Deceptive Simplicity

One of the things that can be difficult about our work here at Historical Arts & Casting is communicating the complexity of manufacturing something when its appearance is deceptively simple. For example, toward the end of 2018, on our Instagram feed, we published a couple photographs of a cast bronze door frame for a door that we were making at that time. Looking back on the images, although they clearly show a beautiful cast, thick-walled bronze frame, they really only tell part of the story.

Some of the factors that contribute to its complexity are its scale, its low production quantity, features added during the fabrication stage, and the finish on this frame.

At first glance, the published images do not do a very good job at revealing this piece’s scale. In reality, that door frame is over 12” wide and about 10’ tall. As shown in the images, each jamb is made up of two castings, each weighing approximately 8-9 pounds per linear foot. The physical scale of these bronze parts adds to their complexity in many ways.  For one, our pattern makers make the patterns in such a way to compensate for the shrinkage factor relative to the material being poured. During the mold-making process in the foundry, the parts must be gated in a way to try to counteract the anticipated warping of the final part as it cools.  Additionally, the sand molds for such large parts must be reinforced in ways molds for smaller parts need not. The foundry men must also manage the temperature of the bronze well, so as not to cause flaws such as heat-tearing and cold-pours. In addition, handling and moving these elements around the shop is made more difficult by their size and weight.

Scale is not only a function of an element’s size, but is is also related to its production quantity. In this case we were making only one of these frames—so the complexity comes in the effort to get its manufacture right, in every way, the first time. To be sure, making a product with a high production volume also has its own set of challenges—but when only one of something is being sold to a customer, the manufacturer really only wants to make it once, as there is very little room for error. Having to remake something because of an unforeseen issue or a mistake can eat up planned profits quickly when producing in low quantities. Consequently, there are fewer and fewer companies out there that are willing to take that risk. For decades, low production quantities have been a cornerstone of Historical Arts’ business, and as such, we have become accustomed to taking on this challenge. 

The addition of machined and fabricated features to these castings is another layer of complexity relative to this door frame—and doing so only builds on the risk level for its low production quantity mentioned previously. The additional features in this frame include machined recesses for the hinges, pivots, the power assist motor access in the head, and the mitered corners where the jambs meet the head, as well as channels for the inclusion of weather-stripping. A mistake in adding any of these features could result in the need to make additional castings—which would again erase some of the profit potential for this product.

The last complexity factor we will cover on this project is the final finish of the door frame as seen, in-process, throughout the images in the article. This frame is finished with a directionally grained, non-oxidized treatment, which is sealed with a clear wax. Any flaw in the casting is easily discernible with this type of finish. Great care must be taken to apply this treatment, which is all done at the hands of our most skilled finishers—some of whom have more than 25 years of experience.

In the end, once the door and this frame are installed in their final location, the vast majority of people who pass through this door opening will do so with little awareness of what went into its manufacture. That really is a good thing—for elements like this should not necessarily draw attention to themselves, but rather contribute to the whole. Their value lies in being a part of the logical, balanced beauty of the overall architectural experience of which they are a part. Because of the materials used, the features added, and the skills and methods employed, their long-lasting, low maintenance lifespan will be appreciated by those who know.

Small Job–Large Impact

The existing finial casting is balanced on a pattern for the second casting.

One of the questions that we have heard many times here at Historical Arts & Casting goes something like this: “Is there a minimum order?” It is, of course, tempting to respond “Yes, one,” but what these potential clients are really asking is relative to the overall cost of the order, not necessarily the quantity of items ordered (we frequently make only one of something—that is part of the nature of our business). 

Our company actively seeks out work which would fill three categories of project size—small, medium, and large. While medium and large sized projects are often desirable because of the stability they afford, among other reasons, small projects are not without their own set of desirable attributes. They also have a profound ability to make an impact.

The fabricated finial was finished with a dark statuary finish.

For a custom made-to-order manufacturer to stay profitable, its workers must remain productive, actively producing goods that fulfill its contracts. There are inevitable gaps of opportunity between medium and larger projects, or between their phases, that only smaller projects can redeem. As an example, in 2018, HACI produced a small bronze finial which was destined to be installed at the apex of a hip-roofed pump house for a residential project on the East coast of the US. For this project, a quick shop drawing was made, and only one new foundry pattern was required. There were only 2 bronze castings needed (one of which we already had before the project began). Only a couple of hours of fabrication labor were required, followed by just a few hours in our finishing department. Finally, all that was left was to package the finial and send it off. HACI was able to run this project through all the stages mentioned previously, taking advantage of small bits of time between other projects, and deliver the finial well before it was needed at the project site—and it helped to fill up those “gaps of opportunity” in our business along the way.

The completed final adds visual interest to the roof of this residential pump-house.

Aside from their gap-filling strengths, another thing that makes small jobs desirable is that they are generally less complex, by nature, relative to medium and larger projects. Therefore, they are good training grounds for the less experienced. They offer challenges to the newer workers within our organization, including everyone from foundry and fabrication workers to project managers. Success on smaller projects serves as the foundation of confidence, as projects of increasing complexity and scope get assigned to these workers.

Historical Arts also continues to seek projects of small scope because of the difficulty that people have in getting a manufacturer to even look at taking that kind of work on. We have been able to contribute to the success of many projects over the years precisely because of our willingness to help with a relatively small part of the overall project’s scope. And, many times, achieving a good result with a smaller project has opened doors with that architect or contractor for other projects—sometimes even those with a larger scope. 

In the case of the pump house finial, it really does finish off the look and feel of the building. It is almost impossible to keep your eye from being drawn to it—this should serve as a reminder of the large impact that small projects can have in the internal workings of a company’s workflow, in meeting the need for an architect, contractor, or client, and in its final installation.

Lost Wax Casting

While many pieces made by HACI are large- to medium-scale and require sand molds for casting, there are some smaller, more complicated parts that we produce by another method–lost wax casting. 

For Historical Arts, the lost wax method is most usefully utilized when the parts in question are smaller and cannot be modified in terms of draft. We have used it to produce smaller hardware components, finials, and even detailed sculptural elements (stay tuned to our Instagram feed later on this year for some coverage of a couple beautiful bronze dragons that we are currently making at time of this writing).

The following images, along with their associated captions, are meant to provide an overview of the process–an introductory storyboard to the process, as we follow a small light fixture part through the stages of its production. 

1. The process begins with a pattern of clay, wood, or other materials. This pattern was 3D printed.

2. A silicone block mold is flexible enough to allow more complicated shapes to be cast and removed without damage. This mold is filled with the liquid wax.

3. The wax casting, having been removed from the silicone mold, is shown here supported by wax sprues. The sprues become the path for the metal to be poured into the part, and for the air to escape.

4. The wax part is shown here inside a steel flask. The flask is filled with a plaster-like material which is baked at a high temperature to cure the mold and melt out the wax.

5. When the mold is hard and empty, it is filled with the molten metal, usually bronze. A vacuum is used beneath the mold to pull the metal into every crevice.

6. Red-hot bronze in mold after the pour has been completed.

7. After the piece has cooled enough, it is washed to remove the mold.

8. After washing, the metal has cooled to the touch.

9. The sprues fill with metal, as does the part itself. They are removed when the casting has fully cooled.

10. The piece is cleaned up, then it goes out to our shop for fabrication, finishing, and installation.

Honoring Howard Bailey

For nearly 22 years, Historical Arts & Casting’s customers have benefitted from the expertise that Howard Bailey has contributed to their projects. Howard left his mark at the foundry mold/pour stage of our process. Day by day, along with the other staff in our foundry, Howard made the sand molds into which the molten bronze, aluminum, and iron flowed to make the castings which become HACI’s products. We are all grateful for the part that Howard played to make HACI’s metalwork what it is. 

While we don’t know what the next few years will hold for Howard as he leaves HACI to begin a new phase of his life, we all wish him the very best. Thank you, Howard.

Old Becomes New

One of the driving forces in the preservation of historic buildings around the country is, ironically enough, a cutting-edge trend built on high-tech entrepreneurship. It is led by the Millennials, who see the benefit of tapping into restored structures while creating their urban hubs of innovation. News accounts tell how the renewed sense of community is revitalizing towns such as Durham, North Carolina, Chattanooga, Tennessee, and San Diego, California. In these cities, you can see turn-of-the-century buildings anchoring historic districts filled with apartments, restaurants, and businesses.

Historical Arts and Casting, Inc. has seen this first-hand. We played a role in the restoration of Chicago’s Sullivan Center, adding authentic touches such as the painted cast bronze grilles we replicated using historic pictures. Even retired HACI cofounder Robert Baird is helping restore the old Odd Fellows Club in downtown Brooklin, Maine, which, according to an article last fall in The Weekly Packet, will house two apartments and commercial space related to boats and boat-building.

Consider this:

• Restoration is the ultimate in recycling, although something built in the 1800′s probably isn’t considered “green” by today’s standards. Instead of trashing what are probably far better building materials than you can get today, such as true hardwood floors, you can save some money on materials. Chances are, if the building was built before WWII, it will stand longer than any you would build to replace it. And, you never know what’s hidden in an old building. You may find gorgeous pressed tin ceilings underneath suspended tiles, or a bas-relief buried behind 1970′s-era paneling.
• Restoration is economically sound. According to Curbed, American Underground (a subterranean hub underneath a turn-of-the-century building) brought more than $50 million in venture funding by 2017, along with 1,100 jobs and $1.4 million in spending it has driven toward area businesses. For Durham, this is a quintessential success story.
• Renovation hits close to home. Salt Lake City was ranked the third-best market for commercial development in the Urban Land Institute’s 2018 Emerging Trends report. You can see this in the Central 9th District, where old warehouses are being converted to office spaces for tech firms. In 1973, architect Steven T. Baird and sons David, Richard, and Robert restored the ZCMI Department Store façade, one of the first cast-iron preservation projects of its kind. Later, in 2007, Historical Arts and Casting, Inc. restored the storefront again, and it now welcomes shoppers as a contemporary Macy’s.

While it might have taken others a few decades to catch on to the value of making the old new again, Historical Arts and Casting, Inc. will continue to play a major role in the preservation of historic metal-cast architecture in years to come. It’s our legacy and we’re proud of it.

Top Secret

Doors

Beautiful doors for a great project in an undisclosed location, made of an enduring material for a fantastic client.

Rail

In many cases, HACI's clients have us make mockups of railings to demonstrate quality, profiles, and finishes. This design is for our client's eyes only as we are obliged to keep its details private.

Hardware

We'd love to show off this beautiful hardware. We will not, though, because in this case, our client has asked us to keep details of this project private.

Project

Photo of a stunning multi-year project recently completed by HACI about which all disclosure is constrained by an NDA.

Privacy is important, anyone can tell you that. We are all used to procedures and protocols that we employ to keep our personal information private. From time to time, we hear about instances where private information was released, and the damage that the victim(s) will likely face. 

At Historical Arts & Casting, Inc., we understand the need for privacy. We know that our clients are trusting us with all kinds of information which, if released, could put them in a compromising position. We have thus become accustomed to handling this private information. As a company, we work very hard to keep things private that should be private. We endeavor to only release information to the public in ways that are consistent with our clients’ discerning privacy expectations.

At the most basic level, consider implicitly confidential information. Our clients can rest in the knowledge that, even without a legal structure in place, HACI will not share information to which any normal understanding of the word “private” would apply.

Some clients, however, are more explicit with their privacy concerns. These clients approach the subject either formally or informally. An example of an informal approach might be a client or their representative asking for certain additional privacy measures in conversation, through correspondence, or by email, where they would request that a certain aspect of their project be kept confidential. Though no legal document governs this sort of information safekeeping, HACI is happy to oblige.

There are also occasions where our clients (or their representatives) require an actual Non-Disclosure Agreement (NDA) to be in place. These documents are carefully written to protect the interests of the client. They are explicit in their wording about how and what kind of information may be disclosed. Just as in the informal type previously mentioned, NDAs can cover a range of degrees of privacy. The most strict NDA that HACI has ever worked under required us to purge all of the client’s information from HACI’s systems (except for accounting records necessary for business purposes).  

In 2017, our estimator received a phone call from a potential client, who revealed that they had purchased two bronze wall sconces at an auction. They learned that HACI had made the light fixtures, and called us. The potential client requested that we produce two more identical fixtures, as there was a need for a total of four. They followed up their phone call with an email that included photographs of the original fixtures. It was clear to our estimator that HACI had indeed made the fixtures. However, in the original NDA, HACI had formed an agreement that we would not make that light fixture for any other client. At the request of the new, potential client, HACI tracked down the original client’s representative and explained the situation. Once we had determined that our original client had indeed sold two fixtures at auction, we were able to obtain a one-time written exemption from the original client to produce the two new fixtures that the new client needed. All of this was done without disclosing to the new client any personal information about the original client. In the end, all three parties — the old client, the new client, and HACI — were delighted with the outcome.

A Year to Remember

Looking back at 2017, we could list our favorite jobs, the big-hitters, the unusual, the ones that make people remember our names.

There are even a few projects we’re guessing might show up in the movies one of these days, not in a leading role, of course, but something that will catch our attention as we’re watching. It’s a game we play at Historical Arts and Casting, our own version of “I Spy,” especially when the action’s set in New York City and, lately, Washington, D.C. as well.

But as partner David Teague puts it, “We’re excited every time a new project comes in and it feels good to see the final product that comes out of all the effort.”

While we are proud of the iron stoop rail renovation in Washington, D.C., the vintage street lamps restored and now standing again outside New York’s Grand Central Terminal and the John Russell Pope Award recognizing our work on the restoration of the U.S. Capitol dome, this is no time to rest on our laurels. Instead, we want to give you a rundown of the things that happened in 2017 that will prepare us for anything that comes our way in 2018.

• Internally, we’ve progressed in our operations, not just in manufacturing but in keeping everything moving along. We continue to explore new technologies, making the most of what’s available while utilizing the traditional methods that preserve the history of our art. What makes it all possible is a group of artisans, from President Richard Baird to the dedicated folks sweeping the floors, who love it as much as we do.

• We’re pleased with the unique relationship we’ve developed with the architects and contractors who bring their client’s projects to us. We’ve earned their respect and trust and in turn, we appreciate their vision. It has led to interesting collaborations, repeat business and, from the Institute of Classic Architecture and Art, the John Russell Pope Award.

• Not to avoid the elephant in the room, 2017 was the year the U.S. Capitol dome restoration was officially completed. We’re very proud of the role we played in bringing it back to its original form. As Robert Baird, our vice-president of operations said, it’s the sort of project you wait your whole life to do. But we need to look forward to our next big project and keep producing great work. We’re glad for the successes and we’re going to keep pushing in 2018 for even more!. Thank you for making Historical Arts and Casting, Inc. a part of your world!

Honoring Robert Baird

It is with mixed emotions that we at Historical Arts and Casting, Inc. are announcing the retirement of Robert Baird—one of the three brothers who founded HACI more than three decades ago.

Together with his brothers, Richard and David, Robert has worked tirelessly to build Historical Arts & Casting, Inc. into what it is today, the recognized leader in the field of cast architectural metal ornament. He and his brothers did this by identifying a need for the kinds of products that we now make.

Then, they brought that dream to light by gathering the people, the facilities and the equipment needed to make it all possible. Robert infused everything he did with his own unique mix of unbridled enthusiasm and charismatic leadership. His influence can be found everywhere you look here at HACI.

That influence will endure. It will endure because many of us at Historical Arts were hired by Robert—and were subsequently guided by Robert. Our company values were shaped in part by his values. Many of the ongoing relationships that HACI enjoys with architects, contractors, and associations are the fruit of these efforts.

The best way that we can think of to celebrate Robert’s impact is to continue his vision—to put our heads down and to carry on with the work—always with that joyful, dedicated optimism that comes with being sure of your skills, a desire to do the right thing, and the knowledge that what is being built is a legacy that will outlast each of us.

Thank you, Robert. Our best wishes to you and your family as you carry on in the next part of your journey.

“Fair Winds and Following Seas.”