East Hampton, New York

2021 - 2022 (in progress)

East Hampton, New York

2018 - 2022

The Village of East Hampton has many unique homes but the early timber frame structures are truly outstanding.  This is the early Hiram Sanford House located at 13 Egypt Lane.  It is a timber frame landmark.  This is the initial phase of a project to restore the 18th-century Cape Cod house as a guest house while a new house is built further back on the lot.

At present we are performing the select removal of interior finishes for structural analysis purposes and to provide an overall assessment of the timber frame structure for this discerning home Owner. Working closely with the Architects we have completed the asbestos remediation and are presently performing a lead-safe removal of plaster and related materials. This initial phase also includes the demolition of the non-historic additions to the historic house and removing the interior plaster to determine the condition of the timber frame and to learn what information about the house it contains. All existing windows, doors, woodwork and other historic features are protected during this demolition phase.

This initial phase will not affect any historic feature of the Sanford House.  The integrity of the house and its setting will be improved by the removal of the non-historic parts.  This is a recommended first step in planning a restoration of the 18th-century house.

East Hampton, NY

2021 - 2022 (in progress)

The water feature begins to take shape in September. The combination swimming pool, spa and aquatic life pond will transform the landscape between the Container House and the historic Timber Frame House.

East Hampton, New York

2018 - 2022 (in progress)

Often referred to as "Third House" in the Village of East Hampton, this original structure is probably one of the earliest houses in East Hampton.  One of the original saltbox type of early settlers.  The date of initial construction is c.1685.  The house is situated on Town Pond and faces the Old South End Burying Ground. Next door to this historic landmark is the recently renovated Thomas Moran House and Studio.

Notable features of this early dwelling are hand hewn sill with hewn beamed ceilings and corner posts, very special wide board pine floors, some early wainscoting, and original roof rafters fastened together with wooden "trunnels" or tree-nails.

Aymar Embury II (June 15,1880 New York City - November 15, 1966 Southampton) is the previous owner of the property.  Embury was an American architect best know for his work with Robert Moses for commissions from the City of New York.  He is known in East Hampton for the design of Guild Hall, just a short walk from this house.   Embury restored this saltbox in 1927 and designed the addition on the west side of the building.

During the 1927 renovation Embury noted that he believed there was another fireplace buried behind the north exterior wall.  It was never revealed.  Until today, July 10, 2017.  The three adjacent photographs show the fireplace made from hand-struck brick behind the north exterior wall.  The three hundred year-old wrought iron lintel is in good condition. 

Depended upon for heat as well as cooking, the fireplace of this early East Hampton home was of generous proportion and was naturally the center of domestic life.  This discovery provides evidence that the existing saltbox was built as a half-house.  The original chimney stack was built with this fireplace on the north elevation directly behind an exterior wall because the owner planned a future addition to the north side of the house. With the anticipated addition completed the exterior wall would be opened to access this fireplace.  The result would be a massive center chimney heating the entire house.

Demolition by hand continued on the original c.1685 salt-box structure.  The 30" cedar wall shingles shown in the adjacent photograph are made from Atlantic White Cedar.  The discovery of the original wall sheathing is quite remarkable.  The sheathing shown in the adjacent  photograph measures 22" in width.

The demolition of the non-historic addition was completed in mid-September.  Some might argue that a 1927 addition was historic on its own merits, however it pales in comparison when examining the original historic structure that was erected nearly 250 earlier.  New rafters were installed where the original rafter system was interrupted to accommodate the 1927 addition.

The adjacent images show the detail of the fabrication and installation by hand of the new sill system.  In strict adherence to the Secretary of the Interior Standards for the Preservation of Historic Buildings, the new sill system is comprised of 8"x8" white oak conforming to the exact specifications of the original 17th Century sill material.

The photograph of the new South Elevation sill reveals the half-lap joint that was fabricated by hand to facilitate the sill's installation above the existing stone foundation.  The new South sill is comprised of three sections with two half-lap joints.  One lap joint allows the new material to connect with the original shorter section on the southeast corner and the other to connect with another new section on the southwest corner.

An interior view of the new South Elevation sill, as shown in the adjacent photograph, reveals how the existing historic floor joists are mortised into pockets hand fabricated in the new 8"x8" white oak sill.  The same photo shows the original wide plank floor boards and wrought nails.  The plank closest to the exterior wall was carefully removed by hand to access the existing floor joists and accurately insert them in the mortised pockets in the new sill.

The complete removal of the non-historic addition along with the fabrication and installation of the new sill system meant we were ready to lift the historic structure to permit the repairs and replacement of the foundation.  A new poured concrete foundation will support the new addition. 

Guy Davis arrived at the site on November 30th delivering the steel I-beams and wood cribbing needed to lift the historic structure.  The first I-beam was installed alongside the South foundation wall. In fact, it was one year ago that we worked with Guy as he moved the ca.1699 Hoyt Barnum house over five miles underneath the Merritt Parkway in Stamford, CT, to it's new location at the Stamford Historical Society.  The Isaac Miller House will not be traveling as far, but the lifting of this historic structure is no less challenging. The steel I-beams, wood cribbing and interior shoring must be precisely positioned by the carpenters and laborers. This orchestration does not happen quickly.  All of the existing rubble stone walls will remain and be aligned with the new concrete foundation walls.

Ricardo Guichay began the excavation beneath the historic structure immediately after Guy Davis completed the lift.  Guichay's excavation accommodates the new basement beneath the historic structure as well as for the new addition.  

Amagansett, New York

2022 - Permits in progress

East Hampton, New York

2019

The Town of East Hampton purchased the Lion Gardiner home lot at the request of the village board in 2014, using money from the Community Preservation Fund. The lot includes the 1804 Gardiner windmill.  

In 2016 the Town issued a request for proposal for the renovation of this historic home to restore the Gardiner Mill Cottage to its 1880's appearance.  Strada Baxter Design/Build, LLC, was both the low bidder and the high scorer among all submissions due to our qualifications and experience.  The selection committee utilized a unique evaluation criteria for this project as the Town of East Hampton sought the highest-qualified contractor with significant experience in historic restoration who will undertake the project with specific named personnel who are demonstrated artisans in their craft and have significant experience.  

Plans call for the removal of non-historic additions, including porches and dormers, and the reconstruction of the original 1880 porch.  A kitchen wing is to be reconstructed, providing an entrance and bathroom complying with the American for Disabilities Act.

Town Supervisor Larry Cantwell executed the contract for the restoration of the Gardiner Mill Cottage with Strada Baxter Design/Build, LLC, on June 29, 2017. The formal purchase order was  issued on July 7, 2017.  Pursuant to the contract, "construction on this project shall begin immediately."

Demolition began on July 19, 2017, to remove loose items from the interior, as well as taking down the chimney in the original house and salvaging the bricks for re-use.  The existing chimney butt foundation is to remain.  The adjacent photograph shows the corner post with with mortised corner braces and wall studs.  The original wall sheathing is revealed as well when the lath and plaster are removed.  The crew is EPA-certified by New York State to assist in this lead-safe renovation.  Completion of the interior demolition is performed only with hand tools in strict accordance with the guidelines mandated for removal of lead paint and toxic coatings.  The Environmental Protection Agency's Lead Abatement Program regulations provide a framework for lead abatement, risk assessment and inspections. Those regulations include sealing off the work area with plastic sheeting and carefully containing and lead paint dust or chips which can cause serious health problems. We photographically record every step of this process.

The original joinery revealed in the adjacent photograph is typical of the conventional framing of this period.  Here the rafter joins the carved and cantilevered joist which rests on the front plate. This projecting or overhanging gable was a common feature of early work, as are the braces which join with the "gunstock" corner post shown in the photograph below 

Stony Brook, NY

2017 - 2022

On October 30, 2017 we entered into the agreement with the Long Island Museum to develop a Master Plan for use as a dynamic planning document that will provide a conceptual format for future growth and development. Our goal is to develop a phasing and implementation schedule and identify the priorities with the board of directors, executive director, and staff. This document will act as a framework for regeneration and attract private investment.

East Hampton

2020 - Deconstructed at Chauncey Close

Hampton Bays, New York

2017 - 2022

The original Canoe Place Inn burned to the ground on July 5, 1921.  The original inn predated the Revolutionary War.  The four-story replacement constructed in 1922 was the work of William Lawrence Bottomley.  At the time he was awarded the contract to design the "new" Canoe Place Inn, Bottomley was designing the new Southampton Town Hall, the brick building at the intersection of North Main Street and Hampton Road.  Until the fire at the Canoe Place Inn, Bottomley had only been designing Colonial Revival residences for some of Southampton's well-to-do residents.  In the early 1920's he entered a new phase of his career to include these two distinctly important commercial and government projects.  

Dick and I independently encountered Bottomley's work first hand in Southampton Village in 1998 and in 2006.  Years before forming Strada Baxter Design/Build, LLC, we were both drawn to a derelict building at 22 Windmill Lane, Southampton.  After numerous meetings with Richard Barons, then head of the Southampton Historical Museum, and Zach Studenroth, historic preservation consultant to the Village, we formally tried to purchase the building to completely restore it, but to no avail.  However, we did create the awareness needed to inform the community that this derelict building was indeed the c.1760 Henry Rhodes house. Rhodes built the house on the corner of North Main Street and Hampton Road, the exact site where Bottomley would build Southampton Town Hall about 160 years later.  In 1922, Bottomley orchestrated the move of this historic dwelling from its original site down the hill to its present location at 22 Windmill Lane.  We only discovered this link upon starting our research of the Canoe Place Inn.

BASELINE CONDITIONS ASSESSMENT - May 4, 2016

To establish an appropriate scope of work for rehabilitating the Canoe Place Inn, we studied the existing architectural fabric and historic photographs in the context of creating an overall design program.  We believe that during the removal of additions and alterations to the original building the Canoe Place Inn is likely to yield useful architectural evidence, which may impact both the final design and specifications.  This is especially important where the loss of a character-defining element has been assumed and based solely on visual inspection. 

The exterior architectural features of the Canoe Place Inn - its roof and walls, doors and windows, masonry foundation and chimneys, and decorative details - are visually indicative of the Inn's history and evolution.  They characterize several periods of construction and alteration, but the overall condition of the building is poor.  The reasons for this are due primarily to two factors: an original design intended to appear "additive" by incorporating complex massing beneath multiple roof forms and levels; and a later pattern of additions and alterations that overlooked the integrity of the entire structure and favored improvements that served more immediate needs and purposes.  The rehabilitation of these character-defining features is desirable with the objective of the project, which is to create a new and viable use for the Canoe Place Inn.

The interior of the structure has deteriorated due to vandalism, water intrusion, animal infestation, and the detrimental effects of aging caused by fluctuations of heat and cold.  A notable exception is the Dance Hall, an early extension of the original Inn which retains a relatively good level of integrity.  

Clay tile wall construction is exposed in selected areas; integrity appears very good.  This fire resistant material was used in constructing interior walls as well as supporting interior fire-breaks.  Structural wood framing (floor joists, roof rafters, sheathing and interior partitions) is intact except where compromised by water intrusion.  Some deflection in floor framing is observed on upper floors.

Decorative transom sashes in the Dance Hall are original among the character-defining windows.  Half-round dormer transoms appear intact.  Window sashes survive with examples of 8-over-8 and 6-over-6 observed as single-glazed, double hung.  Original casement type windows exist in the attic dormers.

As a first step in the removal of additions and alterations that detract from the historic appearance of the Canoe Place Inn and jeopardize its structural integrity, it was recommended that the narrow "connector" between the main building and the Dance Hall pavilion be removed. 

PERMITTED REMOVALS        February 17, 2017....

Pursuant to Planning Board Resolution #26159, the existing "connector" demolition permit was amended to include the demolition of the East,West and North walls and roof of the newer kitchen area.  The targeted demolition of the "connector" was completed in such a manner so as not to disturb or destruct other portions of the CPI building.  

ASSESSMENT OF HISTORIC FABRIC February 21, 2017

Our preliminary visual assessment of the exterior of the Canoe Place Inn suggested that despite many added layers of later, non-historic fabric, and the evident removal of original features such as gallery railings and window sashes, the basic form and massing of the c.1922 building remains intact.  this suggests, and was substantiated by interior assessment, that a substantial amount of exterior clay brick wall tile construction and interior framing such as floor joists and reinforcing diagonal flooring survives.  A thorough inventory of surviving architectural elements was performed to ensure that original features such as these are preserved to the extent possible in the rehabilitation of the building, and that representative features were identified as necessary to function as prototypes in the repair and rebuilding of the Inn.

The Canoe Place Inn has suffered numerous alterations and, more recently, deterioration through lack of use and maintenance.  Nevertheless, its hollow clay brick tile exterior wall construction (chosen in response to the former building's catastrophic fire) has proven remarkably resilient and resistant to decay.  Now exposed in large areas where the matrix of internal wooden supports for the interior wall surfaces can be studies, the clay tiles appear structurally sound.  Similarly the interior joist system composed of over-scaled 3"x12" sawn fir floor joists appears sound wherever they are exposed.  The joists support a layer of sub-flooring consisting of diagonally laid boards which are typical of the period and help to reinforce the internal framing system.  A majority of the flooring that is now failing appears to be the upper layers, typically a thinner veneer of decorative woods more vulnerable to water penetration and fluctuations of temperature.

In addition to the masonry exterior walls and internal wooden structural frame, significant architectural features of the original 1922 Inn survive, including numerous window sashes, doors and door hardware, stair railings and balusters, and mantle pieces.  These character-defining features will be preserved in situ, recycled into other applications, or employed as design prototypes for the new work.  Several window types are preserved: 8-over-8, 6-over-6, and decorative ovals and semi-circular sashes.  The munition profiles, frame assembly and other details of design and fabrication reveal these windows to be original to the Inn as reconstructed in 1922.  Door and door hardware, both of the paneled type as well as louvered are preserved in great number on the second and third stories of the building, and are also original.  Two staircases preserve stair railing and turned, tapered balusters typical of Colonial Revival design.  And three mantle pieces, tow on the first floor and one preserved on an upper floor, are characteristic of the period.  These features not only help to date the Canoe Place Inn, but also enhance its value as a Colonial Revival building of significance to the region.

Excellent examples of character-defining features of the Inn as reconstructed in 1922 are the semi-circular sash on the South Elevation dormer and the adjacent decorative oval sash on the gable just below it.  The semi-circular sash is functional with a pair of hinges at the base of the sash and a spring-activated latch at the top aligning with the center muntin.  Regrettably the decorative oval ssh has been destroyed and is picture here on the floor beneath the plywood panel sealing the open window frame.  Although unlikely, further study will reveal whether or not the decorative oval sash was functional. 

The round-top sash appears on the South Elevation in two groups of three affixed to dormers as an important feature of the historic fenestration plan.  This round-top detail was original a functional part of each casement window opening outward.  Over the years the circle top was fixed into its current position and then detached from the lower section of the casement, which was then replaced with a modern double-hung unit.  The muntin profile and frame assembly of the round top will provide sufficient dimensional information to facilitate the reproduction of this unit including the trim based upon the original design.

The brick chimneys are original and characterized by red brick laid in a common running bond.  The hard cement mortar has caused sporadic spalling, especially on the west side chimney, which rests on grade.  The visual loss of some brick surfaces does not appear to affect integrity.  A character-defining detail of the chimneys is the arched chimney type.  Although they may require repointing or reconstruction, it is essential that the arched chimney tops remain.  The final report by the structural engineer prior to the issuance of a building permit will confirm their condition.  

Character-defining features of the Pavilion include the round sash and semi-elliptical arch windows.  The munition profiles and frame assemblies for both types of sashes are readily copied using the original units as templates for reproductions.

The acoustics in the Pavilion's rotunda are unique to the existing structure.  The rotunda truly defines the form and function of the space but possessing this audible character adds yet another dimension to this preservation effort.  The rotunda and accompanying architectural embellishments should be retained in situ, and not be modified.

Our assessment of the historic fabric recommends the protection and preservation of these and other character-defining features be made a priority of the rehabilitation of the 1922 Canoe Place Inn and the early extension of the building known as the Pavilion.  It should be noted that these features, including those that may yet be identified during the rehabilitation process, are inextricably linked to the original design of William Lawrence Bottomless and reflect his response to re-create the Inn after the former building's catastrophic fire.

EXISTING CONDITIONS OF THE COTTAGES - February 20, 2017

The ten-year period between the Schmitt Engineering CPI Cottages Report and our baseline assessment of the same Cottages developed in February 2017 reveals the serious deterioration of each of the Cottages due to the lack of any repair and maintenance program, consistent vacancy and routine vandalism.  Cottages #1, #2 and #4 have no unique architectural features that warrant further investigation.  In 2007 Schmitt fund "serious questions regarding the (then) current structural stability of Cottages #1 and #5."  We certainly concur with this observation.  We believe that Cottages #2 and #4 now belong in that category.

Cottage #3, however, possesses limited character that should be considered in the future architectural plans to replace it.  Specifically, the unit possesses a unique front door with true divided lite panels along with an interesting transom above, which should be salvaged or replaced in kind.  the 12-over-12 windows also offer character definition that allows Cottage #3 to standout among the other four.  The original mantelpiece should be retained, if not restored in situ, and the baseboard profile be reproduced with new materials.

Cottage #5 possesses a unique front door in a style typical of the Inn with true divided side lite panels.  

Hampton Bays, New York

2021 - 2022

Amagansett, New York

2020

This early Amagansett barn is situated close to the Atlantic Ocean and was once the home of purebred Suffolk sheep. More of the history to be added with permission of the owners.

East Hampton, New York

2020 - 2021 Completed

Wainscott, New York 

2015 - 2018

The Georgica Windmill was originally built on Mill Hill in Southampton in 1813 near other windmills in an area adjacent to Windmill Lane and Jagger Street in Southampton Village.  In fact, the new windmill was owned by Jeremiah Jagger and Joshua Sayre.  During its history the Georgica Windmill was sold and moved several times.  The first move to Wainscott was just before the Civil War.  Cornelius Conklin applied to the Town trustees for permission to "set a windmill on common land" in Wainscott.  The mill was once owned by Nathaniel Dominy VII, who owned the Hook Windmill and Pantigo Windmill at that time.  The mill was last operated by George Grimshaw of Osborne, Hand & Company.  By 1912, the windmill had become the Wainscott Public Library, with sails and fantail intact.

The story gets very interesting in the period leading up to World War II.  Latham Brown purchased the mill in 1922 and moved it to Montauk where it became part of a cottage he built on the cliffs just west of Montauk Lighthouse.  In 1942, the United States Government purchased Brown's property as part of the Camp Hero development of a military facility.  Brown gave the windmill to the Georgica Association, a private residential association in Wainscott.  George Wilson Pierson described in his book, The Bringing of the Mill (1942-1943), the story of his effort to move the windmill from Camp Hero to its current site in the Georgica Association in Wainscott. 

Imagine Pierson's effort to deconstruct this historic windmill with its machinery, wind shaft, brake wheel, sails and timber cant posts and transport it in four sections of two bays each.  It is reported that when these were being erected in Wainscott, one section fell apart.  

The part of the Pierson story that has always remained a mystery to me is where did he find the fuel to power the truck to bring the windmill to Wainscott from Montauk. One might easily understand Pierson's motivation to save this historic structure, but at the height of fuel rationing during World War II, how did he actually do it?

Hampton Bays, New York

2016 - 2017

The Lyzon Hat Shop was run by Hampton Bays milliner Walter Howard King.  King designed and created high-fashion women's hats which were adored by the wealthy and royalty.  Originally built on the other side of Main Street in Hampton Bays, this building served as a shop for truly one-of-a-kind hats.  Today this c.1850 historic building will be enjoyed for generations to come thanks to the Town of Southampton's  preservation effort .

The original contract was awarded to Strada Baxter D/B, Inc, as the low bidder on May 27, 2015.  The architect of record is Chaleff & Rogers of Water Mill, NY. We originally thought that the work would begin immediately, however the Town requested that we not begin until the 4th Quarter, 2015.  Work began that October with the site clearing, scaffold erection and shoring/bracing to accommodate the hand demolition process.  Rough carpentry began two weeks later.

We discovered that the abandoned building required additional structural work to support the new work that was to follow.  We repaired the East and West rafter plates, repaired corner posts and walls, rebuilt the front porch walls and the North sill plate.

In mid-December 2015 we started the excavation for the new foundation.  The plan was to move the historic building further away from Montauk Highway. New concrete footings and foundation walls were poured during mild weather at the end of the year.  Guy Davis showed up at the site on New Year's Eve to begin the process of lifting the historic house onto cribbing as a precursor to moving it onto its new foundation.

Early in January 2016 Maurer & Shepherd Joyners, Inc., began the hand fabrication of the new 48-lite front shop window to match the original which we restored in place.  Attention to detail was painstakingly applied to create the new window, matching the muntin detail, trim and jamb.  The result is that you can hardly tell which one is the recreation.  The restoration glass used in the new window matches the original historic window quite well.

On March 30, 2016, Guy Davis returned to the site to move the historic structure onto its new foundation.

Once placed upon its new foundation additional brick was installed around the perimeter of the concrete foundation walls from the grade level to the sill.  The new electric service and the rough installation of the new HVAC system were installed.

The interior finish carpentry included creating a new arched ceiling on the second floor.  A finish skim-coat would applied to the surface of the curved ceiling to match the original plaster ceiling that had deteriorated over the years.    New interior stairs to the basement were added.  Window restoration was completed in July 2016 and the historic house began getting noticed by the passers-by.

Later in the Autumn 2016 the new interior doors were fabricated by hand in our Amagansett shop.  The interior painting began at that time.  New cedar shingles were installed on the exterior walls and roof. Sheetrock was installed, taped and speckled. With the electrical and plumbing now completed our attention turned to hand-finishing the interior.  The majestic, original staircase was repaired and refinished to match the original specifications.  The wood flooring was repaired and refinished.  The new ADA bathroom was tiled in early March 2017 and we turned the finished project over to the Hampton Bays Historical Society in April. 

Stamford, Connecticut 

2017

Early on Sunday morning, November 6, 2016, the c.1699 Hoyt Barnum House was moved from its original location at 713 Bedford Street to the site of the Stamford Historical Society on High Ridge Road in Stamford, CT.  The city politicians determined this was necessary in order to accommodate the construction of the new police station.  

We have worked with Guy Davis on some pretty interesting projects.  Disassembling the historic house into two pieces and moving it five miles passing underneath the Merritt Parkway required the right amount of experience and magic that Davis Building Movers bring to any project.

This move started at 5:00AM on the day that Daylight Saving Time ends and was completed before noon.  There were the usual arguments over permit technicalities that typically down the start of such a project. The State Police were determined to control the event wherever it crossed onto land that was in their jurisdiction.  Cutting the roof off to allow the structure to go underneath the Merritt Parkway was a critical step.  

The house has a remarkable history and is representative of the Second American Building Period, post 1675.  The people who built the house were the children or grandchildren of Stamford's founders.

Southampton, New York

2015

Pyrrhus Concer's house was demolished, but it will rise again.  The little white house, shown second from the left in this vintage photograph of Lake Agawam, became the subject of a very contentious legal battle between the new owners wanting to develop the property at 51 Pond Lane and Southampton Village officials.  Mayor Mark Epley arranged for us to have access to the building before the demolition would occur to determine the historic nature of the structure.  Others before us had entered the building to make the case that the building was not historic at all and should indeed be simply torn down.

We did not agree with their assessment and set about to prove that this home of the once former salve, whaling seaman and ferry captain was indeed historic.  

We discovered that the previous inspectors overlooked the broad-ax hewn sill system around the original perimeter of the house. They also neglected to examine the original framing as well.  We uncovered the original early 19th Century framing and most of its history.  There had been a fire in the house, perhaps somehow related to the fireplace or chimney.  An early addition was constructed on the north side of the house.  This addition was constructed with reciprocally sawn timber that was typical of the 19th Century.  All of the original roof rafters were removed to accommodate a raised second floor in the 20th Century, except for the only remaining pair of rafters on the north side of the building.  This surviving rafter pair proved to be the first clue in discovering further historic architectural details of the original structure.  It became clear that the original rafter plate was now disguised as a chair rail on the second floor.  The original plate revealed the methodology needed to attach the missing rafters, indicating their original common position with uniformly carved notches in the plate.

Pyrrhus Concer, born a slave in 1814, earned his freedom by joining whaling missions around the globe.  As a whaler, he and his crew sailed the Pacific Ocean aboard the S.S. Manhattan where they once came upon a distressed Japanese fishing vessel.  Concer's crew heroically rescued the vessel's sailors and returned them to Tokyo.  Pyrrhus Concer is remembered as a hero in Japan and is considered to be the first African American to visit Tokyo.

East Hampton, New York

2016

The Pantigo Mill was built for Hunting Miller in March of 1804 by Samuel Schellinger.  Ownership of the mill changed over many years and the wind mill was moved to the corner of Pantigo Road and Egypt Lane.  It remained at that site for over seventy years before Gustav Buek purchased the mill and moved it behind Home Sweet Home, the most distinguished "lean-to" in East Hampton on James Lane.  The house is believed to have been built around 1720.  The setting of the Pantigo Mill and Home Sweet Home adjacent to the Mulford Farm defines the historic center of East Hampton Village.  The Mulford Farm is considered one of America's most significant, intact, English Colonial farmsteads.

The Village of East Hampton began extensive repairs to the Pantigo Mill in 1984. Our work shown here involved removing and replacing Cant Post #1 along with repairing the tenon of the lower brace.  One-inch thick random width white oak sheathing was installed beneath the new course of 24" Royal cedar shingles at 10" exposure and weaving the corners of the new and existing shingles together. 

Southampton, New York

2014

The Isaac Sayre Barn was likely built during the first decade of the nineteenth century when Col. Benjamin Huntting and his heirs owned the home lot on the corner of Main Street and Hampton Road in Southampton Village.  The barn would have been part of a substantial farm that supported the family, their servants and slaves in two households and may have also contributed to provisioning the family's Sag Harbor whaleships.

Captain Isaac Sayre purchased the home lot about 1825 from the heirs of Col. Benjamin Huntting.  Captain Sayre was born in Southampton in 1789, the son of Isaac Sayre (1756-1838) and Jerusha Halsey Sayre.  Like many young men on the South Fork, Isaac Sayre sailed from Sag Harbor on whaling expeditions.  By 1820, at the age of 31, he commanded the ship Argonaut on a whaling voyage to Brazil.  Following a second successful expedition as captain of the Argonaut from June 1823 to April 1824, Isaac Sayre married Eliza Jacobs and purchased the Main Street home lot.

The characteristics of the barn's timber frame indicate that it was built in the first quarter of the nineteenth century.  It is likely that the barn was built by Col. Benjamin Huntting or his heirs, but it also may have been built by Captain Isaac Sayre shortly after he purchased the Huntting home lot about 1825.  Because of the barn's certain connection with Isaac Sayre and the long period that is remained in his family, the barn can be referred to as the Captain Isaac Sayre Barn.

The Sayre Barn is an example of the English barn that was the standard type on eastern Long Island during the eighteenth and nineteenth centuries.  These barns had three bays with large barn doors opening to the center bay which had a plank floor. Wagons were driven into this center bay, their cargo of hay or unthreshed grain unloaded, and then driven out the opposite doorway.  The center wood floor was also used for threshing grain.  The bays flanking the center drive were usually unequal in width, with the wider bay being the hay mow and the narrower bay being quarters for livestock with a loft above.  Captain Isaac Sayre's farm is documented by the Agricultural Schedule of the 1850 Federal Census and the 1853 inventory of his estate.

East Hampton, New York

2014

The Isaac Osborn House at 88 Newtown Lane in East Hampton Village was once surrounded by hundreds of acres of farmland.  It is hard to imagine this 1,800-square foot house situated on so much land.  That was in the 1840's when the house was built by Isaac and his brother, Joseph, who lived across the dirt road, now one of the two main arteries of the historic Village of East Hampton.  The Village purchased the historic house from Adele Lamb, a descendant of Isaac Osborn, to preserve the building and provide additional office space for local government officials.

The house was in relatively fine condition considering the age of the structure.  Work began as it usually does with the removal of architectural details that were not relevant to the original historic structure.  First the front porch was removed, followed by the front and rear dormers, allowing 21st century viewers to see how it was build in the mid-19th century.  The roofline was brought back to its original appearance.  The Doric-like framed doorway and matching fireplace, staircase and wide plank flooring remained intact.  The unusual concave windows in the original kitchen remain unscathed.  Several of the original windows were repaired and new exact copies were reproduced by Maurer & Shepherd Joyners of Glastonbury, CT.  New front steps were quarried from Ohio by Briar Hill Stone Company. The Ohio sandstone is a burgundy brownstone with a sand sawn smooth finish.  The cedar roof shingles are 18" Western Red Cedar Perfections and the siding is 24" Alaskan Yellow Cedar with a 7" exposure.  The correct hot-dipped galvanized common cut nail from Tremont Nail were used to install them.

Today, the Isaac Osborn House is the office of the East Hampton Village Director of Historic Preservation. 

New York, New York

2014

American Academy of Arts and Letters

On Sunday afternoon, April 13th, 2014, at three o'clock at the American Academy of Arts and Letters, the Charles Ives Concert began in the auditorium at 632 West 156th Street in New York City.  The concert was devoted to the music of Charles Ives, a unique 20th Century American composer, to celebrate the opening of the newly recreated Charles Ives Studio and an accompanying exhibition in the galleries of the American Academy of Arts and Letters.  The studio is a faithful reproduction of the room originally located on the ground floor of the Ives home in Redding, CT, where Charles Ives worked for the last forty years of his life.  There, on the studio's modest upright piano, he composed and finished several of his major works, including Three Places in New England, The Fourth Symphony, The Second Orchestral Set, The Fourth Violin Sonata, and about forty songs.

Read more on the American Academy of Arts and Letters website https://artsandletters.org/exhibition/charles-ives-studio/

Eighteen months earlier, Pi Halsey Gardiner, the executive director of the Old Merchant's House in New York City, suggested to Virginia Dajani, director of the American Academy, that Strada Baxter Design/Build was the right choice for a very special restoration assignment.  The goal was to surgically remove, piece-by-piece, artifact-by-artifact, the original contents and materials comprising Charles Ives Studio in his Redding, CT, home and faithfully recreate it at the American Academy of Arts and Letters in New York City.  So began the working relationship that we so truly enjoyed as part of the team assembled by Virginia Dajani and Harry N. Cobb, founding partner with I.M. Pei of Pei Cobb Freed & Partners, an international architectural firm based in New York City.  Working with Harry was delightful, somewhat challenging but always focused on the seamless transition of Ives Studio exactly as Ives would recognize it today.  The New York Times summed up or process as "Ives' Connecticut Studio is resurrected in New York, Inch by Inch."  

James Vincent Czajka, project architect, Dick and I worked tirelessly to capture every detail of the existing studio, right down to Ives' pencil sharpener with its content of lead shavings from 1954.  Ives lived in the modest house in Fairfield County from 1914 until his death in 1954.  The accompany photograph depicts the collage of ideas, paperwork and newspaper clippings that Ives attached to the inside of the Studio door, where they remained until we packaged the doors by hand, crated them before driving them to the Academy where the exhibition curator would carefully restore the documents.  Our work at the Redding Studio over the course of many months was at times hair-raising and, on one occasion, deeply saddening.  One very cold Thursday evening, working with only incandescent lighting, Dick surprised by by playing Ives' Unanswered Question on his iPhone.  You could feel Ives presence in the room.  Then there was the horribly saddening experience on December 14, 2012.  We drove to a nearby deli for lunch only to become glued to the television report of the shootings at the Sandy Hook Elementary School in the next town, Newtown, CT.  The magical moments of working in Ives Studio ground to a halt as the noise of sirens and helicopters filled the air for the remainder of the day.

East Hampton, New York

2014

Amagansett, New York

2014

Sag Harbor, New York

2015

Built in 1845 by the prosperous whaling merchant Benjamin Hunting II and designed by Minard Lafever, this unique historic structure is an elaborate Greek revival houses with its temple-front portico and fluted Corinthian columns.  Lafever designed the roof line with a row of decorative crenellation in the form of alternating flensing knives and blubber spades to reflect the source of Huntting's fortune.  An enormous pair of whale jawbones frame the front door as you enter the building and immediately encounter the elegant spiral staircase leading upward to a domed skylight.  The AIA Architectural Guide defines it as "Long Island's finest example of high style Greek revival architecture."

Our scope of work focused on the restoration of original architectural details that were seriously deteriorated.  From the base of the original fluted Corinthian columns to the perimeter fascia, we reproduced the new wooden components to match the original details.

Shelter Island, NY 

2013

The Smith Taylor Cabin is modeled after a classic Adirondack style log cabin.  Taylor's Island is located in Coecles Harbor on Shelter Island, New York.  The original cabin was built around 1900 by Francis Marion Smith of 20 Mule Team Borax fame.  The island is actually a tombolo, from the Italian tombolo, derived from the Latin tumulus, for a deposition landform in which an island is attached to the mainland by a narrow piece of land such as a spit or bar.  Once attached, the island is then known as a tied island.

In 1937 Gregory Taylor (Soterios Gregorios Tavoulares), owner of the St. Regis Hotel in New York City, purchased the cabin and added a bedroom, bathroom, kitchen, foyer and the landmark tower with catwalk.  

The cabin was added to the New York State and National Register of Historic Places in 2007. 

Southampton, New York

2012

On August 28, 2011, Hurricane Irene made its ninth and final landfall in Southampton causing widespread destruction in its path.  One casualty of the seventh-costliest hurricane in United States history was the Blacksmith Show at the Southampton Historical Museum. The storm ripped through the East End and along the way split open a rotted maple tree standing behind this historic post and beam structure, the E. & C. Bennett Blacksmith Shop.  The giant maple struck the ridge of the structure and completely flattened it.

Tom Edmonds and the board of the Museum brought in Strada Baxter Design/Build to rebuild the structure as it originally looked and also to use as much of the remaining original materials as possible.  Adhering to the strict guidelines of the Secretary of the Interior Standards for the Preservation of Historic Buildings, the reconstruction effort incorporated as much of the original materials as possible and included new, like-kind materials in white oak to complete the project.

The original doors survived intact, but the curved door frame was destroyed.  The new frame was made by steaming the wood in order to shape it to the geometry of the original doors.  While the blue-green paint was most likely a later addition, the Museum decided to keep it on the doors as a remnant of the building's most recent incarnation.  The original facade, now constructed from new oak, was not painted.  The shop's one window (to keep the interior relatively dark so the blacksmith could gauge the temperature of the metal through its color) had to be reconstructed on the building's south side.

The new structure has incorporated the remaining original siding and timber frame posts, and as much of the original floor joists and planks as possible.  The posts and beams were blended into the structure with new white oak using traditional mortise and tenon techniques with wooden pegs, referred to in Olde English as trunnels, or tree nails.  The siding was attached using spline joints, which are consistent with 18th century building practices.  

Bridgehampton, New York

2012

Bridgehampton, NY

2011

2010

Southampton, NY

2008

Sag Harbor, NY

2006

Built in 1880 by C.F. Stillwell, who signed and dated the attic window, this Sag Harbor house was locally known as one of the original Bulova Watch Case Factory residences. The noted 19th Century watchmaker opened a manufacturing operation just a few blocks away in a three-story brick building in this historic village known for its whaling and maritime activities. The exterior clapboard siding was maintained where possible and precisely matched with new customer cedar where necessary.

The original window sashes are all 2/2 except for the three original ground floor windows facing East Union Street which are 7’-6” high 6/6 true divided lite windows consistent with the 8’-6” first floor ceiling height.

Sag Harbor, NY

2008

This unique residence was originally built on Elizabeth Street in 1860 as a true Greek Revival style home with its recognizable pediment and gable end facing the street. The paneled pilasters, or corner boards, are not as pronounced as those on the off-center entry with its flat pilasters and entablature with side and transom lights. The front door, as well as other interior and exterior doors, is constructed with a five-panel design and not the typical four-panel which was common in the area at the time.

In 1971 the house was move to its current location at 11 Hight Street.

This second image is of a photograph taken just before the house was to be moved. The local school grounds were expanding and it was in the best interest of the community to move the house. Remarkably it was not completely demolished. The vertical line shown on this photo is drawn through the middle of the house using a ball-point pen and along with the hand written text indicates what part of the house was “to be moved” and what part was to “be torn down.”

The third image captures the journey along Route 114. Note how the porch was removed and the house was sited at it present location without rebuilding the porch. Others have suggested that a portico should be added to the present facade, but I have resisted simply because there is no historic proof that anything but this porch ever graced the front entrance to the house. We also know that his porch was added years after the house was originally built and is inconsistent with the original Greek Revival design details.

The remaining images capture the results of our restoration and renovation work.