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Building a Victorian Style Breezeway

Bob points out that Victorian cottages had camp-style exposed framing in the old days and Ryley is attempting to recreate this look with modern attributes. They are using straight grain fir for the framing as it is a higher grade than most framing materials and will hold paint better. Next step is bead board sheeting to look like Victorian paneling. On the outside where in Victorian days builders would have attached the shingles Bob is installing rigid insulation. He puts on two layers perpendicular to cover the seams. Then Ryley and Bob nail a layer of plywood sheathing to the outside.
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Building a Victorian Style Breezeway

  computer-generated transcript - may not be 100% accurate

" Back in Victorian days when they felt very temporary summer cottage very often you would see the interior -- that were exposed. And you you know get a beautiful feeling connect kind of how that we're going to try to recreate that -- today you have to insulate. So we're going about it have been -- in a convoluted way right Ryley thats right you've already got these these got to outplay and what's special about these welcome have a rusting as Matthews are. Which isn't stock enemy law straight grain sort of weak Iraq is a better quality than we normally get what you -- petrified Brewster about bloody time. And it's first going to be exposed we want good looking what. Right we can they had to go outside reality inside which is what you're going to be -- in Tennessee a minute minute when we -- addressed stamped on the outside is solid well bison Ted yeah yeah. Because it's not gonna be exposed now we read -- take up salads. -- that does -- Iraq -- well all right in agony aunt Sharon and and it. -- that. Went -- going to Britney. Is it. Good that are -- All right put that despite this way. And in a minute we get started with a group of OK we're doing oven nailing of the blocking from the backside so that would accurate -- stud work. It's free of any nail exposed to it but we want to see it just been nailed and then the boards want to hold up one of these. Is that what you call one by six time. But it bead board -- at that routed out look in port on the edge what that tongue next receives. And beckoned me. The heat is replicated. Every four inch or so and who really take on the look of Victorian and now out of this we're still the 1890s we'd be finished we'd be ready to bring in the painters because -- but. That we have energy constraints nowadays are going to be using some rigid insulation. Polly I Sosa and you rate this is one inch thick. And what we'll do it will simply tack it right over this they're using six penny nails. And we want to get them right along that line up right there which will respond with our. Blocked inside. We just need water to now that they -- little place but another one up on top. But to me a little. And now -- being right it's when a second layer and reverse the direction. So that. We go right over our team. And we don't have to use any -- Or any other material there. Okay -- the insulation in place we've given ourselves the guide for nailing the plywood -- dot. About what we're gonna find the first got here we know we have a sixteen inch layout so every sixteen inches that yes it's good bits of vertically so we'll be nailing. Through and into the stud -- tried to put any pencil marks on the on the oil not OK you ready to write well -- have. Top and she goes on -- right to grant this line yeah I'm good right then and there. Okay -- started right here yeah that's going to be the top part this. Undertaking sixteen penny nail. I just let her -- And driving it just happened why -- but it going there to answer the boat before it into the stud that you just did it. They don't want to hit so hard. Sixteen penny spike in it and we're done. And Ryley how are -- an affair with a wind blew them up. I'll probably know the windows that would -- at a inside. Well there's a lot to building a wall like this but down the effect -- real neat by right and now we've got 123. Square windows there's a north facing wall I didn't want to having big windows. And you -- and it's going to cut it open there aren't going to -- that it -- strike and -- The blade and read in the corner that it's."

" OK. And and."

" Now. Another one at the top yeah. -- work words. Okay here. Fabricating. Okay -- and it should be -- And now you've set the blade for just to happen inch and I got a little picketing it and then insulation if the -- OK but the plywood that it happened -- that's right."

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Discussion of the Home's Floor Plan
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Bob looks over the plans for the project with GC Charlie Tomaszewski. The carriage house (once the dairy building) and the main house will be joined by a breezeway. The side porch of the house will be expanded into the kitchen space. The porch addition will incorporate two of the existing porch posts into the interior of the space. Creating one big kitchen and family space will require the removal of a lot of the existing structural walls.

Architectural Design of the Connection Between the Home and the Barn
Architectural Design of the Connection Between the Home and the Barn

Walking behind the house, Bob makes a few observations about the design. He points out that the house and old barn were not exactly parallel to each other creating some issues fo the breezeway addition. Th architect chose to build the breezeway parallel with the barn, but as the roof is right onto the house, when you look at the roof overhang right on the corner of the addition it subtly increases in width in one direction. Another interesting feature of the architect's design is a 4 ft. wide and t10 ft. long "gang plank"-like balcony coming out from the second floor masterbath.

Tour of the Home's Exterior
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In this segment, Bob tours the exterior of the completed farmhouse, pointing out the contemporary green color scheme and breezeway connecting the old barn and the main house. The barn now houses an artist's studio and features refinished wide-plank floors. In front of the house Bob meets homeowner Rikk Larsen, too discuss more exterior features such as the side deck with trellises and the center bay with it's third floor Romeo & Juliet balcony.

Installing Standing Seam Copper Roofing
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Bob Fulmer from Harraseeket Restoration, Inc. joins Bob on the roof of the breezeway to install a double-lock standing seam copper roof. Before installing the copper, a plywood deck is applied, followed by a layer of bituthene for moisture resistance and then a resin paper slip sheet. The resin paper helps absorb the condensation generated on the back side of the copper panels by temperature changes. Additionally it insulates the copper from touching asphalt-based underlayment or bituthene on which standing water creates a diluted form of sulphuric acid which will degrade the copper. The copper panels are brake-formed at the shop and brought on site ready to install. The panels are joined in a double-lock standing seam in a two-step process. First the male edge is locked over the top of the female seam. Then a second seamer completes the second lock producing a one inch high profile double-locked at the top which is rolled over into the finished standing seam using hand crimpers.. This 16-oz. standing seam copper roof should have a 75 year life expectancy. Proper application is critical. Lack of provisions for thermal expansion such as permanently attaching the copper to the roof will create stress in the panel and eventually cause material failure. Also fasteners should be from the copper family or electrolysis will set up.

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