Design Vault Ep. 24 Sansom5 with Gabe Deck

TRANSCRIPT

00;00;00;02 - 00;00;05;10

Doug Pat (DP)

Let's go inside the vault. The design vault.

 

00;00;05;12 - 00;00;30;08

Gabe Deck (GD)

We wanted to make sure we could fit as many units while making them as wide as possible. So five ended up being kind of the magic balance point to get them feeling pretty wide, really maximizing at least four bedrooms, five plus bathrooms, elevators and then roof deck spaces are pretty key for Philadelphia Center City townhouse developments. These houses each contain three roof deck spaces.

 

00;00;30;10 - 00;03;16;07

DP

This is my guest, Gabriel Deck. I'll share more about him shortly. In this episode from the Design Vault, we highlight Gabriel's Sansom5 Project in Center City, Philadelphia, Sansom5 is a collaborative venture between Philadelphia and New York developers. The site is a 5000 square foot rectangular parcel with three street frontages that previously contained small office buildings. The site is in Center City, Philadelphia, close to the Rittenhouse and Fittler's Squares.

 

There's a five foot grade change across the main frontage, and the parcel sits within a flood zone adjacent to the Schuylkill River. Most neighborhood buildings are primarily brick masonry with strong cornice lines, which drove esthetic and material choices. Each townhouse features entry door locations where grade changes mitigated and the facade is recessed within a portal of capstone. The project, which is light brown brick, also features facade materials that include gray, flat block, metal panels, wood, accent cladding, and a mix of black and brown clad, slim profile windows.

 

The project includes five high-end townhouses which maximize square footage. Each home contains four bedrooms, six bathrooms, an elevator and three outdoor spaces. Hi, I'm Doug Pat, and this is Design Vault. Gabriel Deck has a Bachelor of Architecture from Temple University. He describes himself as a big time Philadelphia guy, having stayed in Philly after college and continues to do business there.

 

He began his career working for Wallace Roberts on a variety of project types. After the 2008 recession, he got his real estate license, where he made a number of contacts in residential development over the next few years. These relationships led to a number of small residential design projects. He eventually started his own small firm. His work was mostly urban, small scale residential editions, which quickly grew into new construction townhouse developments and then larger adaptive reuse residential projects.

 

The scale of work grew over the first few years, as did the business. The firm was rebranded GNOME Architects in 2018. The team is currently nine people operating out of a repurposed public high school in South Philadelphia. The firm has 400 plus projects to date, mostly in Philly, but also in other parts of the country as far reaching as Colorado and Maine.

 

Welcome Gabe. It's nice to have you with us today. So tell us a little bit about GNOME Architects in Philly. Where are you guys located? What's the size of the firm? How long has it been around and what type of work do you do?

 

00;03;16;09 - 00;04;27;27

GD

So GNOME Architects has been around since about 2018 after a rebrand of my previous business. We're currently a team of nine people comprised of myself and my business partner, Derek Spencer, and a handful of designers. So the business started back in 2013. Originally when I quit my job at WRC to focus on some small residential projects that I had acquired from developer contacts that I had made working in real estate.

 

Philadelphia is a small town in terms of the industry. Word spreads and quickly I was able to get a lot of project work by way of these developer contacts. Most of the projects were third floor additions, small townhouse, new construction, infill projects. And once I partnered with Derek Spencer, we started focusing a bit more on larger multifamily work.

 

The team grew, the project scale grew. Now we are working on developer driven business on one end of the firm doing large multifamily work, low rise podium buildings. Most are 30 to 50 units in scale. And then on the other side, we're doing custom single family homeowner projects with interior design as well.

 

00;04;27;29 - 00;04;41;10

DP

So Gabe you had your real estate license, which is pretty interesting for an architect, and you use that, I'm assuming, for a few years during the recession and then kind of moved back into architecture. When did you get your architectural license?

 

00;04;41;13 - 00;04;58;08

GD

So architectural license came around 2012, couple of years after the real estate license, and kind of was doing the two in tandem, you know, working nights and weekends trying to do sales. I got burned out pretty quickly, doing a full time job with an architecture firm, and then that on nights and weekends, it was a lot.

 

00;04;58;11 - 00;05;15;06

DP

What's so interesting to me is over the course of my career, I have met a lot of architects that end up doing lots of different jobs because architects aren't always busy all the time and they're one of the first people hit by recessions.

 

00;05;15;08 - 00;05;36;28

GD

Yes. And that's exactly kind of what happened to the big firm that I was with. I wasn't sure of my future there, wasn't sure what I was going to do. And real estate. I had a number of friends that were in the business. I went in that direction and I figured it was somewhat parallel to an interest in residential design.

 

So it seemed like a natural fit and thankfully it led to a lot of good relationships and some work to start the business.

 

00;05;37;05 - 00;05;42;19

DP

Yeah, it certainly sounds fortuitous. So what is your role in the office as a principal?

 

00;05;42;25 - 00;06;01;00

GD

I share the burden of running of the office with my business partner, Derek Spencer. I would say my role is more in the CEO traditional sense, while also the design director of the firm, where my business partner is handling more of the technical development of things and more overseeing the design development of things.

 

00;06;01;02 - 00;06;06;14

DP

So it's always interesting to find out how people end up working together. How'd you meet Derek?

 

00;06;06;17 - 00;06;40;10

GD

Derek and I started working together. He was my first employee, actually. I met him through mutual contacts when I realized I was spread too thin, working out of a spare bedroom in my home in the early days of my business. Derek was currently working for a firm across town, that’s, I'd say, one of our competitors. He was looking for something new, and it was the infancy stages of the business, so he came to start working with me.

 

And fast forward to three years later, we had a team of four of us and we were ready to rebrand and create GNOME Architects.

 

00;06;40;13 - 00;06;57;06

DP

So let's dig in here and talk about the project. This is really beautiful and I would imagine it took some time to get done in Center City, Philadelphia. So how did your office get the project? And you did mention obviously that you had some relationships or acquaintances that were developers.

 

00;06;57;09 - 00;07;23;25

GD

This project actually came from one of my very first clients that I had who was connected with the real estate office where I hung my license at that time. It was a partnership between that long existing client and a couple of developers from New York City that purchased the property, and we assisted them to take it through all of the permitting process and all the hoops we had to jump through as it's a pretty sensitive site.

 

00;07;23;27 - 00;07;28;02

DP

So could you give us a little history of the location before your buildings?

 

00;07;28;04 - 00;07;57;09

GD

So the site is on the western end of Center City, Philadelphia, about a block away from the Schuylkill River, sits in a floodplain about five feet or so below the FEMA flood zone line. It was a three sided site. So we had challenges to create, drive all access and building entrances and maximizing the use of both Center city and looking west towards the river.

 

So it was a challenging yet a site that had a lot of great opportunity as well to work with it.

 

00;07;57;12 - 00;08;03;10

DP

Yes, So unusual to get a piece of property in the city with three street frontages.

 

00;08;03;13 - 00;08;18;27

GD

Yeah, it's pretty uncommon, but it actually allows for some benefits as far as how you apply the zoning code and how city planning orients. The frontages actually worked to our benefit to get a driver on the back and five houses fronting the broad side of the site.

 

00;08;18;29 - 00;08;43;06

DP

So, Gabe, what was the scope of the project and what were the programmatic requirements for the townhouses?

 

00;08;43;09 - 00;09;09;12

GD

So the scope of the project was to try to maximize as many townhouse units as we could across the site, while also ensuring that they felt large and spacious and wide with Philadelphia townhouse development. You're often dealing with very narrow properties, so anything that's built new construction is typically somewhere between 14 and 20 feet wide or so. So we wanted to make sure we could fit as many units while making them as wide as possible.

 

00;09;09;12 - 00;09;30;29

GD

So five ended up being kind of the magic balance point to get them feeling pretty wide. The developer wanted to make sure we could provide as much parking as possible, so each unit has a two car garage and then really maximizing at least four bedrooms, five plus bathrooms, elevators, and then the big thing here also is just outdoor spaces.

 

00;09;30;29 - 00;09;42;01

GD

So roof deck spaces are pretty key for Philadelphia Center City Townhouse developments. These houses each contain three roof deck spaces.

 

00;09;42;04 - 00;09;45;02

DP

And how many stories has the project has had? Four or five.

 

00;09;45;04 - 00;09;59;18

GD

It's technically five stories by way of the code. However, there is a pilot house on top of each house, which also contains some livable or habitable space, which makes the buildings read as six stories interesting.

 

00;09;59;18 - 00;10;21;08

DP

So let's talk a little bit about the style, the architecture, some of the buildings that surround it. I had mentioned that we had some pretty strong cornice lines locally and you probably picked up on that in terms of brick courses. And then we've got some really beautiful, tall, decorative patterning on each one of these facades.

 

00;10;21;15 - 00;10;45;02

GD

We typically like to do our best to work in some contextual elements into our projects. So with this site, there's a lot of surrounding context that has primarily brick material, very strong cornice lines at the rooflines. So inserting a new development that is essentially six stories adjacent to a lot of three and four story buildings, we had to kind of get creative to make things fit in.

 

00;10;45;05 - 00;11;08;23

GD

So we kind of struck a line at the top of the fourth floor for the brick material. Coming up to that, a chorus line at the top of the fourth floor. And then we selected a kind of a gray, brown, beige tone brick, as a lot of the neighboring buildings are a variety of colors. So there's not really a strong predominance of red brick or white brick or brown.

 

00;11;08;23 - 00;11;16;20

GD

It's kind of all over the place. So the gray brown tone of the selected brick that we used kind of was a nice middle ground for it.

 

00;11;16;22 - 00;11;34;10

DP

So let's go back to the zoning for a second. So these buildings step back as they move up above that third story. Plus they're up at least on one end, at least five feet, creating these stoops. Did you have to step the buildings back? I know you clearly did that for functional reasons to have these roof gardens up there.

 

00;11;34;17 - 00;11;57;18

GD

Yes. So it was, again, just a way to kind of fit within the context of the lower height buildings around us. The zoning code didn't really require us to set the buildings back where we did. We did it more for the outdoor spaces, but the fourth floor line was kind of the natural place to do a material transition to make the massing fit well with the vernacular nearby.

 

00;11;57;20 - 00;12;00;28

DP

Were there any historical reviews by the zoning board?

 

00;12;01;00 - 00;12;31;12

GD

Surprisingly, this was not a historical designated site, so we were not subject to any historic review. I would say the biggest hurdles we had or really within meeting the flood zone regulations. So it was a challenge to make sure we maintained all the FEMA regulations so these buildings don't have basements. We have flood doors on all facades and the challenges related to keeping your habitable floors above the flood plain were the big driving elements for this.

 

00;12;31;15 - 00;12;45;24

DP

Okay, so first floors above the floodplain, the base, the plinth, I'll call it, is masonry, is brick masonry. So you have these doors. Do they have to be a certain size? And I would imagine they're breakaway or is that the way it works?

 

00;12;45;26 - 00;13;06;23

GD

So each structure had to have a number of flood vents on at least two sides of the exterior walls. The size of these denser, I believe, one square inch per square foot of building footprint. They allow for the passing of flood water going in and out of the building just to relieve the flood pressure that the building would be subject to.

 

00;13;06;28 - 00;13;21;11

GD

So we did our best to hide them in kind of inconspicuous areas along the front facade where they were required, as well as the back of the building where the dry is. That's not really seen from the public right of way. So it was a nice place to hide these vents.

 

00;13;21;13 - 00;13;32;09

DP

So tell me about the apartments and plants we get along rectangle and each one of these is more squarish in plan. And I'm also wondering, I don't see the two car garages.

 

00;13;32;11 - 00;13;56;26

GD

Yeah. So the garages are all facing a rear drive aisle that we were able to hide. It's like a one way drive I'll access that comes in off of one of the small side streets, exits on the far end of the other side street. And then there are two car garages at the rear of each home are facing this drive while the driveway is also covered by a series of exterior decks, each deck serving one of the houses.

 

00;13;56;26 - 00;14;01;13

GD

So it's a covered drive aisle with a garage door. At either end of it, you never actually see it.

 

00;14;01;19 - 00;14;04;11

DP

And the buildings in plan are the each rectangles.

 

00;14;04;13 - 00;14;17;17

GD

Yes. So they're roughly, I'd say, 22, 23 feet wide by 40 to 50 feet deep with the drive at the rear and the main entrance at the opposite side facing the street frontage.

 

00;14;17;20 - 00;14;23;24

DP

So what was the building review like with the city of Philadelphia? Was that challenging? Was it time consuming?

 

00;14;24;01 - 00;14;45;16

GD

So it had a bit of back and forth. Our office handling primarily projects in Philadelphia. We've made a lot of good relationships with different plans examiners, different city agencies. I've gotten to know the process pretty well, as it is rather daunting for anyone who's unfamiliar with it. So I would say this project had a number of rounds of verifies from the plans.

 

00;14;45;16 - 00;15;10;14

GD

Examiner is mostly related to the interpretation of the parking that was implemented as well as kind of the interpretation of the roof deck access structures and that type of things. And typically it's a dialog with them to make sure everyone's kind of on the same page and there's a middle ground you need to find. But I would say we got through it in a couple of rounds, which was better than we had expected given the sensitive features of the site.

 

00;15;10;16 - 00;15;25;02

DP

So building materials you guys used primary Li Brick, I mentioned to you before we got rolling, it's a light. It appears to be a light brown brick. It's actually called Stonington gray velour. It's got a wide variety of values or shades in it.

 

00;15;25;08 - 00;15;46;03

GD

This was a really beautiful brick that worked well for our goals to kind of strike a line between the various masonry colors of the surrounding buildings. So it actually has a nice amount of variety in it. Some of the bricks are a lot more brown and darker. Some of the bricks are very light kind of in the the off-white color range.

 

00;15;46;03 - 00;16;06;16

GD

So once you get close, you really see the variety of color that's in there, which is really nice. And then at different times of the day, it also reads a little bit differently in the morning in direct sunlight. It kind of has a more of a warm brown tone to it and kind of in the twilight hours of the sun going down, there's a lot of reflectivity is caught.

 

00;16;06;16 - 00;16;13;14

GD

And when you look closely at it, so it really speaks well to the contemporary approach that the building esthetic has.

 

00;16;13;16 - 00;16;42;09

DP

What I love about this project is the brick pattern. You guys really spent a lot of time working on all the different patterning that's happening at the Stoops and around the windows, at the cornice lines. So tell us about how you did that in the office. Right? Typically we see a designer working on exterior elevation drawings and then, you know, the lead designers review them and it's back and forth and then eventually you're putting that into the CDs and you're doing mock ups in the field.

 

00;16;42;09 - 00;16;43;19

DP

So how did that go?

 

00;16;43;22 - 00;17;09;08

GD

Yeah, so it surprisingly went pretty smoothly on this project. The brick patterning that we went with was kind of a solution to a number of problems. We had planned driven windows, which is typical of these Philadelphia townhouse projects where you don't have a lot of space. So your windows can only go in certain areas. But then when you want to create alignments vertically on the facade and such, you've got to kind of get creative.

 

00;17;09;08 - 00;17;32;11

GD

Sometimes if that's a goal. So the brick patterning that we implemented was a tool to kind of strike these alignments vertically in the facade. So we have this recessed entry portal that is maybe two thirds of the width of the frontage, but the windows on the upper floors could not necessarily align with the jams of that portal opening.

 

00;17;32;11 - 00;18;01;20

GD

So we implemented brick patterning at the JAMB locations of the windows to then create a hard line that would align with the portal entryway below. That's one way we used the pattern to help. We also used it to just create interest on the facade. As I mentioned, the flood zone required us to keep the living spaces pretty high out of grade and that resulted in what would otherwise be a rather blank wall at the base of the building.

 

00;18;01;20 - 00;18;17;09

GD

The changes in brick pattern were a tool to kind of add some interest, so the brick we chose in relationship to a lot of cast stone that also creates some interesting accents around the window openings was a nice balance.

 

00;18;17;12 - 00;18;26;27

DP

What I really love is in this photograph on the far left you've got the brick patterning at the center stoop, but the patterning is completely different. On the left and right.

 

00;18;26;29 - 00;18;52;27

GD

The stoops were a huge focus of the design, so we had to get the occupants about 5 to 6 feet above the sidewalk level to the entry doors, which instead of having kind of a visible staircase that would otherwise dominate the sidewalk, we utilized a screen wall of brick in front of the staircase entryway that was also in front of a patterned planter box.

 

00;18;52;27 - 00;19;16;10

GD

So you have these multiple layers of masonry that add interest at the staircase. It allows us to insert some greenery as well. So it's a very tactile experience as you walk up to the front door of these houses that worked out very beautifully and the execution of the masonry and saw was fantastic by the mason as well, which we were very pleased to see.

 

00;19;16;12 - 00;19;39;18

GD

We had a series of conversations with the GC to make sure everyone was on the same page with the detailing. Our construction documents were very thorough to make sure that the areas of recess patterning as well as kind of projected roll lock and soldier course detailing was achieved and all the shadow lines could be read throughout the day as the sun moves around the building.

 

00;19;39;20 - 00;19;42;16

DP

So did you guys draw this in 2D and 3D?

 

00;19;42;18 - 00;20;12;01

GD

Yes. Our process typically starts with a three dimensional model of the building that we get to a comfortable point. We utilize sketch up primarily for a design tool in the schematic phase. And once we're happy with the sketch model, we move into 2D drawing. This project was done a few years ago before our office implemented Revit, but we were still able to successfully document how all the masonry patterning was working in 2D.

 

00;20;12;04 - 00;20;16;29

DP

So did you show the three dimensional model to the clients along the way?

 

00;20;17;06 - 00;20;42;27

GD

We did. We had a number of options for this projects. They were all similar in the materiality, but some were maybe a little more traditional, others were even more contemporary looking. So we utilized the 3D models as a design tool to visualize the project to the client. And in the end they were very happy with one of the options we chose, which had very minimal changes that they needed to see.

 

00;20;43;00 - 00;20;47;25

DP

Clients love 3D models, right? Were you able to model any of the BRIC in SketchUp?

 

00;20;47;27 - 00;21;17;18

GD

We built the SketchUp model and applied some custom made material swatches that we built utilizing other brick colors, and we made sure we could match exactly what the Stonington gray velour would look like. And then it was just a matter of scaling the pattern down to the brick unit. So even in the areas where you have these dimple patterns that read against the entryway walls, all of the patterns were aligned perfectly to align up with the massing recesses that took place in the model.

 

00;21;17;18 - 00;21;19;20

GD

So it ended up being pretty successful.

 

00;21;19;22 - 00;21;23;26

DP

So how many people worked on the team for the project from the architects office?

 

00;21;23;28 - 00;21;40;10

GD

I would say that through the design process there were at least four of us that work through the design concepts together and I would say primarily one designer and myself kind of pushed the design to where it is now. But back when we did the project, it was a pretty collaborative effort within the office.

 

00;21;40;13 - 00;21;48;08

DP

So I feel like every project I learn something new. Did you guys learn anything through the process of working on this project?

 

00;21;48;11 - 00;22;11;06

GD

We learned quite a bit, especially in terms of the brick detailing here. We kind of learned that certain patterns have rules around them, especially when you're utilizing like a stacked pattern where you have these very clean vertical lines that need to be maintained. It's tricky to make sure that things don't read as a mistake within that patterning, especially as it relates to where you put windows.

 

00;22;11;08 - 00;22;31;10

GD

So we had to make sure our window spacing was just right. So you didn't results in little slivers of brick that would be noticeable and read as a mistake. So we took a lot of care in making sure that the tolerances and the actual window sizes and everything were worked in to make sure that we didn't end up with those kind of conditions.

 

00;22;31;12 - 00;22;45;08

DP

And that takes some pretty close work with the. Mason You mentioned that you thought the execution worked out well. Did you guys have a tough time finding a mason or was the first mason you guys ended up meeting the person you used.

 

00;22;45;10 - 00;23;11;22

GD

So the general contractor, it was his team, really. And the mason that he chose and started the project with kind of nailed it right from the start. We had probably two or three on site meetings with the Mason, looking at the drawings. That's a back and forth with some questions. And then ultimately we had a small mockup in the field and everyone was on the same page and collectively in the room together to make sure that the execution was going to happen just right.

 

00;23;11;22 - 00;23;12;18

GD

And it did.

 

00;23;12;20 - 00;23;40;09

DP

So last thing I wanted to ask you about was the metal panels on the fourth floor and these large bay windows on the outside edges of the building. Really beautiful. These are great details. You see these bay window details everywhere on 1930s and forties, city architecture. And I think doing that on the ends of these buildings and then adding the flat lock metal panels to the fourth floor is really beautiful.

 

00;23;40;11 - 00;23;41;19

DP

Great detail.

 

00;23;41;22 - 00;23;59;21

GD

Yeah. So back to kind of the challenges of working in Philadelphia and not a lot of space to work with. The bay windows are always a tool to add a little bit more interior square footage, but the challenge is always Hadia clad them. How do you make them feel appropriate when the rest of the facade material is masonry?

 

00;23;59;23 - 00;24;29;00

GD

Yeah, we kind of struck a line with a traditional meets contemporary bay esthetic to compliment the window patterns within the masonry as well. So the bays have very kind of glassy windows, wrapping all sides in the same style of windows as the punched openings within the flanking brick masonry and then the color of the bays being much darker than the masonry was meant to draw more attention away from the bay and actually focus it on the adjacent brick masonry.

 

00;24;29;02 - 00;24;48;17

DP

One more comment or question. These entry portals are beautiful. Was it tough for you guys to decide? Okay, we're going to set back the front door and these very large windows lose a little bit of square footage, but we get these entries which are highly differentiated on the facade or along the facade.

 

00;24;48;20 - 00;25;11;06

GD

Yes. So the entry portal was a result of trying to solve a problem around the narrow sidewalk. The city only allows you to project so far into the public right of way and you're trying to make this nice prominent entrance for this luxury townhouse. And in order to achieve a wide staircase going up there, you got to kind of recess the frontage of the building.

 

00;25;11;06 - 00;25;31;25

GD

So we accomplished that by recessing just the entryway that the ground floor. When I mentioned being in the floodplain, we had to get the first floor up pretty high. So the entry door is actually at a middle landing between the garage level in the first floor. The first floor is actually up about ten feet above the sidewalk. So we recessed the entryway.

 

00;25;31;25 - 00;25;40;02

GD

It allowed us to have four or five foot wide steps leading up to the front door and a nice prominent procession up the steps to the front door of the house.

 

00;25;40;09 - 00;26;03;15

DP

Well, Gabe, it's a beautiful project. When I first saw these photos, I was really excited to do this interview. So I have done so many different things in my career while being an architect. And while it's not that unusual, I've found that being an architect has helped me to be good at lots of other things in my life.

 

00;26;03;18 - 00;26;30;10

DP

The other thing that I will say is that we end up working on many different things in our lives, even if we're let's say you end up doing stair details for a large firm for ten years and you think I wasted all that time doing stair details. The reality is we never really know when any of the things that we learn how to do will come in handy and can ultimately change our life in some way, even if it's in a small way.

 

00;26;30;10 - 00;26;45;28

DP

So I think it's really cool that you got your real estate license because you made all of these relationships or just a couple relationships that ultimately helped you become a successful architect. It's a big deal, right? So I don't think you give yourself enough credit.

 

00;26;46;00 - 00;27;04;16

GD

Yeah, I think I realized early on that I was good at some things, but not good at everything I needed to be good at. So the relationships were everything, especially in the early days. So knowing when to reach out to the people who know the solution is a big part of being an architect, a big part of being an entrepreneur.

 

00;27;04;16 - 00;27;22;22

GD

Starting a business as well is, you know, you need to do it right. You have a license that you got to hang your hat on. So it's critical for you to understand when it's time to reach out for design professionals outside of your purview and outside of your profession for the right solution to problems on your projects.

 

00;27;22;24 - 00;27;29;20

DP

So, Gabe, it's been great to have you here. Thanks so much for your time. Where can people go to learn more about No more architects and yourself?

 

00;27;29;22 - 00;27;44;25

GD

Sure. So our website is pretty current websites WWE and gnome arch dot com genome RC. I would say even more current than that is our Instagram account, which is also at Gnome Arch.

 

00;27;44;28 - 00;27;47;19

DP

So one more question. Where did you get the name?

 

00;27;47;21 - 00;28;09;22

GD

The name actually came from a rebranding exercise that we did back in 2018 and we were looking to create a new identity that spoke to the residential nature of our products and we wanted to kind of speak to the home and a place of being. So the gnome, the garden gnome is a character that does that. It's the marker of place.

 

00;28;09;22 - 00;28;35;29

GD

We also wanted the branding to be very memorable and approachable, so we initially kind of wrote off a name that came to us from our rebranding company and we thought it was crazy. And the more rounds of more names they suggested to us, the more we came back to that first stab of GNOME being the solution and so happy that we trusted in the company that we rebranded with and it's worked out for us very well.

 

00;28;36;05 - 00;28;37;25

DP

It's a great story. Well, thanks again, Gabe.

 

00;28;38;00 - 00;28;41;13

GD

Thank you.

 

00;28;41;16 - 00;29;05;01

DP

Thanks for listening. If you learned something today, share this episode with a friend and give us a rating and review on Apple Podcasts to help others find the show. If you want to find out more about today's project, visit Glengarry com forward slash design dash vault that's gleaned GSR y dot com forward slash design dash vault one even more inspiration.

 

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DP

Take a look around Glengarry icon while you're there. Glengarry is one of the nation's largest brick manufacturers and an industry leader for its diversified product line of more than 600 brick products with inspiring photos, useful resources, easy search tools, helpful design studios, and more. I'm sure you'll find the inspiration you need to stretch your imagination