Betts Fireplace and Chimney Project, Day 7

Oval firebox being developed.

Initial arch spanning fireplace opening completed.

Barrel vault of left wood box completed.

Betts Fireplace and Chimney Project, Day 6

10 courses of the firebox 'basket weave' liner laid.  Note how the front edges of the firebox radius protrude past the 8" faces of the fireplace opening.  This will deflect extreme heat away from the fireplace's permanent masonry elements.

Why the clay brick liner?

The purpose of the clay brick liner is an aesthetic one that is especially appropriate for traditional architecture.  Fire brick are precisely shaped units that tend to be void of variation, color and, to a degree, personality.  Technically, code doesn't require firebrick , but my inclination has always been to include it to provide a sense of security to myself and clients.  

But in the case of a rusticated hunting lodge, I prefer the clay brick for several reasons.  It provides a more natural, and earthy backdrop suitable to the fire it contains, as opposed to fire brick which can appear somewhat 'industrial' and look a bit cold to the touch.  The precise geometry and featureless uniformity of firebrick also seems to be mismatched with the blackening of the firebox — an inevitable result of creosote build up that comes from wood burning.   

Betts Fireplace and Chimney Project, Day 5

While camped on site I've had the habit of taking morning walks before work begins.  This is a fireplace ruin I found in the woods of the Betts property, and I thought it would make an interesting post.  Generator problems have put a dent in the day's progress.

The lighter colored brick at the base of the chimney are original to the initial foundation of this fireplace.  The red brick reveal that this fireplace and chimney was rebuilt some where along the way.  Brick from this era were fired at low temperatures with wood burning kilns that left the brick somewhat soft to the focused heat of a fireplace; especially when this was the only source of heat during the winter, and it was kept burning.  Spalling brick at the foundation level show greater decay due to extended proximity to the firebox.

Fox tracks during my walk.

Betts Fireplace and Chimney Project, Day 4

The liner is not bonded within the structural masonry elements of the fireplace.  This is to say that, should the fire box begin to decay,  it can be removed and replaced without damaging the integrity of the system over and over again for hundreds of years.  But this is one of many approaches to building fireplaces.  Formal fireplaces may call for split firebrick laid on a herringbone pattern within the firebox.  There are a range of options, but I have a particular fondness for building with the oval, clay brick, basket weave.   

Day 3

Templates for the clay brick firebox liner are cut and numbered.  Patterns are made from fire brick units that are consistently shaped and easily identifiable during production.  Later, the fire brick templates will be used to scribe clay brick which will compose the finished surface of the firebox liner.   Liner bricks are cut on parallel angels to maintain the correct narrowness of head joint through the entire bed depth of the brick.  This will prolong the life of the clay brick liner by preventing head joints from opening up and causing accelerated attrition.

Betts Fireplace and Chimney Design, Day 2

Defining the scale and final footprint of the firebox.  Later in the day the outer fire brick walls of the firebox were raised to about a foot.  The oval shape deserves a fairly detailed explantation which will be given in the near future.  Mr. Betts requested a fireplace opening that was roughly 40" to 48" wide, and tall.  We opted for the 40" width, but chose a 60" height because a standing rectangular shape so effectively frames the character of the fire which is notably vertical in nature; this as opposed to the more typical fireplace opening which is shorter than it is wide, and sometimes hides the tops of flames consequently robbing the fire of some of it's glory.  Additionally, the taller the opening, the more opportunity for radiant heat to be reflected into the hosting room.  The challenge however, is that the taller the opening, the greater the opportunity for smoke to enter the interior space, so the dynamics of fireplace mechanics must be comfortably grasped before attempting such a system.  When designing a fireplace, my goal is to bring a 'whole fire' sensibility to the interior of a dwelling — a fire you can stand close to, and experience in it's entirety with the same fondness and enchantment held for a campfire. 

Betts Fireplace and Chimney Project, Day 1

Raised block foundation for the fireplace and chimney being double capped with two layers of solid 4" block.

Firebrick inlay within the second course of solid 4" concrete block.

Researching the Fireplaces of 'The Grove Park Inn'

As this relates to many of the decisions being made with the Bett's Hunting Lodge fireplace design, I've written an account below of my experience studying the fireplaces of the Grove Park Inn back in 2001.  I've been meaning to document this occasion for some time and am glad to do so now with purpose.  

The question of whether one kind of fireplace produces heat more efficiently than another is secondary to a much more important question —"does it draw properly?  Or, in other words, does it 'smoke' into the building?" This is a real challenge when it comes to constructing large fireplaces because the proportions of a proven standard sized fireplace do not simply correlate up.  Five times the 'fire' isn't merely five times the combustion energy — exponential things are happening.  

When a 'grand fireplace' fails,  more than likely it has been built according to the proportions of a normally scaled fireplace, and when you consider that a good half of the 'regular' fireplaces out there are not working as well as they should, it's easy to see how matters can get out of hand quickly when it comes to building on a massive scale.  Building scenarios are complicated further by the fact that the success or failure of a system cannot truly be determined until the chimney is completed at which point there is not much recourse.

A good case example of this proportion/correlation issue can be observed in the lobby of the Grove Park Inn of Asheville, North Carolina.  The historic Grove Park was completed in 1913, and was not simply raised with indigenous stone, but clad in hand picked, uncut boulders no doubt.  Twin grand fireplaces straddle the vast lobby.  The fireplaces are 10' wide, 7' tall and 7' deep.  Each of the 10' wide openings are spanned with a single massive natural stone. 

So with all this attention being focused on such an important structure at such an important time, you would think all the kinks would have been worked out with the mechanics of the actual fireplace systems to be built right?  What's more, is our tendency to assign an almost supernatural reverence to the knowledge and skill of the pre-powertool tradesman which I think in large part is indeed deserved.  But, nevertheless, the ball was dropped in a big way when some poor soul way back when was asked if he could build one of the largest fireplaces on the planet and he responded, " sure, no problem.  I've built many fireplaces; my father built fireplaces; my father's father built fireplaces ...."Get the picture?

As you walk into the Grove Park lobby, the fireplace to the right has been abandoned as a 'working fireplace,' and serves only as an interesting centerpiece.  On the other end of the lobby is a matching fireplace that some years back was 'revamped,' as well as it could be, to perform successfully as a functioning fireplace.  Sometime after, a fire broke through the system internally where it had been made vulnerable during the restructuring, and set a portion of the six story resort ablaze.  This was later repaired further, and the giant fireplace is still used today as a glorious whole log burner.  

The scale of these fireplaces and their proximity to one another makes the Grove Park a very unusual boon of a case study.  One must simply walk in, without even ducking, flashlight in hand, and commit a craning glance to discern the difference between the two. This one doesn't work — it looks like this; this one does — it looks like that.

In 2002, I made an appointment with the Grove Park's engineer, who was second or third generation engineer to the Inn, as I recall.  I drove up for the day from Atlanta, and combed through the fireplaces with great attention, besetting my patient host with probably too many questions.  We even went out on the roof of the hotel where I was able to take a catwalk over to one of the massive chimneys, and peer in for close inspection.  One of the most valuable R&D field trips of my career. 

All this to say, you can't be too cautious when it comes to building one of these giants. After my trip to the Grove Park Inn, I went back to work on the Pierce/Lee project where fireplace construction was edging into the schedule.  At this time I began defining parameters that guided me to the unique style of fireplace I still build today : 

— 1st rule of thumb : the cross section area of the flue must be 10 - 12% of the area of the fireplace opening.  One must go to great pains to insure this. 

— Understanding that fire, and all of the combustion elements involved with fire, behave circularly in an upward spiral is critical.  Where ever curvilinear elements could be implemented into the design in a positive way I did so.  I found three significant opportunities for this : 

1. The terra-cotta flue liners may be specified as cylindrical.   

2. Corners may be eliminated in the firebox — this led to designing the basket weave, oval firebox which is a signature element of some of our fireplaces still today. 

3. Lastly, and very importantly, an 'air foil' may be shaped at the top of the fireplace opening where brick are normally just corbeled inward like the underside of a staircase.   Here spanning brick can be roughly cut in such a way as to form a curved throat.  Later, this area can be plastered (parged) with fireclay into a smooth transitioning air foil.  The air foil prevents turbulence as air is drawn into the firebox across the top of the fireplace opening by the vacuum of hot air rising through the chimney.  As this air is pulled into the top of the firebox, it meets the rising combustion elements of the fire itself, and the two separate influences remain laminar mixing slowly together only after rising well within the chimney chase.

Additionally, I've always believed that fireplaces and chimneys should be structurally sound beyond question providing fail safe support to the super structure in general.  International Code only requires 8" of masonry surrounding the firebox, and merely a 4"veneer of masonry surrounding the flue tile of the chimney.  

Our specifications for masonry mass within a fireplace system far exceed the provisions of International Code.  According to code, where the fireplace and chimney come into contact with the structural framing, holding to the 8" minimum masonry mass requires an airspace of 2" between the masonry and the framing.  This can be difficult to maintain because masonry debris tends to fall into the void during construction, and this obviously creates contact.  12" of masonry allows the framing to abut to the masonry and 16" of masonry allows 4" of bearing on top of the masonry while being safely abutted with the 12" minimum of masonry between.

As for the 4" minimum of masonry surrounding the flue tile and composing the shape of the chimney, this is simply not structural.  Structural masonry is defined as 8" or more of masonry constructed in such a way as to have load bearing capacity.  When constructing chimneys, we build with an 8" minimum wall thickness.  Stream lining the bones of a structure to a bare minimum is fine for the bottom line, but the magic of artful building occurs in it's mass.  And it's no coincidence that this also provides substantially where posterity is concerned which, aside from being quite 'green,' is the responsible thing to do for future generations.  As I've said many times before, the chimney is a wonderful and often wasted opportunity to make an incredible architectural statement.   

These are the basics of how we build fireplaces and chimneys.  We are always grateful to Jim Buckley of 'Buckley Rumford Fireplaces' for playing such a big role in helping us develop a fireplace building philosophy that has consistently delivered staggering aesthetic and functional results.

I'm aware that I never quite got around to actually describing the critical flaw of the original Grove Park grand fireplace design.  I can't do all the work for you — visit Asheville — with a flash light.  It's a great city.  Try 'Salsas' for fine Caribbean cuisine. 

Fireplace and Chimney Design/Build Project for Dickey Betts of the Allman Brothers

Foundation work began on the Betts Hunting Lodge May 24th, 2011.  Normally, this stage of construction would be completed before we arrived on site to build the fireplace and chimney, but in this case we were also contracted to build the foundation because of soil complications.  This is obviously a very important part of the overall building process, but it is especially critical where the heavy, column like structure of the fireplace and chimney are concerned.  

We are not at liberty to say where the Betts property is other than the 'deep south,' and in this agriculturally based region the soil is very sandy with a high degree of variability in terms of compaction and bearing.  This required a spread footing for the fireplace and chimney of approximately 12" x  8' x 14' with #4 rebar placed on a 12" grid in the lower third.

We would normally recommend a reenforced, poured concrete foundation — concrete block was a building specification given to us during the planning process.

Architectural Awards Ceremony

Awards were presented to Owners, Builders and Architects at the Historic Commission's annual ceremony for  'Architectural Excellence.'  Mayor Bill Floyd is shown above presenting the 'New Residential Design of the Year Award' to my client Jack Daulton and myself.

From leftt : Bill Floyd, Jack Daulton, Clay Chapman

Design Award

The 'Daulton House' has won the City of Decatur's 'New Residential Construction Design of the Year Award.'

This Sunday, May 15th 2011, acknowledgements will be awarded by the City of Decatur at the First Christian Church of Decatur on West ponce De Leon Avenue across from St. Thomas  Moore.  The event is hosted by the Decatur Historic Preservation Commission, and Mayor Bill Floyd will be presenting.

Many thanks to Jack and Ninon Daulton for allowing us the freedom to interpret their vision and for providing the resources, confidence and constant encouragement to make that dream a reality.  If Architecture is preserved by the affection held for it, we have know doubt that this structure will serve many generations dearly, and be held deeply as an exceptional asset to the Decatur community for a very long time.  

Fireplace Emissions EPA Regulatory Debate

In August of 2010, I was contacted by BIA representative Bryan Light in regard to the EPA's proposed policy for on site built masonry fireplaces.  As written, the policy would have every site built fireplace constructed in the U.S. independently inspected and tested for emissions by an EPA-certified lab technician.  To the credit of the EPA, a forum of masons, material suppliers, designers and architects from all over the country was invited to participate in an open discussion concerning this issue.

To revisit my communication with the EPA on this matter link to the following blog page from October of 2010 :

http://chapmanarchitecture.blogspot.com/2010/10/invitation-to-epa-conference-call-over.html

I recently received the following email from Jim Buckley of Buckley Rumford Fireplaces based in Port Townsend, Washington:

Clay,

You may have heard that the EPA does not plan to regulate masonry fireplaces under NSPS rules "at this time". See http://www.rumford.com/emissions/index.htm

Thank you.  I think you helped a lot by showing the EPA your work and explaining what real craftsmanship is.

Hope you are doing well.

stay in touch,
Jim

Willow Decor features Peter Montanti's photography of the Pierce/Lee House

Photography of the Pierce/Lee House by Peter Montanti has recently been featured with Willow Decor.  This is the first time Peter's work has been shown with Willow.  Several years ago, he photographed the structural masonry house for a General Shale publication, and he did a wonderful job capturing both interior and exterior views of the dwelling.

More of Peter's work can be viewed at http://www.mountainphotographics.com/

The Pierce/Lee House was designed in 2001, construction beginning in the late Fall of that year.  Prior to ground breaking, we spent two months back in Tennessee milling the cypress timbers and lumber for the project and 9/11 occurred during this time — my generation's JFK moment.  It was a three year project that required a great deal of sacrifice from all parties involved, but more was gained than lost on many levels.  Four separate couples met and were married specifically because of this endeavor — this includes my wife and I.  Subsequently, all four couples have had two children and it's safe to say eight new lives exist because of the Pierce/Lee House.

We have also provided an extensive amount of photography which documents the chronology of the house during it's construction and completion phases; this is available on the periodarchitecture.com website at http://periodarchitecture.com/index2.php#/gallery1/7/

Willow Decor is a non-profit online journal, written and created by Gina Milne. The blog focuses on Gina's personal convictions about what she believes is pertinent to architecture.  Her critiques range from design to photography.

Go to http://willowdecor.blogspot.com/2011/02/dreaming-in-brick_26.html to view the recent Willow Decor post.

Trim Progress

Coffered ceilings of formal living and dining rooms. 

Sculpture niches in foyer.

Tudor in the Snow

My Birthday

Katie took me to Cirque Du Soleil this evening. We had sushi afterward, and spent most of the meal talking about the kids because that's what we do even after jumping through so many hoops to get away from them for a "date night."  We are incredibly blessed and I know how important it is during good times like these to remember moments that were less so — moments that, in spite of great pain, prepared us and shaped our capacities for empathy and love.  It is my strong belief that any talent we might have for happiness is reflected by our experience with severe personal struggle.  

  

Yesterday,  while walking through the Decatur commons,  I made a detour to the "Fallen Officers" monument at the steps of the original Decatur Court House.  I do this occasionally and did in this case despite the cold.

Tommy Gober was a Dekalb Police Officer killed in the line of duty in the summer of 1980.  He was my Mother's first born and my half brother.  It's difficult not to the play the "what if" game now that I've landed with my own family in the City of Decatur.  Our home in Oakhurst is only a mile or so from this monument.

I go down town almost daily for Coffee or to meet with friends at Leon's, or the Brick Store Pub.  The monument's proximity is always a comfort.

To all the Police Officers out there, I would have to say thank you for your sacrifice.

Christmas Day — Slate Color

The pre-snow rain that came early this afternoon washed the slate dust from the roof and revealed the subtle tricolor palette.  The darker slate is Vermont Black.  The lighter of the three is Unfading Green, and the color in between is Unfading, Mottled, Purple and Green.  In time, various lichens and mosses will contribute to a rich patina that will develop during the life of the roof which can be up to a century.  There are definite sustainable advantages to using slate for a roofing material and certainly no other product is more organic in origin.

Drywall Installation and Slate Progress

Living Room arcade after hanging drywall.  The couch will nest within recess of the central arch opposite of the formal cast stone fireplace.

The geometry of interior walls is truly defined once the drywall is hung. Complex spaces suddenly become simple and matter of fact.  The organic lines of the atrium Foyer weave into and through one another, forming an elegant composition that flows with a practical rhythm.  The intricacy of the clerestory room is a quick study visually with sensible ergonomic advantage.

Graduated slate progress.

Graduated Slate Shipment from Vermont

Thirteen squares of graduated slate weighing some 37,000 lb. arrived from Vermont today.

Agnes Scott College has generously allowed the occasional use of the neighboring driveway south of the Dauton House.  Staging within the confines of a city lot has been logistically challenging to say the least and this has been a valued co-operation.

Slater Manuel Avila beginning the installation process.  Manuel, an employee of the R. W. Stokes Slate Roofing Company, has been slating for more than 20 years and is personally featured in Joseph Jenkins' "Slate Roof Bible."

Framing Accouterments

Formal living room arcade framed.

Five sculpture niches within clerestory atrium, and barrel vault beneath radius staircase leading from Foyer to the Kitchen and Den.