The Exterior Painting Process
Updated: May 19
What seemed like a simple decision became a lesson in preservation, restraint, and stewardship.
When we began thinking about the exterior paint for the Kiam, we assumed it would be a fairly straightforward decision. In reality, it became one of those moments that reminded us how different historic restoration is from simply redesigning an old building.
Early on, we had a different vision for the facade. We wanted to explore a more contrasting paint scheme, still rooted in historic colors, but with stronger distinction at the windows and more emphasis on the arches and brick detailing. We thought that approach could bring out the depth and character of the building in a beautiful way. We even had mockups prepared to study how it might look.
We were drawn to that idea because we wanted people to notice the craftsmanship already there. The Kiam has so much texture and detail, and we thought a different contrast pattern might reveal more of it from the street.
But one of the things we keep learning in this process is that with a historic building, not every good idea is the right idea.
As we moved through the review process, we came to understand that the paint scheme we had envisioned would likely not be approved because there was no historical precedent for it. Even if the colors themselves were appropriate, the way they were being used on the building needed to be supported by history, not just by design preference.
That was an important moment for us. It meant letting go of an idea we genuinely liked and accepting that this project is not only about what we think would look best. It is about stewardship, about respecting the preservation process, and about understanding that our role is not to impose a new story onto the building, but to carry its existing story forward as faithfully as we can.
So in the end, we moved toward a paint treatment much more in line with the way the Kiam appeared after the Barry Moore restoration in the 1980s.
In some ways, that may seem like a less exciting outcome than what we originally imagined. But we no longer see it that way. We see it as part of the discipline of restoring a historic building with integrity. Sometimes the work is not about making the boldest choice. Sometimes it is about making the most responsible one.
What makes this even more interesting is that this was not the building’s earliest appearance either. Before the Barry Moore restoration, the Kiam had an exposed brick facade. That is its own chapter, and one worth telling separately.
For this stage, though, the painting process became about more than color. It became a lesson in restraint, research, and the responsibility of caring for something historic. To a passerby, the facade may simply look as though it is being painted. But for us, this phase has represented a decision to honor the building’s documented history, even when it meant setting aside our first instinct.
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