it carefully, you'll understand what it was. In other cases, you'll have pieces that are obviously so deteriorated that it can't be anything else. If it's steel, it will, it will pass us. And it's fully like this. All right. If it's cast iron won't rust much at all because cast iron has about 5% carbon in it. And those flakes of carbon in the cast iron keep it from rusting. The problem with cast iron is that it breaks. So if you hit it, it kind of put a load on it, it's too high, or you hit it with a hammer, it just cracks like that. So everything. So I said, basically, if it's back brush it and steel, if it cracks, broken, it's cast iron. All right. There's a crack there in the corner and then the other piece cracked off and and there's you see that wasn't that was one piece you can see a vertical crack there. And that corner also cracks that's cracked up. So if it's cracked or broken, it's cast iron. If it's if it's pack roasted, it's steel. Now, one of the biggest issues for this building was substance, because the structure had deteriorated so dramatically. We had areas, especially areas in front of the building where under columns, the building has subsided two inches. And so we had to find and structural linear one of the one of the basic their Bible is leave it in place and support it where it is. Don't try to move it back up. Right. And so we had to find a way to with that substance to accommodate the changes in design or in linearity of the of the ornamental pieces as well. And that required not only a lot of head scratch but a lot of arguments with the contractor that was pretty amazing. So pieces like this. We're really pretty, really pretty difficult to deal with. The basis of the columns. That's what the structure looked like on the water side, especially but also in the front, there was a massive two massive beans, and they were toast. It was really pretty amazing. So the shoring had to take place for the structure repairs before anything else could happen was was pretty daunting. Okay, so our plan was, here's what we're doing. We're going to remove all the cloud. We're going to debate thermal spray and paint thermal spray is actually it's a moment spray and spray on on on various substrates and by zinc or zinc and aluminum to keep this to protect the sealage or spray. You can use it for cast iron, but you can't dip cast iron and because of work, but you can take thermal spray. So we wanted to spray or hot galvanize and paint, and then we wanted to repair that and reinstall it. Some of the pieces we wouldn't reinstall, we would have to replicate and that is these are the new rules that were on the front rail. And those rules have all broken at their bottom mounting stops because of the deterioration of the fastest. And so, because they had to have adequate lateral strength to support a railing. We, we had to replace all basically they were all broken, but we had to replace all other pieces. Like these anger medallions on the front rail were so iconic that they seem precious to us. Now, what's the basic premise of cast iron. If you have all the cast iron fabricators will give you a price for the pattern and one off, meaning the first cast that's what their basic prices. That might cost you 5000 bucks. All the other castings might cost you 375 bucks. Okay, so we had the pattern. We were missing three of these anger medallions and we're missing three. So we had to make a pattern for them anyway. And making all the others would have been cheaper than repairing it because it turns out that all of the others were broken at their mounting stops from rusting the fasteners. So I went hand in hand to the client one day and I said, sorry, I said, I don't want to replace this. I want to repair it and reinstall those are too precious. The client, I was a wonderful day. The client said, okay, yeah, I know what you're, I know why you wouldn't do that. So go ahead and repair it. So we've repaired the mounting stops on these pieces and we only replaced three, which was great. But that's something you should know about cast iron, which is once you've made the pattern. The others are 250 pages in the documents for exterior restoration. A 50 page schedule of replacement or repair or retention and refinishing for all of the pieces on each piece of steel, each piece of cast iron listed separately. Boy, that was a daunting task. And yet somehow dear to live through. Right. The cost estimate for this work, which was done in cooperation with the three major cast iron fabricators in the United States. Alan architectural metals, Robinson and I and the storeable origin castings was 9.5. We didn't do the bus system. Unfortunately, Tishman, Tishman did the class system. But when the bids came in, bids came in three times as high. In part, they said, because if they had undertaken this by themselves, they would have had to basically not take any other work at all for five or six years. They would have sunk their business long term. And so they all basically overbid it because they thought they were afraid of it. They were scared of it. And it was the largest cast iron restoration in New York City, certainly. I don't know where there was another one in New York, outside of New York, but this was a daunting. So ultimately, what we ended up doing was negotiating it together with all three firms. Major cast iron firms, historical action castings, Robinson and Alan architectural metals got individual chunks of the project and it had to be the documents had to be separated into those different chunks because we needed to do it. Now, ultimately, so what, what was the price? The price came in for the work we did with compromises came in about 14 to 15 million dollars. So it was something that was reasonably powerful to the client. That client being was removed nearly all the cast iron, not all of it. We left some in shelter areas, limit the removals of steam. I'm going to tell you what the selectively thermal spray only those areas obviously where we were taking the pieces off the cast iron we thermal spray and then the bait and reinstall. So what we catch was all of these, all of these including these groups here, these are all large castings. That's all cast iron. This is room and steel plate and these are those copper and tile frames, which were basically in good condition. So in order to save about 5 million dollars, we left all the steel, which allowed us to leave these copper frames and tiles in place. And we took these off and treated them separately but let the seal of this and then repair damaged the seal large behind here in situ. So that's saying about 5 million bucks. All of this is all of the cast iron and steel underneath the lotion that we left in place. It was blasted to remove all paint and repaint, but it was not otherwise this summer. In fact, it was in good condition. We didn't have failure these weeks. And that's saved by another fight. We didn't do any storefronts because they didn't have a, and those have obviously been done now because the audience is in the building. And because we didn't have an occupancy for it, we did do one at the end separately for ABC as a waiting room for the Coast Guard, but the others were not we're not touched. So that saves some money as well. And much too much. Or I can tell you that I'm. Unreasonable about use of original materials. I like to use the church. All right. I don't like fire class. I don't like. All right, so. The inside the archers on the inside. We're done with galvanized steel, cheap and zing sensei. But these pieces here. We're run on an obstacle piece of machinery called an English week. That allows you to do molding and curve any curvature. Replicating this, there's one in the United States replicating this came into an achievement about 4.5 million fiberglass came in 1.4 million to something like that. And I basically had to just eat it. Just shut up. Okay. Shut. And that's what I did. So. You think you're going to get out of here with learning something about. Okay. The body paints the gas iron. Is going to tell you any paint. Fabric or paint manufacturers going to tell you, yeah, you need this level of surface preparation to use this paint and all the paints have different levels of surface preparation that they're suitable. If you want to this book. Is really a pretty amazing book. This is a book. The classifies rust. In 5 different levels of rust and then classifies the level of surface preparation. For each of the types of surface preparation and various of surface preparations for the different types of rust. So, this is a book. No, there's something like this. This is rust level C. And this is when you do it to an SP 7. This is what it looks like an SP 4 and SP 10 and an SP 5. So, there's a guy and we had a guy who worked 5 months during construction did nothing. We did nothing but examine the cleaning, the level of cleaning and the level of rust. They walked around with this. You see what shape is it, right? It's the perfect shape is sitting in your ear pocket. You walk around with this in your pocket all day. And then he would have been out if he needed it, but he pretty much knew what was what everything was. So, SP 10 near way glass cleaning was what you have to achieve to do with zinc thermal spray. SP 6 is what you can do in situ. And yet, when I call up the, when I call up, call up the guy at Tony asked him what primer I should use. He said, what can you give me meaning what level of surface preparation do you mean? When I said an SP 6, he said, is it a real SP 6? So that's why we had a guy who did nothing to check level of preparation. So that's what an SP 6 look at all these pieces were blasted in situ. They have to be blasted in the morning and painted by the nightfall because if they sit overnight, they'll flash us. So these were so every all the work that we've done each day had to be had to be scheduled so they could blast for half of the day and then paint for half of the day and have painted a couple of coding time before nightfall. This was wet abrasive cleaning. And they have to correct. They have to collect the aggregate because it's lead contaminated, right? And they have all the effort. And so all that has to be done has to be collected. And the, and it has to have because they use wet to keep the dust down is a wet abrasive. They have to use a special chemical called hold site that keeps it from rusting immediately as they blast it. And that'll hold it for a period of time until they can paint it. And so it's less than the sand. Pardon me. It's a water and sand mixture. Water and sand mix. Yeah. And water. It's actually water and slag mix, but that's basically water and abrasive mix anything that could come off. How am I doing for time? Okay. All right. Anyway, anything that could come off. Anything that had to be done, set to an SP six and receive a particular time. Anything that could come off got blasted to an SP 10, you know, move like this, right? And then the same thermal spray. And, and, and, and then was before it was recent. Now, the other thing that you need to know about cast iron, in addition to the thing that I told you about patterns, you want all is that these pieces look interchangeable. They fall with both holes were done separately for each piece. And so you have to put every piece back with the pieces that is connected to in its original location. Every piece that came off had a little brass tag on it with a number on the number from the documents that was used and stayed with it while it was plastic, while it was thermal spray and while it was painted. And then until it was reassembled. So it's not these aren't going to change pieces. They'll they go where they were. And that's what they've done the way you have to do it. So the sink is what you use and I won't bother with sink being a note. Yeah, I will. Zing being Zing being a noting to steal the cast iron, but none of the deteriorates preferential to it. And so you can use hot to galvanizing for steel. You can dip it, but you can't do that cast iron. Like I said, it was a war. So that you have the thermal spray. I wish I could show you some thermal spray today, but you'll see it. If you'll see it perhaps next year, all those. So everything that was going to clips supports everything had to get dipped into these 800,000 vats of local zinc in Perth and New Jersey. And the house young days before pre code. This talk was supposed to be accompanied by a field trip to being as hot to go. But the administration had other ideas and unfortunately couldn't do it. But if you're around next year, take the metals course. I got my fingers crossed. I think we'll probably be able to do it next year. Anyway, it's an interesting future. And there's actually a lot to know about that galvanize. You would think the level of rust that you saw in the front of the building underneath the gutter was such you think that these pieces had to be completely replaced. But in fact, most of what you're saying is pack rust that's much more bonus than the steel underneath it. And so the, and so the, the pieces like this when they came off just assembled often. You can see that really it's only that front angle that one angle needs to be replaced. And that was typically the place. The big issue for these was not replacing those animals. It was, it was figuring out how to fasten these together so that you'd look just like the original riveted pieces. And what we did see that little ribbon on the corner there, we stick a rivet through the visible portion so that you can see the visible riveted. And then in the back, they tack well a little well in the back to hold the pieces together. So the rivet was basically not riveted the way they were riveted but just welded on the rear face where it wasn't visible. In all the clips, everything, everything that both exposed fasteners on the cast iron were stainless steel. And people say, well, quite a bit about galvanic deterioration. But in fact, you have a very small amount of stainless steel, a lot of steel and cast iron galvanic action is nil. So, but all the clips and things like this that are rust needed to be needed to be galvanized as well. So everything that was that was made there was was basically was galvanized everything we needed to attach to reattach it to steel was galvanized. Oh, disassembly. I can't tell you how many times I said to the contractor. No, it has to be disassembly because there's rust in between individual components. So everything was disassembly. Do I have to say it again? Everything was disassembly. And in fact, it's the only way to make sure that the paint doesn't fail at these. At these small areas of rusting in between pieces which are not cleaned and not, you know, not accessed unless the piece are disassembly. So that was that was one of the most expensive parts of the job. The paint systems are fairly typical for steel. We would use a zinc dust, zinc oxide partner when we could surprise some level of galvanic protection when we couldn't think thermal spray something. And then typically there's an epoxy mid coat and then a urethane top coat that's resistant to UV and that's what you'll use for steel. And we used everywhere. We use everywhere with certain modifications and certain instances, which I'll talk more about. I learned a lot about cast iron here. What I learned about cast iron was that the pieces aren't perfect. This blast blasted pieces here, you would think these pieces, these are rust paint. It's not. This is in fact air bubbles from the original castings which were end cast. If a piece is end cast so it has to be cast on all sides rather than face cast where it sits down and mold and you can vibrate it, right? If it's end cast like this bubbles get trapped and casting has bubbles in it. But these would originally have been treated with a filler, typically a lead white linseed oil filler before they painted. And that's pretty much what they do now. They don't use lead white. They use other fillers to fill the bubbles. So there's a lot of inconsistencies, a lot of little imperfections like this that you don't get freaked out. You realize they're original. That's what the building had for the past couple of years. Fasteners. We talked about the number of rivets and fasteners. I spent so much time on fasteners on this project. There's always one aspect of a project that takes 10 times as much time as you think it should. And so it was faster than this one, you know, rivet heads and other things. In this particular case, Charles Wilson must have really loved rivets. But in this particular building, he had many, too many of these rivets where he wanted them to show and they didn't need. But if he had to attach a piece and it required a rivet where he didn't want to see a rivet, he put a flat hand rivet on. I didn't even know they existed at the start of them. So I looked at it and I realized, wait a minute. He put a flat hand rivet on because he didn't want to see a rivet there where it had to be to attach it. And sure enough, that's what he did. So we had to spend a lot of time on rivets, a lot of time on fasteners. And we had to take a lot of steel. And the problem with taking off steel, taking off rivet and steel, is that if you use the quickest way to do it is you take a torch and you torch off the rivet head, right? And then they get the piece off. But it destroys the piece that you're taking off in the process. So if you want to, if you want to reuse a piece like that that has rivets on it, but you have to take the rivets off, you have to use a big chisel called a hell doll. That's the truth. All hell doll that requires lots of compressed air in massive forums. In our particular project, there was a guy named Tony who nobody got along with. And they always put him in charge of doing the removing the rivet heads. And so he worked by himself off on the water side with everybody else who's doing something else. So they didn't have to deal with it, right? And one day I took my son, my young son down to see the building and see what's going on. And it got down to the, we got to the, I walked underneath the building to the water side of the scaffolding there. I heard this ding, boom, boom, boom, boom, boom, boom. There's a rivet head, you know, I broke it down, I broke it down in the scaffolding. And so I, I told him, I'm calling up for the stock board for a second. And he said, okay, boom, boom, boom, boom, boom, boom. And so when we walked up the scaffolding, we were in the top. And Tony was in the process of cutting rivets off every five inches from a 250 long, 250 foot long angle that we had to disassemble without destroying it, you know, right? And I said, we got to the top. I said, hey, this is Tony. He's got to remove all the rivets from this angle all the way across the face of the building. And Tony looked at my son and he said, yeah, stay in school. My son still built it. Yeah, stay in school. All right, so I learned a lot about these fasteners and what do you think, just take a little guess. What one of those storage spots where we had actually turn a rivet, turn a new rivet with a thread on it. So it could be folded together, but it looked like a rivet from the face. Not quite as much as a salad sweet green, but still seven bucks, seven bucks for one of these. And we needed quite a few. So I learned a lot about fasteners on the project. How do you hold that? It's, it's true. No, that's the problem. And it's not like, if we, if we were working with anything that was low in the building, we had to use these. If you're working with anything that was up high, we use an A45, one of those torque fasteners that, that where you put it in place and you torque it from the rear face. And when it gets to a certain tightness or torque, it's shears off. You don't know what I'm talking about. Okay. I won't go back to, but there's, there was one in the, in the sockets we use those in the sockets because from, from 40 feet away, they look like rivets. And, and these were used down below when we were taking pieces and they were at eye level or up 15 feet. They had to use them. So again, these are real rivets that are then stuck through and then, and then, and then simply welded from the rear face. Everything was tagged. Everything was numbered and it drove everyone crazy, but that was the only way to get it to fit again. Try to imagine the amount of, of there was so much paper on this project. And all the clips were stainless steel were galvanized. And all the fasteners for the exterior facing stainless steel. But can you imagine just figuring out where everything went, keeping everything separate. And that's the paper. The paper, this is really, this was the most daunting thing because we had that 50, we had that 50 page schedule, but they had to, they had to translate that into work. They had to put those numbers into a, into a work schedule. And that was not easy. There was just so much paper. Now, I thought every building, every building that you work on is going to have. A surprise something just completely blindsided. This is under the loge. We thought this was all cast iron. Look at this here. These look like all cast iron. In fact, the frames are cast iron. And we figured everything here. We knew what everything was. We, in fact, had looked, one of the things we did was to look at the, was to look at the construction. To get an understanding of how things are put together, the sequencing and construction and things like that. So we went back to the historic photos to say, okay, they did this first. They did before they did this, and this is the way I went together. That's good. Yeah, now I understand. Well, let's go back to this for a second. And also every job has something you can learn about another material. You don't think about it when you've been in the project, but all of a sudden you say, hey, wait a minute, I got a boss to be involved here. And it's because of the substance of the column on the north side. It's cracked. There's about five feet of it needs to be really strong. Whoa. And I was talking about boss and I got to work with was to be on grass at that time, which was really interesting. The other thing was that I got one of the fights. I took a Columbia field trip class to go to the top of the wall. There was nothing there. And I don't have the photo. I'm sorry. It was too dark. I didn't have a flash. And I said, but I said, now I said, you're standing on top of two and a half inches of unreinforced And I took the photo but I didn't have a flash. Anyway, so I figured we knew exactly what this was and how what and how it went together. But one day I was looking at the looking at some paint on the And I said, Jesus, that was that. So I had to go and remove some paint. And it turns out that these blasters or the frames that I showed you were in fact cast iron, but they have a slot in them and they had slits or blades to not tile into the slot. And so we had to use a completely different paint removal method. We couldn't air abrasively clean this here. And that meant we had to use a different paint system for the outside of the cast iron because we couldn't last without energy, without energy to find. So there's always something on every project that's going to that's going to challenge you and surprise you. Okay, these are the guys in the Bronx, the, the, the, the pre seven for all the cast iron and steel. All right. These guys have a shop in the South Bronx and historical arts and castings and and our architectural metals would ship the stuff to them. To this year here doesn't look too impressive, does it? Well, we do good work. And they would ship this, they shipped the materials that had been partially assembled, but still small enough to put on a flat bed to the Bronx. And, and then they would pre, they would assemble it for installation. So pieces like this, let me go to the next one, would be taken and would be assembled into the installation assembly on a cradle like this so that they could then move it down to Manhattan on a Sunday, right? And then ultimately, let me go for this one, ultimately then created on a Sunday to the building and reinstalled. So I'm going to go back for a moment here. So I had to go, I was always finding myself going from the preassembly plan in the Bronx to the installation in the battery. You know where that title comes from now, right? And so I would spend a day, I would often be up in the Bronx and then go to the battery first because I would be watching, making sure they did something the way I wanted it up in the Bronx. And then watching the installation of another piece that had already been delivered down to the battery. So at some point I said, wait a minute, the Bronx is up and the battery's down. And that's why I use it as the title. Okay, so what have we talked about? Paint. Whoa, Jesus, paint. This was an incredible effort that followed from me. And so I hired an old friend of mine, Matt and Oscar, who came up and spent four days in the lift. And on the schedule, taking samples before any of the pieces were removed, right? And at one point, it was pretty amazing. And at one point I said to him, I was looking at schedule for the underside of the, the underside of the, of the arches beneath the wasabino. And I said, Matt, I said, they must have picked out some of this in a different color. And he said, well, Piper, you can do what you want. But what I put there is what it was. And he really took samples just about everything. So ultimately, we did exactly what he said. They said, when they did the Chifriani work, they changed some of the, some of the trim colors because they didn't like them. And now they got away with it, but they did. So it was pretty, pretty amazing when you consider what it looked like initially. And then, and what it looks like now, especially on the water side, it was so dramatic. One big thing that people always ask me about when they see these photos, they said, Piper, I don't understand. Why did you do everything up above first and do the basis at the end? That's because the basis had cracked because of the weight of the pieces above them and the substance and pieces above them, putting pressure on the gas iron. So we had to develop a new structural system to support everything above. And everything was down here, weight-burying on boards only, right? But so we could do that at the very end. In fact, we had so much work to be done at the top and we had a new structure to support it. But we didn't need those pieces on the bottom. So it wasn't as if we were building from the bottom up. We were building from the top down to the point where we could put the pieces on and they would be not endangered by the weight of the pieces above it. There's the structure. And that structure didn't exist. And that's the reason all that gas turned cracked at the bottom and shell into the river. And the vessel case, one of these big composencies was sold from the site. So we had to replicate it. Most of these are actually original and just cleaned. And if you go, if you take the ferry to Governor's Island, you will note that some of the tiles, one on the right-hand spandrel, are completely new. But some of the tiles in the other panels are new as well. We couldn't match them exactly. But that's all copper and glaze ceramic tile. One thing I urge you to do when you start any large cast iron project is establish a glossary up front. So we had numbers for it. But when you got the guys working in the field, they're not going to say that these pieces are E1 and 6. These two pieces, the guys in the field says, hey, by the way, we're missing three 20s on a box of a tree. And we're with those three. And then we've also got a donut. We need a donut. So anyway, so establish a glossary, informal glossary. Yes, the numbering system is important. But the glossary will come in handy with the guys when you're talking about certain things in the field. There's actually one of these pieces in the lab that somewhere that is straight and not painted. And it's a reject that we use to test the finish. Anyway, okay, the Bronx is up and the batteries down. And I spent a lot of time, you know, how long it takes to go by public transportation. They didn't have over a second. Anyway, thank you for listening. Let's just go eat something. And you can ask questions while we're eating. And certainly do that. That's what you'd rather do. Does anybody have questions that can't wait until they have food in front of them? I think that's a smart decision. Wonderful. Thank you. This was really terrific. Just one quick question. How long did it take you from? Yeah, that's a good question. It took actually six years from the first contract. We had a year and a half of that was scaffolding erection on the water sign. And fabrication took a long time. So it took, it took six years. And And that was That was basically an incomplete job. Okay, we didn't do, we didn't do an interior course. We didn't do the top floor, which has become Casa Chipriani's hotel rooms. We didn't do anything in the waiting room, you know, it was basically just an exterior restoration. And that was plenty. Thank you very much. Thanks again. Let's go ahead and get some food. Are you all joining us for food? Super.