sustainable restoration of yale university's art + architecture building

Sustainable Restoration of Yale University’s Art + Architecture Building

RUSSELL M. SANDERS, BENJAMIN SHEPHERD, ELIZABETH SKOWRONEK, AND ALISON HOFFMANN

Renovation of a Modernist icon

demanded innovation to restore the

original aesthetic while incorporating

sustainable-design strategies.

by a serious fire in 1969, the structuresuffered a series of unsympathetic reno-vations, which split and reconfigured itssoaring double-height drafting room andobstructed light and views. The externalfacade was scarred and barely recogniz-able after Rudolph’s vast fenestrationswere filled in with double-glazed win-dows that were disrespectful of theoriginal geometries. Interior volumeslost their definition not only throughunwelcome intrusions and divisions but,more importantly, by removal of theceiling planes and the signature linearlighting system that defined them.

For the project team in 2006, thetask was imposing: restore a controver-sial, commanding piece of Americanarchitectural heritage while introducingnew infrastructure and sustainabilitymeasures. Previous renovation effortshad aimed to address practical short-comings in the original design, but the2008 restoration was the first thatsought to honor the Modernist cultfigure Rudolph had become after hedesigned this monument to the architec-ture department. It was also one of thefirst to place sustainable-design consid-erations at the forefront of the renova-tion effort, a commitment that garneredthe project a United States Green Build-ing Council (USGBC) Leadership inEnergy and Environmental Design(LEED) Gold certification.

Context

Although Rudolph’s design had its de-fenders, many saw the building’s hulk-ing forms and rough textures as abra-sive. Since its completion, the iconicbuilding has dominated the downtowncommercial district over which it pre-sides. Multiple exterior renovations tothe 114,000-square-foot, cast-in-placeconcrete structure exaggerated its

29

Renovation of Paul Rudolph Hall atYale University

When Yale University’s Art + Architec-ture Building was completed in 1963,New York Times architecture critic AdaLouise Huxtable praised it as “a spec-tacular tour de force.”1 It appeared onthe cover of every major architecturemagazine and has since been describedas “the Bilbao of its day.”2 Designed byPaul Rudolph, then chair of the Schoolof Architecture, the Art + ArchitectureBuilding is considered one of his mostimportant works. The complex of inter-locking spaces and strata catapulted thedesigner to fame with its assertive treat-ment of concrete forms (Fig. 1).

By the late 1990s, however, the build-ing had been so altered that it bore littleresemblance to its original form. Marred

Fig. 1. Yale Arts Complex, consisting of Paul Rudolph Hall and the Jeffrey H. Loria Center for theHistory of Art. Sketch and model by Gwathmey Siegel & Associates Architects.

30 APT BULLETIN: JOURNAL OF PRESERVATION TECHNOLOGY / 42:2-3, 2011

fortress-like bearing by diminishingviews into Rudolph’s surprisingly openyet complex interior.

Some of the most egregious interven-tions included the removal of the origi-nal ceiling planes, the insertion of mez-zanines into the grand fourth-floorstudio volume — the college’s solutionto overcrowding — and closing off thelight wells that in the original designallowed natural light to penetrate deeplyinto the underground volumes, whichwere all part of the renovations follow-ing the 1969 fire. The original mono-lithic ceilings, made of asbestos, wereremoved in the late 1970s. These visu-ally uniform planar ceilings underscoredspatial dynamics and served as a plenumfor the HVAC, with discreet coves forregisters and integrated lighting systems.Rudolph’s linear array of bare, incandes-cent R-lamps served as a volume defini-tion as much as illumination. Strippingthe building of these crucial elementsslowly transformed it into a poorly lit,nearly hostile environment.

The project team’s challenge, then,was to reintegrate the sometimes con-tentious structure into the communityby resurrecting the vision and legacy ofRudolph. In practical terms, this meantincorporating infrastructure upgradesand restoring exposed concrete surfaces,while satisfying the design objectives ofthe building’s occupants: the faculty andstudents of Yale School of Architecture,as well as the Yale Arts Library.

Application and Intent

The renovation design, which resultedfrom the integration of programmatic,structural, and mechanical needs, in-cluded restoration of exterior walls,installation of historically correct win-dows, and upgrades to all building facil-ities. It also introduced new lighting andfurnishings throughout and brought thestructure into compliance with currentbuilding-code regulations.3

Meeting the current codes was espe-cially challenging with respect to theAmericans with Disabilities Act (ADA)and fire codes. The original buildingutilized some 37 different levels over 9floors, making wheelchair accessibilityimpossible. In addition, handrails andguardrails either were not present or didnot meet code requirements as to size,height, and openness. New handrailswere added as needed following theoriginal materials, color, and designgeometries; these interventions are vir-tually unnoticeable unless one looks atthe original photographs. Selectivechanges in the floor levels were alsoemployed to make all spaces fully acces-sible. The addition of a new elevatorbank in the adjacent Jeffrey H. LoriaCenter for the History of Art, part of the2008 building expansion, alleviatedmost of the access issues.

The original building did not employany sprinklers, and the spatial connec-tions between three or four differentlevels created fire hazards not permissi-

ble by today’s codes. Fire sprinklers withexposed pipes and sprinkler heads wereadded over the last 20 years, contribut-ing to the overall run-down look of thebuilding. As part of the 2008 work, anew sprinkler system, which employedwall sprinklers to create fire separationsbetween spaces, was added. With care-fully selected, discreet locations for thepiping, the system brought the buildinginto full compatibility with current firecodes.

The Building Envelope: Consistencyand Performance

A 1994 renovation replaced most of theArt + Architecture Building’s originalsteel-framed, single-pane windows withinsulating-glass, aluminum-framedunits, and in so doing altered the build-ing profile.4 Not only were the replace-ment windows much smaller than theoriginals, but this renovation attemptedto rectify shallow reinforcement place-ment in the spandrel beams by affixingprecast concrete panels to the spandrelface. As a result, the vertical plane ofthe building was shifted outward byseveral inches.

Re-creating the appearance of theoriginal fenestration while meetingcurrent energy standards5 posed multiplechallenges. To fit insulating glass intoRudolph’s vast openings, the 1994window-replacement project had usedmultiple-pane windows, adding framing

Fig. 3. Wood formwork in position for corduroy-concrete repair, PaulRudolph Hall, photograph 2008. Courtesy of Hoffmann Architects, Inc.

Fig. 2. Schematic of the corduroy-concrete repair detail, showing customwood formwork, Paul Rudolph Hall. Courtesy of Hoffmann Architects, Inc.

YALE UNIVERSITY’S ART + ARCHITECTURE BUILDING 31

crete coverage. Wood forms for theconcrete overlay would be anchored tothe spandrels, with bolts positioned toreplicate the size and spacing of anchorholes on the original beams. Usinghooked rods, a mesh screen would besecured to the substrate both as rein-forcement and as protection againstshrinkage.

Specifying the right concrete mix wasthe challenge. The building profile al-lowed only a few inches of depth forrepair of the spans. To reduce the possi-bility of hairline cracks, the designers’first approach used large, preplacedaggregate and pumped the concrete mixup through the bottom of the form-work. However, mock-up tests showedthat pressure within the narrow formsbecame great enough to force the con-crete mix out through joints in thewood. Voids between the large pieces ofaggregate were also an issue.

To accommodate the restrainedconditions, as well as the multistoryascent from the mix truck, the projectteam developed a high-performance,small-aggregate mix.6 A low water-to-cement ratio, combined with a propri-etary anti-shrink admixture, performedwell in petrographic, air content, andcompression-strength laboratory test-ing.7 To reproduce the original surfacetexture, 21/4-inch-wide tongue-and-groove red oak flooring planks, unfin-ished and unsanded, were used for theformwork. Mock-ups closely approxi-mating the concrete mixture and tech-niques to be used in construction wereused to identify a suitable color match.

To evaluate the proposed windowand spandrel design for water and airinfiltration, mock-ups of the entirewindow assembly, including glazing,framing, mullions, and concrete span-drel beams, were evaluated at an off-sitearchitectural-testing facility. Based onthe results of this testing, adjustmentswere made to the perimeter-seal systemto improve adhesion to the concrete andprevent water infiltration.

What the mock-ups could not repro-duce was the extremely long length ofthe spandrels, as well as their heightfrom the ground. A continuous-pourtechnique was used to set the concreteevenly across the span. Despite concernsthat such an expanse could show crack-ing every few feet, the final product has

and compromising the original mass andlight interplay at the building envelope.The 2008 restoration specified vast glasssheets developed to reduce heat gain andenergy consumption. After mock-upswere evaluated for aesthetics and perfor-mance, the project team selected a glaz-ing product that provided suitable insu-lating properties, low-emissivity (low-e),and glare reduction, while reproducing,as closely as possible, the look of theoriginal windows. Fabricated by Vira-con, the 8-by-12-foot panels were someof the largest single sheets of insulatingglass ever made in the United States.This change was the single most impor-tant aspect of the renovation in terms ofthe impact on the building’s appearancefrom the street.

What made the restoration of thespandrels particularly difficult was theimpressive size of the beams; some span-ned as much as 70 feet. Developing aconcrete formulation that would repli-cate the original appearance, hold upwell as a thin overlay, and resolve prob-lems inherent to the existing construc-tion was the challenge. Like much of theconcrete in the building, the spandrelsbore a distinctive finish. Although thestructure is known for its corrugatedwalls, the spandrels had a horizontalboard finish that needed to be repli-cated.

Exploratory window removals re-vealed that the superimposed precastconcrete panels were secured by noncon-tinuous steel lintel angles attached bystainless-steel anchors to the spandrelbeams. When the original windowreceivers, which were cast into the con-crete structure, were removed during theearlier renovation, portions of the span-drel beams were damaged. Even withthe most exacting methods, removal ofthe superimposed precast concrete slabswould likely cause further damage to theoriginal concrete.

To determine the best strategy, thedesign team completed a series of mock-up concrete tests. After testing, thefollowing approach was agreed upon.First, the original concrete slab would becut back and prepared, leaving a frac-tured aggregate surface for adhesion ofthe repair material. Steel reinforcementswould then be treated where possible,replaced, or reinforced and would bepositioned to ensure appropriate con-

held up beyond expectation, with onlynegligible hairline cracks.

Like the board-form spandrel beams,the distinctive “corduroy”-texturedconcrete suffered from poor construc-tion practices. Shallow placement ofsteel reinforcement, with an inch or lessof concrete protection in many areas,8

had led to corrosion, cracks, and spalls.Restoration involved removal of thedelaminating concrete, repair and treat-ment of embedded steel, and re-coveringof the steel reinforcement to an appro-priate depth with color- and texture-matched concrete. Approximately 500square feet of fluted concrete throughoutthe structure was restored using thisrepair strategy.

Because the corrugated vertical ribswere not uniform in dimension, customformwork had to be created for eacharea of repair (Figs. 2 and 3). Hereagain, developing and testing a concretemix that would replicate the originalappearance, hold up well as a thin over-lay, and resolve the problems of theexisting construction was the challenge.Concrete was placed by hand into thefluted forms, with individual pieces ofaggregate forced between block-outsinto the mix. To properly consolidatethe material, the concrete-restoration

Fig. 4. View of fourth-floor jury space and fifth-floor studio space, including the statue ofMinerva, Paul Rudolph Hall. Photograph byRichard Barnes.


contractors used a needle-type vibratoralong the formwork, then tapped theoutside of the form with a mallet tominimize surface bubbles. Bush ham-mering of finished repair areas repro-duced the fluted concrete’s distinctiverough surface texture.

One of Rudolph’s innovations in theArt + Architecture Building was the useof light wells, voids that admitted lightfrom the sidewalk level down into verti-cal windows in two subgrade stories. Inan earlier effort to address leaks anddrafts, these spaces were covered overwith roofing materials. In restoring thelight wells, the project team removed thesuperimposed roof, recast the multilevelterraces and planters, reintroducedoriginal sculpture installations, and re-created the windows using insulatingglazing. Attention to flashing details,terminations, and proper sealant appli-cation at frame perimeters solved mois-ture-entry problems while permittingnatural light to once again permeateeven the subbasement. By relocatingmechanical equipment into the northend of the building, the architects wereable to locate model-shop areas to bene-fit from the reintroduced light wells.

Roofs also suffered the effects oftime, weather, student abuse, and failedrepairs. Leaks had become pervasive. Torestore roof terraces as usable outdoorareas, reflective pavers9 were installedover a modified bitumen roof (MBR)membrane assembly, with new planters

and seating throughout. Period pho-tographs show that the original terracepavers, which were not in place at thetime of the 2008 renovation, followed arunning-bond pattern, and the newpavers were installed to reproduce thisconfiguration. Roof areas not open topublic traffic have cold-adhesive MBRassemblies with white granular capsheets to reduce heat absorption.10 Asmultilayer systems, MBR membranesresist puncture and provide waterproof-ing redundancy; bituminous compoundsalso offer flexibility and self-healingproperties,11 qualities critical to durabil-ity and, consequently, sustainability ofthe roof assembly.

Leaks were also an issue at the build-ing’s complex and massive skylights.Central to the building’s treatment oflight and space, the compound skylightsjoin multi-planar glazing to counter-point the densely textured concreteslabs. As part of the 1994 windowrehabilitation, the original single-paneskylights were replaced with insulatingglass. By 2006 these replacement sky-lights exhibited leaks, etched glass, anda generally dilapidated appearance. The2008 restoration removed the 1994assembly and replaced it with a newsystem that matched framing spacing,profile, and glass sizes as closely aspossible to those depicted in Rudolph’sdrawings, while resolving leaks, heatloss, glare, and excessive solar heat gaininherent to the original design. To accu-rately replicate the original dimensions,the project team could not rely on stockproducts; custom framing and anchor-ing systems secured the heat-treated,laminated insulating glazing units. Aes-thetically the 2008 renovation alignedadditional joints necessitated by theinsulating glass with an interior parti-tion, so that from below, the glass ap-peared to extend up and over the wall.From above, clunky 1994 mullions werereplaced with a simple butt joint, so thatthe glass seemed continuous whenviewed from the terrace, as well. Water-proofing details were also improved.The 1994 replacement failed to take intoaccount the higher profile of the insulat-ing-glass assembly when providingflashing details; the 2008 project ex-tended flashings at exterior walls toprotect against moisture intrusion.Gutter linings, extra drains, and addi-

tional drainage slope further improvedwater management during weatherevents.

At building entrances, existing doorsshowed signs of pervasive corrosion,drafts, and deformation and requiredreplacement in kind. New steel doorswere filled with a rigid polyurethanecore, which was chemically bonded tothe interior surfaces of the door and hadsteel stiffeners for structural support.12

For glazed entrance doors, the projectteam specified a laminated infill glasswith a polyvinyl butyral (PVB) interlayerfor safety, durability, and shatter resis-tance. Existing concrete frames andopenings were retained and restored.

Interiors: Space and Light

Past renovations had severely alteredthe building’s once-soaring spaces,slicing the double-height drafting roominto separate levels and creating uncom-fortable, dim rooms. To re-create theoriginal balance of light and shadow, aswell as volume and void, the projectteam removed the mezzanines that hadbeen inserted after 1969 and divided thespace. Most notably, the drafting roomat the building’s core was restored withthe removal of the mezzanines, whichallowed daylight into the space. Areplica of the original statue of Roman

Fig. 6. Installation of new insulating glazing atthe east facade, Paul Rudolph Hall, photograph2008. Courtesy of Hoffmann Architects, Inc.

Fig. 5. Custom lighting in the restored pent-house, Paul Rudolph Hall, photograph 2008.Photograph by Peter Aaron, courtesy of PeterAaron/Esto.


Sustainable-Design Strategies

As the National Trust for HistoricPreservation has argued, “the greenestbuilding is the one that already ex-ists.”16 Increasingly, the sustainable-design field is bringing this concept tothe fore, applying today’s design andenergy standards to existing buildingswithout compromising the originalproject vision. When the renovation ofthe Art + Architecture Building began,Yale had already developed and imple-mented significant sustainability initia-tives, most notably a mandate of mini-mum LEED Silver certification for allmajor construction projects on campus.However, at the time, it was unknownhow these goals might be applied to therenovation of existing structures. Asboth a historically important buildingand the center of architectural study atthe school, the Art + Architecture Build-ing represented the ideal opportunity toshowcase the university’s commitmentto sustainable building.

The project exceeded expectations.The building achieved LEED Goldcertification and integrated environmen-tal strategies that made sense for thestructure and circumstances. Historicallyaccurate but inefficient elements, such asoversized glazing or low-insulating con-crete walls, were offset by innovations inlow-e insulating glass units, high-effi-ciency HVAC systems and controls,daylighting and occupancy sensors, airhandling, storm-water management,non-potable water reuse, and existingsite redevelopment.

each application.15 Cleaning not onlyuncovered original coloration; it alsohelped to blend repair areas into sur-rounding surfaces by improving unifor-mity of hue in the existing concrete.Colors for the repair mixes could thenbe matched to clean, not soiled, con-crete. Care was taken, however, not tobe overly aggressive with the cleaningprogram. Products were chosen to benon-abrasive and non-bleaching, as thepriority was to remove dirt and un-wanted coatings, not to achieve a“brand new” concrete appearance.

Special attention was paid to interiorlighting. Using Ezra Stoller’s periodphotographs, the architects modeledboth new and existing spaces to under-stand lighting quality. Custom fixtureswith metal halide lamps replicated theappearance of the original incandescentlights, but they consume only 39 watts,rather than 150 (Fig. 5). Aluminumreflective paint, vernal lenses, and pris-matic lamps result in a scattered-lighteffect that reproduces Rudolph’s designintent, with vastly improved energyperformance.

City residents and students of archi-tecture remember well the originalvibrant orange carpeting, and this keydesign element was revived. From asingle, small surviving sample, the archi-tects were able to match new carpetingto again provide a warm counterpoint tothe building’s rough concrete. Authenticmid-century Modern furniture wasspecified, and a number of originalpieces were replicated.

goddess Minerva was restored to herpost overlooking the great hall (Fig. 4).

The terraced floor plan, with 37levels on 9 stories, had long causedproblems regarding accessibility. Therenovation was able to meet relevantADA guidelines13 and building codes,14

so that the building is completely acces-sible. Ramps and handrails in thefourth-floor studio blend into the exist-ing spaces. While the jury spaces on thesixth and seventh floors were raised tomatch the level of the surroundingstudios, they remained delineatedthrough a change in flooring material.

Despite their heft, the interior ex-posed-concrete slabs had not been im-mune to the effects of time, studentabuse, and failed repair efforts. Manysurfaces were worn and covered withpaint, graffiti, and stains, which createda mottled look. To restore a uniformappearance, cleaning needed to pene-trate roughly textured concrete withoutdamaging the surfaces. Because theuniversity wished to retain certain graf-fiti that it deemed historically significant,the strategy would also need to be selec-tive.

The cleaning program began withdetailed documentation of locations andtypes of dirt and coatings (e.g., paints,wax, dirt, finishes). Approximately7,200 square feet of bush-hammeredconcrete and 9,000 square feet of board-formed concrete required cleaning, inaddition to more than 80,000 squarefeet of floor area. Mock-up tests withremovers, strippers, and solvents wereprepared to select the best product for

Fig. 8. Robert B. Haas Family Arts Library, Paul Rudolph Hall addition,photograph 2008. Photograph by Peter Aaron, courtesy of Peter Aaron/Esto.

Fig. 7. Fourth-floor terrace and green roof, Paul Rudolph Hall, photograph2008. Photograph by Peter Aaron, courtesy of Peter Aaron/Esto.


Resource conservation. More than 90percent of existing walls, roofs, andfloors were preserved during the reno-vation. Sustainable construction prac-tice recycled or salvaged 92 percent ofconstruction waste, diverting 4,150 tonsof debris away from landfills. Replace-ment materials were selected for highcontent of recycled material, and morethan a third of project materials werelocally sourced (within 500 miles).Forest Stewardship Council (FSC)–certi-fied wood products were specified forthe interior, and all composite woodmaterials contain no added urea-formaldehyde, a known carcinogen.

Building-envelope performance. Im-proving building-envelope thermalperformance is the most basic way toincrease the energy efficiency of virtu-ally any building, and this project wasno exception. The building’s continuoussouthwestern exposure, along with theunfortunate window replacement of the1990s, left interior spaces, many ofthem faculty offices, prone to overheat-ing. New double-glazed windows insu-late against heat transfer, while a spec-trally selective low-e coating admitsdaylight with an appropriate level ofsolar control. Not only does the im-proved glazing dramatically reducesummer cooling loads and retain inte-rior heat during the winter; it reduceselectric-lighting costs and restores occu-pants’ connections to the outdoors.17

With unobstructed, sweeping views andmeticulously detailed anchorage andframing, the redesigned glazing wasdesigned to optimize performance withrespect to insulation, moisture, anddaylight (Fig. 6).

At the roof level, installation oftapered polyisocyanurate board insula-tion and rigid extruded-polystyreneinsulation at terraces improved energyperformance by preventing heat lossthrough the roof. Fully abutted, parallelcourses with staggered joints were speci-fied to minimize heat transfer betweenboards. Existing roofing was replacedwith roofing with a high solar reflec-tance index (SRI), which incorporatesreflective granules into white cap sheets.By reflecting much of the sun’s UVradiation, the light-colored roofs keepboth the building and the surroundingarea significantly cooler. The Art +

Architecture Building is situated in anurban area, where there is little greeneryand a large amount of heat-absorbingconcrete and asphalt. Adding reflectivecap sheets and light-colored terracepavers helps to cut down on the “heatisland effect,” whereby the temperatureof metropolitan areas is higher than thatof the surrounding countryside.

Mechanical/electrical/plumbing effi-ciency. Earlier renovations of Rudolph’sbuilding had not solved the challenge ofheating and cooling in a way that ade-quately addressed occupant comfort yetrespected the open volumes of the build-ing plan. The existing HVAC systemhad never functioned properly. Newslim, ceiling-mounted radiant panels,which use water rather than air forheating and cooling, were installed in2008 and defer to the spatial relation-ships of Rudolph’s design. Fed by pip-ing rather than by ductwork, the panelsare suitable for areas with extremelylimited floor-to-floor heights. This sys-tem allowed for the reintroduction oforiginal ceiling planes, which are impor-tant to proper light distribution withinstudio spaces. Utilizing economies ofscale, the system relies on centrallygenerated hot and cold water. Workingin concert with linear diffused air circu-lation, the panels do not need a fan tooperate, providing energy savings andquieter operation than traditionalHVAC equipment.

Air-handling units in the lecture halland classrooms are equipped with en-thalpy heat exchangers, which salvageenergy from returned building air andtransfer it to incoming fresh air. Becauseenergy is transferred rather than ex-pelled, the exchangers reduce heatingand cooling loads, improving energyefficiency in these large and variablyoccupied spaces.

A three-dimensional MEP coordina-tion process utilizing Revit softwarestreamlined development and installa-tion for optimal functionality. To re-spond dynamically to building usage,Aircuity, an air-quality system, monitorscarbon dioxide levels and reduces venti-lation rates when rooms are unoccupied.The system also improves the control oftemperature and humidity levels andmonitors levels of particulates andvolatile organic compounds.

Lighting control. In addition to a 75percent reduction in wattage over stan-dard incandescent fixtures, the ceramicmetal halide lamps in the studio spacesand the great hall use an alternateswitching pattern based on daylightlevels to minimize energy consumption.In perimeter areas, linear fluorescentlamps dim in response to daylight, andall inside fixtures are positioned to shinetoward the building interior, rather thanout through windows. Exterior fixturesare full cutoff, directing light at theground, not into the sky. Lightingpower densities are kept at low levels tominimize light pollution, while main-taining the look of the historic Rudolphlamps with a new, more energy-efficientfixture.

Water management. The project teamimplemented extensive water-conserva-tion measures to drastically reduce theuse of potable water. Water-savingfixtures alone will save an estimated13,000 gallons of potable water everyyear. A small, 2,300-square-foot greenroof and on-site storm-water retention,storage, and reuse save a projected72,000 gallons off stormwater runoff,which is filtered for use in toilets andirrigation. With a 77 percent reductionin run-off, the reclaimed-water systemhelps prevent municipal treatment facil-ities from becoming overwhelmed inheavy rainfall (Fig. 7). Previously, stormwater from the site had been directed toa combined storm drain and sewer sys-tem. To combat the detrimental impactof combined sewer overflow, the reno-vation project accessed a separatestorm-water line, from which run-offcan be safely channeled into the munici-pal sewer system without exacerbatingoverflow conditions during major stormevents.

Community

As an integral part of Yale’s arts cam-pus, as well as New Haven’s busieststreetscape, Rudolph’s masterwork iscontextualized both by its history andby its relationship to the diverse com-munity it serves. To support the localeconomy, the project team utilized locallabor and materials wherever possible.Construction engaged more than 25percent of its workers from minority- orwoman-owned businesses and from


New Haven, accumulating approxi-mately 82,979 local man-hours and144,143 minority man-hours. Localworkers earned more than $2 million inwages. First-year trainees in minorityapprenticeship programs also supportedthe City of New Haven by helping todevelop the local trade force.

Former students of Rudolph, YaleSchool of Architecture Dean Robert A.M. Stern and project design principalCharles Gwathmey were committed toapplying their mentor’s aesthetic to therenewal of his seminal work (Fig. 8).However, the timeline for achieving thisgoal was extremely short. Yale did notintend to displace the School of Archi-tecture for more than one academic year,which meant that once classes ended inMay 2007, the team had less than 15months to complete the project. Never-theless, the project was completed ontime, within budget, and to exactingquality standards. To honor its fameddesigner, the university rededicated thebuilding as Paul Rudolph Hall.

RUSSELL M. SANDERS, AIA, is executive vicepresident and director of technical services withHoffmann Architects, an architecture andengineering firm specializing in the buildingenvelope. He has 30 years of experience inexterior restoration and has developed solu-tions for such landmarks as the Chrysler Build-ing, the New York Stock Exchange, and theU.S. Capitol. He can be reached at [email protected].

BENJAMIN SHEPHERD, LEED AP-BD&C, isan associate with Atelier Ten, an environmentaland lighting-design consultancy specializing inhigh-performance, sustainable-design projects.He has more than ten years of experience witha wide range of project types for commercial,government, and university clients, includinglarge-scale masterplans. He can be reached [email protected].

ELIZABETH SKOWRONEK, AIA, LEED AP-BD&C, is senior associate at Gwathmey Siegel& Associates Architects. She was in charge ofthe restoration of Paul Rudolph Hall and hasparticipated in work on the Sony Entertain-ment Headquarters in midtown Manhattan; theScience, Industry and Business Library of theNew York Public Library; and Nanyang Poly-technic in Singapore. She can be reached [email protected].

ALISON HOFFMANN, MFA, is public-relations coordinator with Hoffmann Archi-

tects, where she edits and produces technicalarticles, informational bulletins, and edu-cational seminars. She can be reached [email protected].

Notes1. Robin Pogrebin, “Renovating a Master’sShrine: Yale’s Art and Architecture Building,”New York Times, July 1, 2006.

2. Kate Taylor, “Pennies to Build, Millions toRestore,” New York Sun, Nov. 26, 2007.

3. The State of Connecticut uses the 2003International Existing Building Code, devel-oped by the International Code Council, alongwith a Connecticut-specific edition of the 2003International Building Code.

4. Michael J. Crosbie, “Yale Art and Architec-ture Building,” Architecture Week, Feb. 4,2009, www.architectureweek.com.

5. See “Chapter 5: Commercial Energy Effi-ciency,” 2009 International Energy Conserva-tion Code (IECC), International Code Council,Feb. 2009, and ASHRAE 90.1-2004.

6. The concrete formulation for the board-formrepairs (approximate) consisted of rapid-setDOT cement, pea gravel (maximum 3/8-inchdiameter), water, sand, flow-control admixture,set-control admixture, corrosion inhibitor,color pigment, and air entrainment of 6 per-cent. Fluted concrete repairs used 3/4-inch aggre-gate; otherwise the formulation was the same.

7. Petrographic laboratory analysis of a 6-inchhardened concrete core 23/4 inches in diameterwas performed in accordance with ASTMC856 Standard Practice for PetrographicExamination of Hardened Concrete and ASTMC457 Standard Test Method for MicroscopicalDetermination of Parameters of the Air-VoidSystem in Hardened Concrete. Aggregate sizeand composition, color, slump, paste hardness,depth of carbonation, water-to-cement ratio,and air entrainment were evaluated by anindependent, off-site petrographic testingfacility. Compression tests of 6-by-12-inchcylinders were also conducted off-site at atesting laboratory, in accordance with ASTMC39 Standard Test Method for CompressiveStrength of Cylindrical Concrete Specimens.

8. The American Concrete Institute standardACI 318-08: Building Code Requirements forStructural Concrete and the 1963 version, ACI318-63, both call for “not less than 2 in. ofconcrete for bars larger than #5 and 11/2 in. for#5 bars or smaller;” ACI 318-63, Section 808and ACI 318-08, Section 7.7.1. These publica-tions are available through the AmericanConcrete Institute.

9. The average light absorption of the reflectivepavers was 5 percent, with no unit greater than7 percent when tested in accordance withASTM C 140.

10. The white granular surfacing meets theLEED SRI minimum of 78.

11. ASTM D5147 Standard Test Methods forSampling and Testing Modified BituminousSheet Material.

12. See Table 502.3, 2009 International EnergyConservation Code (IECC), International CodeCouncil, which recommends a maximum U-factor of 0.80 for entrance doors; the steeldoors used at Rudolph Hall have a maximumU-factor of 0.10 (equivalent to a minimum R-value of 10).

13. See “ADA Accessibility Guidelines forBuildings and Facilities (ADAAG),” U.S. Archi-tectural and Transportation Barriers Compli-ance Board, 2002, http://www.access-board.gov/adaag/html/adaag.htm.

14. The State of Connecticut Building Codeuses ICC/ANSI A117.1-2003, “Accessible andUsable Buildings and Facilities.” See State ofConnecticut Department of Public Safety, Of-fice of the State Building Inspector, http://www.ct.gov/dps/cwp/view.asp?a=2148&q=305412.

15. Light staining was treated primarily with aproprietary low-acidity gel cleaner containingglycolic, amidosulfonic, and hydrofluoric acids,while heavy encrustation demanded a morestrongly acidic cleaning formulation that com-bined glycolic acid with a hydrogen chloridesolution. Multiple layers of paint and graffitiwere removed with alkaline organic solvents,including potassium hydrate, ammonia, anddipropylene glycol methyl ether (DPM), neu-tralized afterward with mildly acidic wash.Because the Yale School of Architecture wishedto preserve the history of the building, the goalof the cleaning program was not to makeeverything look new. The sensitive cleaningapproach was selective, leaving some paint andgraffiti intact while removing unwanted coat-ings. The program involved a combination ofcleaning products and low-pressure water washto achieve the desired effect.

16. Richard Moe, “Sustainable Stewardship:Historic Preservation’s Essential Role in Fight-ing Climate Change,” Connecticut PreservationNews 31, no. 4 (July/Aug. 2008): 6.

17. Atelier Ten evaluated the project’s energyperformance using eQUEST v3.61, an ad-vanced whole-building energy-simulation tool.The new Viracon VE1-2M glazing reducedpeak space cooling by an estimated 49 percentand helped contribute to the building’s overallenergy savings of 14 percent relative to a codebaseline building.

The APT Bulletin is published by theAssociation of Preservation Technol-ogy International, an interdisciplinaryorganization dedicated to the prac-tical application of the principles and

techniques necessary for the care and wise use ofthe built environment. A subscription to theBulletin and free online access to past articles aremember benefits. For more information, visitwww.apti.org.

sustainable restoration of yale university's art + architecture building

Documents