A Shed Of My Own

 

There was never any question the old backyard shed that came with the house would be torn down, only a matter of when. It was ramshackle, its floor rotting from sitting directly on wet ground. Worse, a low sloping roof rendered it dysfunctional for storage (its sole purpose), and in the end it was just too makeshift and far gone to consider fixing. I will admit to being taken with small buildings when they are designed to be seen as well as used, so it was rather disappointing that my first-ever small building had neither charm nor functionality going for it. But this lack of positive attributes did open the door to a fresh start. A functional shed of some sort was essential for storage of garden and other tools, especially as the house itself came without a basement and only a difficult-to-access attic. And, even a small building would figure large in the garden setting I intended to surround the house with, so something more harmonious than the existing clunker was desirable.

 

1988, the day after purchase, on a sagging seat on the ramshackle shed

 

‘When’ rolled around in 1999, eleven years on and right after restoration of the house's exterior, with the long interval used to sort out just what would replace it. The question of what to build gradually resolved itself into one of how to build compatibly in the existing context, in this case that of a 1913 bungalow with unique personality. While most garden sheds are primarily functional objects, my small building's proximity to a well-dressed residence suggested it should have an equally worthy look - and if possible, be a garden eye-catcher too. Figuring out how to go about making old and new compatible led me to develop a more explicit understanding of the way the main house was designed.

 

A building so dilapidated that a decision to start fresh wasn't complicated

 

Thinking more concertedly about shed design was preceded by some impulsive acts of collecting that unintentionally contributed to the shed's look, like the leaded glass casement windows I bought at a local auction house for a song. Their sturdy wood frames and diamond-shaped panes - and the passing thought that they could always go into the shed if no other use presented itself - served as a pretext to rescue them. I was struck by the absurdity of anyone chucking such fine objects (likely in favour of vinyl-framed replacements with mock leading) so I began keeping an eye on the auction. Not long afterwards, I scored two small stained-glass windows in an art-deco flower pattern – perfect symbols for a garden building, I thought! Suddenly recycling old windows was becoming a primary function of my as yet undesigned shed!

 

One of a pair of stained glass windows recycled in the new garden shed

 

I resolved to stop this random window-rescue and for a time actually did, at least until I happened to come upon a striking transom window in a classic fan pattern that proved irresistible. One of a stack of such windows in an Ontario antique shop awaiting conversion to mirror glass (a fad at the time) this classy fanlight called out for a better future than winding up as hallway décor in some big-city condo. No one would ever have designed a mirror to look that way in any case, so I gave in to my urge to rescue once more, bought it and had it shipped back to Victoria by bus.

 

Transom window in a typical configuration adds elegance and light to an entry

As shown above, a transom window often crowns a front doorway and is frequently completed with vertical panels of small-paned or leaded glass windows book-ending the door. This arrangement creates a distinguished entrance to a substantial home while admitting light to the vestibule beyond. Unpacking my antique fan transom back at home, I tried to imagine what sort of building it came from and how it may originally have looked. Then the thought occurred that three of the leaded glass casements might just fit beneath it, so I dragged them out of the attic and laid them out on the lawn. Using two by fours to roughly space the casements, it was evident that a bank of three of them left just enough room for a frame and trim boards. It appeared I might just have a design for the garden facade of my shed, so I took a photograph of the layout for future reference. This picture was destined to be the sole construction 'drawing' for the entire building.

 

The shed's garden facade in embryo, the day the layout first came to mind

 

A collection of recycled windows does not, however, an eye-catching building make! It’s much more complicated than that if one cares to delve into it, and I discovered I was tempted to. I’d been doing some reading to prepare myself to oversee the eventual exterior repair of my heritage bungalow, a process recorded in my June Century Bungalow post, when Michael Pollan’s fascinating A Place Of My Own fell into my hands. Pollan's account of creating a writing shed for his own use reveals the inherent complexities of even the simplest building process. It taught me that the acts of design and building, while inherently linked, require continual drawing together and interpreting during the physical process of construction. This may seem obvious, but design is always modified to some degree during the act of construction, as ideas on paper are translated from abstractions into material forms. The designer needs to have a presence throughout construction in order to be part of this interpretive process, or the building will be shaped significantly by the sequence of choices made along the way by others. This was an insight that helped me guide the repair of the main building when its day came too, but it also began preparing me to play a role in shaping new construction. I was (at best) an amateur designer who’d have to learn to work through other skilled hands in order to achieve intended outcomes. 

 

 

The small diamond-paned window was a choice made during construction 

 

My research also led me to Witold Rybczinsky’s The Most Beautiful House in The World, a great read about a Canadian architect’s efforts to fashion a boathouse that would be both functional and compatible with its rural context. Rybczinsky's boathouse could have taken any form he chose to give it, but after a long process of investigation he opted to make it compatible with the traditional form of rural buildings in his Quebec township. An idea that stayed with me was the notion that each building speaks a distinct language, and that comprehending its design-vocabulary furnishes the tools for designing other structures compatibly. This is a simple thought, but one that's frequently disregarded when new buildings appear next to older ones and the setting is treated as a blank slate. A more fitting goal, certainly in a heritage context, is to try to set up a respectful dialogue between entities that results in a harmonious ensemble. Armed with this idea, I decided to approach the exterior design of my shed by basing it on the key design-elements of the house it would live alongside. This didn’t mean the new building couldn’t have novel or even exotic aspects like the transom and stained-glass windows, rather that these elements would be fitted into a fabric common to both.

 

 

Every building has a design vocabulary that allows creation of compatible structures

 

Siting the new building was an interesting process in its own right, even though the structure was small and had the simplest of footprints. I already knew pretty well where it was going to fit, which was close to where the existing shed sat in the northwest corner of the lot. The old shed, by now demolished, had apparently been dragged there from a nearby locale and plunked down somewhat haphazardly. However, tweaking this rather random placement would enable the new shed to effectively mask a compost heap and other garden operations taking place in the north corner of the lot. So to begin with, the new placement was indicated by prior choice.

 

A key vantage from the kitchen affected placement

 

Yet there remained things to consider and small adjustments to be made: foremost the goal of optimizing the view of the shed through the kitchen windows. I wanted to ensure it would serve as a focal point that drew the eye and, once the building was electrified, offer a way of illuminating the garden at night. This was a matter of inching the building along its proposed axis and tilting it a few degrees more towards the rear fence. Also important was fitting it comfortably into the oak meadow, consistent with how the land form and trees run together. I began the process by pegging out a prospective placement with corner stakes, then outlining this rectangle with string, and finally adjusting its dimensions to comply with bylaw requirements. I used step-ladders and two-by-fours to gauge the impact of various building heights. Finally I dragged out my proposed windows and arranged them in possible walls, so I could visualize outcomes. Consistent with the main house, side windows would descend from horizontal trim bands, while end windows would be allowed to float freely in siding space. My transom window layout also defined a minimum height and width for an end wall (so it could float in space, just) while setback requirements and maximum square footage under bylaws in turn defined the shed's length.

 

 

The new shed sits at an oblique angle to both lot perimeter and main house

 

 

The end result of this exercise in siting was unusual in our rectilinear suburban world, because the shed as envisaged would angle obliquely towards the fences defining the property’s perimeter (at more or less a forty-five degree angle). Our eyes are habituated to oblongs aligned at firm right angles, so this choice risked looking a bit eccentric. But not, I rationalized, out of place or in obvious error, as the shed’s consistency with features of the old house would make it feel as though it really belonged. If anything, it would look as though the current rectangular lot had been foisted on a pre-existing layout on more expansive grounds, which had in fact happened when the current lot was subdivided out of the original holding!

By employing the bungalow’s design vocabulary, other elements of the shed literally fell into place. The same elegant bevelled siding would define its exterior, while dimensional trim boards would frame its wall panels, corners, and the transitions between windows, doors and soffits. Scaling the trim boards involved making choices that were ultimately resolved with guidance from an expert carpenter, David Helland, and with close reference to a small addition Hubert Savage had made to the original house. There, in order to provide a walk-in closet off the main bedroom, he’d simply nestled a shed-roofed form against the rear wall of the main building. Interpreting Savage's leads on trim scaling and adopting the roof angle he’d given his half-gable further defined the shed’s exterior.

 

 

Half-gable leaning against the wall offered a template

There was never any doubt that my garden shed should sit as close to the ground as possible. It was important it be functional for trucking things, like a lawnmower and bikes, in and out, rather than having to schlep them up steps or over a projecting sill. In this location runoff wasn’t going to be a problem, so neither was setting the building close to the ground. My neighbour’s house, a no-step rancher on a pad placed where an original grass tennis court had been, showed just how functional this arrangement could be. Also, a building sitting at grade was consistent with the design ethos of early bungalows, reflected in my own home’s garden façade. The simplest, most durable (and most expensive) way to bring this off would be to pour a concrete pad on the ground and erect the structure on top of it. This technique, sometimes known as slab-on-grade, was often utilized by architects like Frank Lloyd Wright to reinforce horizontality and make buildings appear to rise directly out of the earth.

 

 

Running the skirting board just above the ground makes the shed seem to rise from it

When it came time to begin constructing the shed, I informed my accommodating builder (who fashioned most of the materials we would use) that I wanted it framed with two-by-fours consistent with the era of the main house, not today’s second-growth lumber-yard sticks. There being no such beast available off the shelf, David created a supply by ripping two-by-sixteen inch joists from a demolished Victoria warehouse into two-by-fours. This wood was so hard that it dulled table-saw blades rapidly, and in some instances had to be drilled before a nail could be pounded into it. But as framing material, it lent the emerging structure an incredibly chunky and solid feeling, still evident inside as the walls remain unfinished to this day (it is after all a shed). This also gave it bones of old growth fir from early in the twentieth century, taking wood recycling to a higher level.

 

 

Recycled wood from a demolished warehouse gave the shed a solid skeleton

Construction started with the building of forms to contain the concrete slab foundation. Rebar that would strengthen the concrete was placed on a compacted gravel base capped with a vapour barrier. The forms were raised around the edges, creating a lift to which the shed’s wooden sill plate would be bolted. David built the forms and placed the rebar over several days, and then one afternoon two cement finishers arrived on the job. Shortly afterwards a small cement truck with a mini-pumper began transferring a few yards of wet concrete to the tiny pad. This was a remarkable operation that avoided the huge mess of mixing and wheel-barrowing concrete in a developed back garden. It was fascinating watching these highly skilled finishers draw a firm shape out of the slurry that oozed from the pipe.

 

 

A cement finisher puts final touches on the concrete slab the structure sits on

 

It took some time for the concrete pad to set and strengthen, during which time it was filled with water to slow its curing and ultimately increase its strength. As it was autumn, this pond quickly accumulated fallen oak leaves that turned it the colour of long-steeped tea (leaving me to wonder if the floor would be stained that colour, which it was not). It was during this interval that many final design details were agreed between David and me, there being no design or construction drawings to work from apart from the picture of the proposed transom layout. One important detail was a design for the shed's door, to be placed on the wall most visible from the main house.

 

 
 

A door copying the rear entry to the house adds to the feeling of compatibility

 

 

Here I opted to reinforce the visual connection to the main house by having David copy its rear door. Of course it had to be re-scaled for the new building, but its features were accurately reproduced. Twinning the back door further catalyzed the dialogue we were hoping to establish between the two buildings. It also seemed entirely fitting to reproduce it, as it appears to be an original design (perhaps devised by Savage himself) making it a novelty in an era when doors were typically factory-made. This door is unusual in having a slim interior compartment that contains alternating glazed or screened panels – a clever idea that enables ventilation without having to keep the door open or add a screen door, which is highly desirable in a country place where the mice always want to come inside. 

 

 

Casements enable ventilation on hot days while animating the garden facade

 

 

Once the concrete was fully set, construction of the structure began in earnest. Placing the windows in real time involved some precise decisions about trim, most of which I’m very satisfied with to this day. However, if I could go back and do it all over again, I’d probably modify the arch above the transom to make it follow the window’s elliptical shape more closely – but that’s a fine point and the choice that was made is not discordant. 

 

 

Trim over the transom could echo its lines more closely

 

During the framing process, I asked David to inch the stained glass windows southwards along the side wall, so the one facing the kitchen wouldn’t be hidden by the massive oak standing beside the shed. This allowed their pretty flower pattern to show fully at night once back-lit by an interior light that was controlled by a switch inside the bungalow. Finally, after all the walls had been framed but before the siding went up, I found myself asking David to incorporate a small diamond-paned window into the rear wall, which to that point had been left blank. This was an architectural whim on my part, perhaps a bit much in a shed with windows on three walls already, but I happened to have just the small diamond-paned window for the location, and it added disproportionately to the building’s emerging personality.

 

 

The framing shows this window was an after-thought

 

The siding went up over a few days, an act that truly marked the shed's transition from an assemblage of materials in process to a built object. Finally the new door appeared and was hung, with a drip ledge attached to cast moisture away from the building. Construction then drew to a close with the installation of a shingle roof, wooden gutters and metal downspouts. For a time the new shed sat somewhat starkly in the garden, dressed severely in white undercoating, with only a tiny hint of the prior lives of its windows still visible in their residual divergent colours. 

 

The new door has just been hung, the shed now awaits the painter's magic

 

Shortly afterwards it was painted identically to the main house, and magically the little structure appeared to have always been where it now sits, a close relation of the original building. Today it serves as a beautiful ornament anchoring the garden composition while providing a focal point for daily viewing from the kitchen, which is certainly the most-used room in the house. It also serves storage functions capably, being high enough to allow tall people to move around inside without bumping their heads. This little building that’s done up like a much bigger one elicits no end of positive comment from viewers, and to me personally it brings real delight. Creating this small structure was an entirely satisfying personal process, in large part because of the skilled people who worked so enthusiastically on it and invested so much care in its construction. 

 

 

Sitting in the landscape like it's always been there

 

Later I took the opportunity created by the new building to meet the need for garden lighting by recycling a couple of outside lights originally on the main building. These were simple moulded glass shades from a prior era that I’d replaced with a couple of the more elegant metal lanterns available today. These inexpensive shades fit perfectly under the corner eaves on the garden façade of the building, providing welcome illumination of landscape contours at night. This adds real dimension to the evening from within the house, and it provided further opportunity to reuse a piece of the site's past.

 

 

Lamp recycled from the old house adds authenticity

 

To me, this shed represents a sincere attempt to build respectfully in a heritage context, something I'd adopted as a mantra after becoming involved in heritage advocacy around Greater Victoria. At one level, the problem of preserving heritage buildings is simply that of keeping them in good repair, and failing that, of restoring them carefully when they've deteriorated such that the interventions are imperceptible. I was enjoying the experience of returning an older building to a state of good repair with the 1913 bungalow, but the prospect of adding a new building to the setting represented an opportunity to address a further heritage dilemma. When adding to an historic context, the challenge is one of ensuring that new construction doesn't compete with whatever preceded it. This is more difficult today than may be thought, because western societies have given the modernist mainstream permission to erect new buildings next to old, or additions to them, that either confront or outright contradict them. Novelty and statement tend to trump respect and dialogue in the modernist idiom. There is the further challenge of working through a modern building culture whose unexamined assumptions can skew the outcome one is looking for.

 

 

A stone apron gives the entry a bit of a rustic look

 

 

Failure to respect the design parameters of individual landmarks or ensembles of existing structures can quickly do a disservice to the past. In the case of my shed, an honest functional structure could have been inserted without detracting much from the whole - but attempting to render the new shed compatibly was an experience I personally wanted to have. I was acutely aware that the main building was one of a kind, so making an addition to the site fit with it seemed entirely appropriate. I'm personally very satisfied with the results. Once put into the same colour scheme as the main dwelling, my new garden eye-catcher immediately began conversing amiably with its surroundings. 

 

 

Mowing the lawn in spring's lushness freshens the landscape near the building

 

After more than a decade of glimpsing this shed in every season and in all weathers, while working around it or from inside the house, I am still enamoured by the way it models the changing light of the moment in its seasonal moods. Here are a few samples of that varying play of light on structure:

 

 

Especially lovely in a light carpet of snow illuminated by warm winter light

Serving as focal point from the path, made even lovelier with fresh snow

Western light reflecting from leaded-glass windows

Austere but encouraging late January sunlight, towards the end of day

October adds a carpet of fallen oak leaves to the greening landscape

Books For Looks:

 

The Most Beautiful House In The World, Witold Rybczynski, 1989

 

A Place Of My Own, Michael Pollen, 1987

Sourcing Craft Skills For Heritage Restoration

Long after initial repair and repainting, the bungalow is weathering well

“Hiring someone else to do things has its own set of problems. For one thing, most contractors are set in their ways, and a lot of them don’t understand old houses. And even people in the trades have bought into the ‘no-maintenance’ crap to some extent, and like many people they are motivated by money, so the guy you hire to clean the gutters will try to talk you into replacing them instead (more money for him) or whoever you call to fix the windows will try to sell you replacement windows (also more money for them.) And people just seem to have gotten out of the habit of fixing things. …In either case, it’s important to educate yourself, whether you plan to do any work yourself or not. Armed with information about the way things used to be done, or ought to be done, in the house will be useful when you are told “nobody does that any more” or “nobody makes those now- you need to get X.” Jane Powell, celebrated bungalow author

Summer 1988: house and grounds as they appeared in the year of purchase

 

 

Many factors work against heritage homes keeping their original look and feeling, foremost a lack of awareness on the part of homeowners and poor craft skills among contractors. Few of us today are even handy, let alone knowledgeable about heritage carpentry or the mysteries of knob and tube wiring. The easiest, quickest choice is to agree to have it torn out and replaced by contemporary models. After all, our contractors work in the idiom of the day, prizing speed of execution and invariably using the cheapest materials. But you simply can’t keep faith with the details of an older house if your starting point is current materials and skills. On bungalows, accurate proportioning and appropriate materials largely constitute the details.

When I bought the Hubert Savage bungalow back in 1988, I had no inkling there were special skills needed to repair something in the spirit of original work. All I knew was that the house itself had character, inside and out, and that I was determined to keep it intact. This was a brave choice, as it always is, somewhat foolhardy and definitely (as I would soon learn) not for the faint of heart! My choice of a 75-year-old wooden house positioned me to learn the hard way about the modern building culture’s disregard for the special needs of older houses. Fortunately for mine, I didn’t get too far down that path before correcting course – but it could so easily have been otherwise!

 

1999: 11 years on, repair is finally under way

 

 

I’d been seeking a house with pedigree, what’s often referred to as ‘a character home’ in local parlance: meaning exposed wood, a fireplace in a generous living room, some built-ins and maybe a window seat. Also, in my awareness, a house whose appearance beguiled the eye rather than flipping it the bird, as so many stucco boxes now do. I didn’t know this often meant 'Arts-and-Crafts,' yet. But when I first saw the Savage bungalow at an open house in the week it first came on the market, I knew it was for me before I had even made it through the front door. I was seduced by its distinctive cross-gabled façade and its welcoming verandah with heavy timbers and high stone piers. Perched high on a rocky, treed site, it just oozed curb appeal (even though there were still no curbs, this being original suburbia) and charm: a small, artistic house in a picturesque setting. The would-be gardener in me was also thoroughly taken with the possibilities of the site, which seemed inexhaustible.

 

Rotten trim boards and siding near ground being replaced after ninety years

Touring the inside with a gaggle of other potential buyers, I immediately noticed some of the same incongruous updating that had put me off in other character homes. Typically such ‘remuddlings’ (as Jane Powell calls them) vie baldly with the original program, inducing pessimism about ever succeeding in putting it right again. If you find yourself doubting the money and effort it would take to undo some garish twist of decor, the message is that you likely aren’t really sold on the underlying structure. Here I felt strangely indifferent to the mistakes, cavalier even about setting them right. 

 

Stripped down, ready for the new pieces: a scary point in restoration

Trim, skirting, water table and siding renewed, shingle roof finally going up

 

 

Of course, kitchen and bathroom had been redone on the cheap (Cubbon Home Centre quality) with some jarring faux effects: remember ‘cultured marble’ countertops, that unlovely amalgam of cement and glossy plastic finish? Motel shower tub (no shower in sight). Errors of judgment (wall-to-wall shag carpets in the rear of the house), crude alterations (wall ripped out of the back porch, scars unhealed) and tacky repairs (plywood panel and lion's head knocker in the Craftsman front door) rounded out a list of accumulated sins thoughtlessly visited on an innocent older house. And there was, of course, long-deferred maintenance inside and out, with some ominous unknowns like a missing crawlspace door. I winced at these challenges yet still wasn’t put off, because the house had such great bones and so much of its original detailing was intact. Despite manifold affronts to its character, I saw an aesthetic whole worthy of restoring to its original glory. Throwing caution to the winds, I put an offer on the place that evening.

 

 

Thirteen years later, renovation and paint are aging well - or so we thought

 

 

 

Lack of experience with older buildings – really, with buildings of any kind – meant I hadn’t a clue what I was actually getting into, almost guaranteeing that my initial efforts would go amiss. And they did! Optimistically, I hired a man advertising himself as a ‘retired craftsman’ to fix a few things at the outset of my tenure, such as the crumbling firebox in the living room. He turned out to be a total imposter, and I had to send him away and then quickly try to undo the impressive damage he managed to wreak in just a few hours on the job (like slathering grey woodstove cement all over loose firebox bricks and their decorative cheeks, for example).

Trouble in paradise: a drooping soffit signals hidden rot missed initially

Sinking feelings accompany a new forced journey into the great unknown

 

 

One thing I understood from the outset was that water had to be kept out of the building, so my second foray in renewal was getting the rotted gutters and missing downspouts at the rear of the house fixed before the next rainy season. I resolved to use more-qualified personnel this time out. Rejecting metal replacements – a latent purist from the start – I opted instead to source clear cedar guttering from Vintage Woodworks. Watching a European carpenter put them up in what appeared to be a professional manner, I began to realize just how much finesse it takes to install custom historic components. It would turn out though, a few years on, that even this journeyman carpenter didn't know the finer points of installing wooden gutters (like treating the insides with pitch in order to protect them from rot, and aligning cut angles perfectly in order to ensure proper drainage). These failings would lead slowly but surely to premature replacement of these gutters, a half century sooner than should have been necessary.

 

Master carpenter Vern Krahn, skilled at replicating wooden components

 

The journeyman carpenter who replaced my wooden gutters also repaired a crude wall opening that accommodated a cat door, affording easy access to local tomcats. This required sourcing some of the elegant bevelled siding that reinforces the Savage bungalow's distinctive horizontal lines. After he’d finished the job, it was apparent that the new pieces of wood were of marginally smaller dimension than the originals, a fact that tended to broadcast the repair rather than blending it seamlessly with the background. This misstep forced further learning on my part: about the necessity of replacing 'like' with 'like', and the fact that 'like' usually isn’t available off the shelf, and finally by extension, that it was necessary to locate the skill-set that enables 'like' to be custom-made to precise scale. This also gradually brought about the realization that all assumptions had to be clarified carefully in advance of any work happening.

 

 

Fitting replacement blocks on the barge boards: precise work in a difficult location

 

 

My awareness of carpentry to that point was sketchy at best: framing for putting up new buildings, trim carpentry for finishing (in short, notions drawn from my experience of the modern building culture). It turned out there’s a third form of carpentry that includes both elements plus all the craft-skills typically missing in between – namely, an ability to exactly fashion replacement components and so replicate original work, referred to as ‘joinery’. For upkeep and restoration of older wooden buildings, you simply must have a carpenter with architectural joinery skills, which is a very rare beast (and getting rarer). And this person ideally also has knowledge of historic building processes, so is a heritage carpenter to boot, which is even rarer still.

 

 

Now restored: seamless repair ready for painting to mask the intervention

 

 

So began my reflections on the special ways needed to work with older buildings. Turns out it takes as much planning and investigating as it does doing. Fortunately I’d recently become Saanich Council Liaison to the municipal heritage advisory committee, which began my schooling in the mysteries of renewing and recycling older structures. This led me in turn to formally designate my own bungalow (heritage-listed already) in order to protect it from unilateral changes by other owners down the line. Designation is in effect a special type of zoning that removes a homeowner's ability to willy nilly alter the exterior form of a heritage structure, without securing approval from the heritage advisory committee. This gives some assurance that what's being proposed is more likely to fit with what already exists. Taking this step fortified my personal resolve to gather the knowledge needed to repair and restore with true fidelity to the art expressed in the original.

 

 

 

Summer 2011: Vern working at repairing soffits and replacing gutters

 

Another thing I discovered as Liaison to the heritage committee was that the City of Victoria maintains a list of craftspeople it deems qualified to work on heritage restoration projects. This proved a really helpful resource, as it led me to seasoned master carpenter David Helland. David not only visited our house to directly assess its needs, but also brought a photo album of his previous heritage work. This in turn allowed me to actually review his work in the field, which reassured me about his abilities. When the time finally came to tackle the exterior of the bungalow, David had the ability to precisely manufacture any wooden component required for restoration, from the elegant drop siding to the projecting water table. This afforded me confidence that he could bring off the process off to a high standard, which he very capably did!

 

 

Six gable tips and the runs of guttering near them all needed intervention

Replacing 'like' with 'like': quality restoration work

 

 

Of course, there are skills other than joinery that go into the mix for certain specialized components, like putting up a new cedar shingle roof. The natural temptation is to think that anyone who shingles can put up a cedar roof, but that’s a mistake. Also, that one grade of sawn shingle is like any other, which is absolutely not the case (like everything, there are different grades and the one needed is Perfection shingles). Again I unearthed someone seasoned in the craft with the help of the Victoria list and solicited a bid – his wasn’t the lowest by far, but opting for the low bid usually leads straight to a corner-cutting contractor and a cheap and nasty job! 

 

 

U-shaped wood guttering ready for placement

Difficult worksite, one drawback of picturesque siting

 

 

 

Master roofer Bill Haley brought a lifetime of experience to the project and did an ace job of overseeing the return of the roof to its original look. Bill had the presence of mind to photograph certain fine details before stripping the accumulated layers of old roofing off (there were three layers, including the original wooden shingles) giving a precise record of things like the tiny lift blocks at the barge board tips. This proved invaluable, because when three layers of roofing masking an underlying structure are removed, such small details can easily disappear with them. Without these pictures, one might have rebuilt them without the riser blocks and lost the slightly oriental shift they impart to a Tudor look – a distinctive regional Arts-and-Crafts touch consistent with west coast bungalow design.

 

Tweaking the job: a warped barge board being coaxed into position with a clamp

 

 

 

A similar find was needed in order to deal with chimney repairs, and later with rebuilding the fireboxes (the fireplace’s inner hearth). There were a few spalling bricks (chunks of the face popping off), some inconsistent repointing and anomalous brick replacements, and as is frequently the case, earlier repairs had cost some of the chimney details, in the form of corbels that were were removed (quite likely because it's more expensive and takes more skill to step brickwork decoratively). Fortunately my second master carpenter, Vern Krahn, referred me to master mason Udo Heineman, who even at eighty years of age was able to take the chimney down to the roofline and then rebuild it to its original glory, working alone!

 

Chimney details restored after roof replacement

 

 

There are challenges particular to specific trades that at times can seem insurmountable. For example electricians, who have a tendency to rip open wall surfaces to facilitate easy rewiring in older houses. This can do significant damage to interior heritage details, without really detailed planning and careful oversight. The alternative is a person willing to take more time and develop real creativity. I was most fortunate to locate retired electrician Monty Gill, who was truly inventive at pulling wires without damaging walls, but this it turns out is a rarity.

 

 

Good restoration protects original details, or duplicates them precisely

 

 

I could go on and on about the process and skills that go into good restoration work. The point, however, is that it’s not anything like regular construction, or renovating a house where conserving the original look, footprint and floor plan don’t figure into the equation. Bungalows (and heritage homes of all eras) require a much more discerning approach that's based on applying the right skills, along with quality materials (old growth fir) and a lot of care and patience in execution. And a worthy outcome requires really good communication as the project advances.

As Canadian architectural critic Witold Rybczynksi says, every building speaks in a distinct language, so those who work on it need to master that language in order that what they repair be fully consistent with it. To do that effectively, they have to be able to read the original language. This is also the discipline in which careful work roots any innovation extending the original structure.

Here are some simple rules that increase the likelihood of attaining compatible results:  Resist the temptation to do it all at once, as desirable as that outcome may seem. Hurrying to get it all done at once leads to mistakes you’ll later regret, and to less than optimal outcomes. Biting off more than you can chew deprives you of the advantage of 'the learning effect', leading directly to mental indigestion. So learn from each step along the way, because you’ll nearly always see things you missed afterwards, and that will affect how you approach whatever job you tackle next. Find that heritage list of skilled artisans and review the actual working record of the names on it; try to pick someone who cares about heritage, and understands that your building’s restoration matters to you and to the broader community.

Read about successful projects and look at any you have access to. Study the details of your own place and document them with photographs (just like Bill Haley did). Recognize that the homeowner is in fact the general contractor, and that a general contractor oversees the entire process and assures that each step happens in the proper sequence. There is much to be gained from choices that are made in the course of the job - but if you aren't around for them, they'll be made by others and the results may not be optimal. Put more positively, if you stay with the job as it progresses, you'll get to shape it while it's in motion. If you aren't paying attention to it, you need to have a great deal of confidence in the person who is!


My experience over the past twenty-five years has been an excellent one. Though some may have marvelled at my ability to tolerate an incomplete state of affairs, the waiting and delay have more often than not led to better outcomes, as projects are more thoughtfully worked through in advance of execution. Patience is certainly an important ingredient. Openness to learning is another. This is a big step for people who are not raised to be skilled, or even competent, in working with wood and other housing materials. It involves recovery of a relationship to building and the culture of building, and along the way, if we remain open to growth and a journey, we may surprise ourselves with the quality of work we can achieve. 

 

It pays any owner of a heritage asset to conceive of himself as the general contractor on the job. This means developing a thorough knowledge of the work involved in doing anything, including ensuring that one has retained the right skills to bring the job to completion. I didn't realize at the time I first commissioned work on a heritage house - although I certainly do now - that this is a textbook instance of what in management literature is known as the 'principal-agent problem'. This problem occurs whenever a party contracts with an agent to carry out work on their behalf, and that agent responds to incentives that are not in the best interests of the contracting party. That's why it's so important to develop a concrete idea of the works needing doing, how they should be brought off, and why the heritage list of skilled trades is such an important resource. Armed with these tools, nothing stops you from getting work done to the highest standard, even if you aren't particularly handy yourself!

Books For Looks

Restoring Your Historic House, by Scott T. Hanson, available online