Take, for instance, Toronto's Old City Hall at the intersection of Bay Street and Queen Street West. Four gargoyles fashioned in cast bronze over an inner sup- port structure of stainless steel thrust out from the clock tower, commanding the eye upwards. The original stone sculptures weighing approximately two tons were removed in 1938 when one broke loose from its perch, piercing the roof and penetrating the attic. Their reconstruction completed in 2005, part of a four-phase five-year long restoration, entailed a painstaking and exacting process. However, when the scaffolding came down, the gargoyles profiled against the sky bear testimony to the signal role sheet metal fabrication plays in preserving Canadian culture and history.

The entire project, including the replacement of the copper roof and original architectural embellishments was completed by Heather & Little Ltd., Markham, over a five-year period by a team of over 30 roofers, carpenters and sheet metal workers. The 173,600 sq. foot roof with a 75-degree pitch posed a daunting challenge. Working from bosun chairs attached to rope falls, the team installed, in total, 108 tons of sheet copper and over 20 tons of sheet lead. Historical restoration is executed , most often in sheet copper, the traditional material of choice, but more recently zinc, and to a lesser degree stainless steel and titanium, have begun to play a more pronounced role, particularly in new architectural forms.

Metal Work Combines Art and Utility

According to Cameron Forbes, vice president of Heather & Little, working on historical projects straddles the territory between art and utility.

"When you think along the lines of architectural metal, think 'originality'," Forbes said. "Every job is a one-off, work intensive project demanding meticulous handiwork. The craft component has a direct link back to the guild work of artisans who originated the trade."

Here lies the core, the original artistry distinct to the sheet metal trade. In the face of automation and computerized technology both experts agree, there is nothing that takes the place of hand soldering, trimming and fitting to fashion the intricate details of an original structure.

As Frank Baxter, president of Semple-Gooder Roofing Limited, Toronto notes, "Of course we have mechanical benders and brakes, but the majority of our work is meticulous hand work. There is no way to mass-produce parts required in an authentic historic restoration. We have no choice but to fashion parts that replicate the intricate detail that originally went into these structures."

Indeed, Semple-Gooder and Heather & Little are responsible for some of the best examples of historical replication and restoration around, testimony of their expertise and longevity.

Sometimes, executing historical restoration means working with heritage machinery. Baxter recounts how his company acquired a 150 year-old crimping machine from the west coast that had been stored at the back of an old factory for decades. Once refurbished and modernized, the machine allowed Semple-Gooder to create the look of carved stone used in some heritage façades by crimping metal and coating its surface with adhesive and sand. The restored surface and metal work at BCE Place apd St. Joseph Street close to the University of Toronto in downtown Toronto bear witness to this operation.

Different Approaches to Restoration

According to Tom Shreeve, Semple-Gooder's manager historical restoration, the beauty and challenge of architectural metals lies in their appropriate application in any given project.

"Historical restoration is accomplished in many ways," he explains. "Sometimes all we have to go on is a photograph or a line drawing in cases where parts of the structure have been removed or damaged. In other cases we are able to remove the damaged metal pieces and use them as patterns and repair and reinstall them."

In Shreeve's view the challenge of quality historical restoration lies in understanding what details have worked successfully and what details require reworking, based on existing conditions to develop a solution that will stand the test of time.

One such project involved completely restoring the Ontario coat of arms gracing the gable above the Federal Building in Peterborough. Over time, the 22 foot wide structure, a perfect perch for local pigeons, had become substantially corroded and discoloured. Semple-Gooder created a completely new coat of arms using lead-coated copper fully soldered to resist the elements, sending out the completed structure to be painted in its original colours before reinstallation.

The demand for historical restoration is international. According to Forbes, "Projects have taken us across North America, to Bermuda and as far as a temple roof in Hong Kong. We have even received requests for work on Buckingham Palace." The nature of this work runs from the most modest, a simple galvanized tin planter box, for instance, to the most intricate. Here, Forbes gestures to the 12-foot hand-beaten copper statue of the Goddess of Justice gracing the lobby just outside his office; The original replacing a damaged stature at the entrance to the Trumbull County Court House in Warren, OH, took 20 sheets of 24-oz. copper and hours of custom handwork to complete.

The R.C. Harris Filtration Plant located in the Beaches area in Toronto, is a breath-taking example of historical restoration with a modern component. Built in the 1930s, the massive structure is a classic example of Art Deco architecture complete with Egyptian tower and Byzantine façade. Named variously, a sparkling jewel by the lake, a Palace of Purification (for its lavish attention to detail, brass fittings and marble floors) and celebrated in Michael Ondaatje's novel In the Skin of a Lion, the building is designated a National Historic Civil Engineering site.

Quality Restoration Requires Contemporary Approach

Semple-Gooder was hired to remove its copper roofing, install skylight trimmings integrated with a glazing system and to install the new roof conforming to exacting original detail. Ironically the original roofing was installed by Heather & Little Limited.

"The challenge with a t project like this is to maintain I the original integrity of the design while installing contemporary components under the surface to bring the building up to today's 'standards," Baxter explains. "The job is much more complex than simply putting on a metal surface. Underneath the heritage shell lies a combination of waterproof membranes and perma-barriers that make the structure more energy efficient than it ever was."

The creative aspect of the work entails working closely with the architect. As both Baxter and Forbes point out, most architects are adamant that the shape and material of the object being restored maintains the original integrity of the whole.

As a result, we produce hundreds of dies; we never throw them away, " Forbes said. "Our work often begins with the reconstruction of a tiny section of the overall structure. It might be part of the coping in the top of a parapet wall or a weather beaten dentil, cornice or finial."

Honouring Tradition In Sheet Metal Work

Central to the successful historical restoration is a consistent effort to remain on the cutting edge of the industry. Architectural metal has always been an expensive proposition.

"One hundred years ago, man-hours were negligible whereas copper was highly valuable and consequently very expensive," Forbes points out. Today, the inverse is true. Working at the cutting edge from Baxter's perspective means using the best of safety equipment.

"It's a humbling experience to restore the surface of a spire from the comfort of a scaffold platform; you gain a deep-seated respect for the craftsmen who put the original roof in place - without the benefit of modern safety equipment," he said.

Indeed, the very demand for historical restoration preserves time honoured traditions of sheet metal work.

In crediting their teams of highly-skilled technicians and crafts persons Baxter and Forbes agree, "Our foundation is built on the qualified sheet metal worker. What we bring to the table is the knowledge of current materials and modern technology tempered by our track record in history and craft." The landscape, domestic and international, is dotted with indisputable evidence.

Note: Many thanks to Frank Baxter and Cameron Forbes for the generosity of their time and for the illuminating plant tours that revealed the degree of intricacy that goes into architectural metal work in historical restoration.