Salt Lake City Temple Paint and Plaster—Private
The Salt Lake Temple was constructed by The Church of Jesus Christ of Latter-day Saints (LDS Church) beginning in April 1853, when the cornerstone was laid, and April 1893, when the temple was dedicated. The design and construction of the building were overseen by LDS Church Architect Truman O. Angell, who served in that position until his death in 1887. The majority of construction work at the temple took place beginning in 1858, and was accelerated by the completion of the Transcontinental Railroad in 1869. Exterior construction was completed in 1892 (Figure 1), leaving one year for finishing the interior spaces.
The Temple was significantly expanded with the construction of an annex building in the 1960s, during which time interior spaces were restored and altered to accommodate new mechanical systems. In 1983 the Salt Lake Temple was listed on the National Register of Historic Places as a contributor to the Temple Square Historic District. Currently, FFKR is consulting with the LDS Church on planned repairs and improvements.
Paint Study:
Conservation Solutions, a Division of EverGreene Architectural Arts, Inc. (EverGreene) was retained by FFKR Architects (FFKR) to conduct investigations of historic painted finishes in representative interior spaces of the Salt Lake Temple, located at 50 N West Temple Street in Salt Lake City, Utah. The purpose of the historic finishes investigation is to document historic color palettes and decorative finish schemes for interior architectural surfaces of the temple. The project is to be carried out in several phases, subject to the availability of spaces and surfaces to investigators.
EverGreene carried out field investigations for the first phase from January 3-25, 2019. The first phase is limited to the Grand Hall, Font Room, Creation Room, Garden Room, and World Room. The results of the finishes investigation indicate that original paint remains beneath existing overpaint in the study areas, and confirms archival evidence for the presence of wood graining, also known as faux bois, at woodwork and selected plaster substrates.
The second phase investigation concentrates on the Celestial Room also from January 2019 field work. The results of the finishes investigation indicate that original paint remains beneath existing overpaint, including what appear to be distemper paints and localized “aqua sporca” antiquing glaze originally used at the ceiling. The investigation also confirms archival evidence for the presence of stenciling and faux marble finishes at selected substrates. Although the investigation identified color schemes for most elements in the room, the great quantity and complexity of ornament necessitates further exposure of original finishes to fully characterize the historic decorative scheme.
The third phase focuses on the Terrestrial Room from the January and March 2019 field work. The results of the finishes investigation indicate a range of approximately four to six distinct painting campaigns on various features of the Terrestrial Room, with some surfaces having up to 15 or more layers of paint or other finishes. Originally, walls were painted a cool, blue shade of white. The cove ceiling and flat ceiling were painted in warmer tones of off-white. Trim was also painted off-white. Ornament, including cast plaster and carved wood, was painted in shades of off-white and toned with grey and dark brown transparent glazes, to accentuate shadows and spatial depth created by moldings and three-dimensional decoration. Gold and aluminum leaf finishes, left bare or toned with glaze, were employed to highlight projecting elements of ornament and paneling. No evidence of original stenciling, pin striping, or figurative painting was revealed. Frequently, colors and decorative techniques employed in the original scheme (such as toning glazes and/or metallic highlights) were mimicked in the subsequent decorative campaign.
The fourth phase investigation centers on the ancillary spaces on the 2 nd Floor and on the 5 th – 9 t Floors from the January and July 2019 field work. The results of the finishes investigation indicate that original paint remains beneath existing overpaint in the study areas. The original color palette of these ancillary spaces appears to be a combination of Victorian-era, warm colors and soft neutrals. Gold leaf finishes were also employed to highlight trim or projecting elements of ornament. Thin glazes were applied selectively on decorative ornament, to create spatial depth or enhance dimensions. There was no evidence of original stenciling, pin striping, or figurative painting beneath presenting finishes. Subsequent decorative campaigns tend to resemble the original colors and decorative techniques (such as toning glazes and/or metallic highlights).
Plaster Survey:
Conservation Solutions, a Division of EverGreene Architectural Arts, Inc. (EverGreene) was retained by FFKR Architects (FFKR) to survey and evaluate historic plaster in selected interior spaces of the Salt Lake Temple, located at 50 N West Temple Street in Salt Lake City, Utah. The purpose of the historic plaster survey is to document existing conditions as a baseline for planned repairs and restoration. EverGreene carried out plaster survey work between January and July 2019.
Between January and July 2019, 25 rooms in the temple were fully surveyed, and the Assembly Room was partially surveyed. Generally speaking, interior plaster surveyed in the project scope is in good condition, exhibiting hairline cracking and relatively small, isolated occurrences of blind voids, with no significant damage, deterioration, or areas of immediate concern. However, conditions were identified in the Celestial Room, Terrestrial Room, and Assembly Room that will need to be addressed. A significant portion of the temple was not available for survey work; therefore, our findings are incomplete and provisional.